Literary Miscellany - William Reese.pdf by tongxiamy

VIEWS: 39 PAGES: 128

An Autumn Selection of Recent
Acquisitions from the 16th
through 21st Centuries
Poetry and Prose
Manuscripts and Letters,
Fine Printing, Illustrated Books
and Bibliography

Catalogue 280

FAX: 203.865.7653
Material herein is offered subject to prior sale. All items are as described, but are considered
to be sent subject to approval unless otherwise noted. Notice of return must be given within
ten days unless specific arrangements are made prior to shipment. All returns must be made
conscientiously and expediently.
Connecticut residents must be billed state sales tax. Postage and insurance are billed to all
non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or
courier, unless otherwise requested, with full charges billed at our discretion.
The usual courtesy discount is extended only to recognized booksellers who offer reciprocal
opportunities from their catalogues or stock.
We have 24 hour telephone answering and a Fax machine for receipt of orders or messages.
Catalogue orders should be e-mailed to:
We do not maintain an open bookshop, and a considerable portion of our literature inventory is
situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours
notice is necessary prior to some items in this catalogue being made available for shipping or
inspection (by appointment) in our main offices on Temple Street.
We accept payment via Mastercard or Visa, and require the account number, expiration date,
CVC code, full billing name, address and telephone number in order to process payment. Insti-
tutional billing requirements may, as always, be accommodated upon request.

                            We invite you to visit our web site
             where over thirty-five thousand items from our inventory are
             searchable and may be ordered directly via a secure server.
               Images associated with many items from this catalogue
                          are also posted on our web site, and
               significant new acquisitions are posted there long before
                    they appear on any of the collective databases.

             Those wishing to receive e-mail notification of the posting of
             new catalogues and lists to our website may request same
                      by forwarding expressions of interest to

                                 William Reese Company
                                  409 Temple Street
                                New Haven, CT. 06511
                              Phone: 203.789.8081
                                Fax: 203.865.7653
                              Members ABAA and ILAB
1. [Adams, Ansel]: Anderson, David: THE ENCHANTED GALLEON. [San Francisco]: Privately
Printed, 1930. Large, thin quarto. Cloth, paper label. Frontispiece. Usual slight offset of
letterpress from first page of text to frontis, some very faint, scattered dust marks to cloth,
otherwise near fine in lightly hand-soiled slipcase with small label shadow at lower corner
of one panel.
First edition. One of sixty numbered copies, privately printed at the Windsor Press for Garfield
Merner. dedicated to Flodden W. Heron “in appreciation of a Stevenson night given by Mr.
Heron before the Roxburghe Club....” The distinguishing feature of this undertaking is an
original photographic frontispiece of the Stevenson Memorial by Ansel Adams, signed by
him in pencil in the margin. A relatively early example of Adams’s photography used for
book illustration.                                                                       $750.
                    The American Pacifist Movement During WWI
2. Addams, Jane; Emily G. Balch; Louis P. Lochner, at al. [An Archive of Material Relating
DEMOCRACY AND TERMS OF PEACE]. Chicago and elsewhere. 1914 - 1917. Ca. 225
items. Quarto and octavo. Autograph manuscript, original and carbon typescript, and printed
material. Arranged at an early date in three somewhat worn clasp binders, each with a
partial calendar of contents. Some smaller items mounted to rather friable paper, with marginal
chipping to mounts; many retained carbons on cheap pulp paper, with tanning and occasional
brittleness, but generally good to very good, consistent with materials.
An informative and significant small archive of material preserved by future Pulitzer Prize
winner Louis P. Lochner during his activities as a member and officer of several peace
organizations in Chicago and elsewhere during the period 1914-1917, consisting of received
correspondence to himself and others, carbons of his replies, telegrams, and incidental
correspondence by other parties and printed matter, in large part related to the Federation
and the Conference. Lochner (1887 - 1975) served as Secretary to the Chicago Peace
Party, in which role he worked with Jane Addams, traveling with her to the Women’s Peace
Congress at The Hague in 1915. Some of the material herein relates directly to her, including
letters addressed to her that Lochner replied to on her behalf, and at least two typed letters,
signed, from her to Lochner. Much of the correspondence concerns organizational matters,
as well as efforts toward promoting the peace agenda, and the correspondents reflect a
broad range of private and public entities, including other peace organizations, political
figures, theologians, activists and educators, among them Roger Baldwin, Upton Sinclair,
Emily G. Balch, Carl D. Thompson, Mrs. R. LaFollette, Ethelwyn Mills, and Scott Nearing.
In the years following, Lochner joined the Associated Press, and in 1919 was named Director
of the Berlin Bureau. When Germany invaded Poland, Lochner was the first foreign journalist
to travel with the German army into battle, and for his reporting, he received the 1939 Pulitzer
Prize for Journalism. With the entry of the U.S. into the 2nd World War, he took a position
as analyst and commentator for NBC, serving in that capacity until 1944, after which he
served on several government missions and on the Board of the American Council in Germany.
As a whole, the archive provides an intimate view of the nuts and bolts of peace activism
and organizing during the period of the Great War, and includes correspondence and other
matter by or relating to some of the most prominent representatives of the movement in
the mid-West.                                                                           $2750.

3. [African American Folklore]: Dobie, J. Frank [ed]: FOLLER DE DRINKIN’ GOURD....
Austin: Texas Folklore Society, 1928. Pictorial blue cloth, stamped in darker blue. Endsheets
offset slightly to facing text leaves, as usual, otherwise a very nice copy. With the bookplate
of James S. Copley.
First edition, clothbound issue. Published as TFLS Publication VII. A particularly interesting
number, including a substantive series of essays on African American folklore and songs
in Texas.                                                                               $150.
4. [African American Studies]: Dabney, Wendell Phillips [compiler]: CINCINNATI’S COLORED
Publishing Company, [1926]. 440pp. Large octavo. Gilt dark blue cloth. Photographs, portraits
and illustrations. A few finger smudges to endsheets, small spot on lower board, one corner
bumped, very good.
First edition. Inscribed, as often, by the compiler on the front pastedown, in this case in
1936. Dabney attended Oberlin, established a music school in Boston, worked with Frederick
Douglass and co-founded the Frederick Douglass Political League, and was the first President
of the Cincinnati branch of the NAACP. His compilation is far more than the usual mugbook
affair, and in totality records the situation of African Americans in Ohio from the earliest
days to the time of publication.                                                      $450.

5. Aiken, Conrad: TYPED LETTER, SIGNED. London. 7 May 1922. One page, closely typed,
on quarto lettersheet. Folded for mailing, occasional typewriter irregularities, but very good.
Half morocco clamshell box.
A good, relatively early letter, to an aspiring poet (“Mr. Brand”), reading in part: “...all I
can honestly tell you is that the beginner must learn things for himself: no one can teach
him. Learning to be a poet is not like learning a language: language is a form of common
knowledge, and can be taught by anyone; but learning to be a poet is first of all learning
to be and know one’s self ... you have taken your notion of what a poet should be from
... perhaps indiscriminate reading, instead of clarifying your idea of what you, as a poet,
should be; defining yourself. That is the indispensable business: it entails enormous labour
and patience with the technical side of poetry ... discovering precisely how it is that you
as an individual feel and think ....” In excess of 400 words, signed in full, in pencil. $375.

6. Aiken, Conrad: TYPED LETTER, SIGNED. Savannah, GA. 27 December 1967. One-half
page, on octavo sheet of letterhead. Folded for mailing, receipt docket in ink at top margin
by recipient, else near fine.
To Lewis Mumford: “How can I ever thank you for your letter. So generous and good ...
and just when I very much needed that sort of kind word from, shall I say, a co-evil? For
I ain’t been well, and was low in my mind ... Now I am doubly in your debt: for you did
the same trick for me with Ushant, and bless you for that too. How damned kind of you.”
Signed in full, in ink.                                                              sold
                                      “Rock Me ....”
Portland, ME. 27 November 1880. Two pages, on two octavo leaves. Formerly mounted,
with small loss at two tips of one leaf, otherwise very good.
An attractive autograph transcription by Akers of the first stanza (8 lines) from her best-
known poem, “Rock Me To Sleep,” beginning “Backward, turn backward oh time in your
flight ...,” signed in full at the conclusion “Elizabeth Akers Allen.” Accompanied by a one
page a.l.s., Daily Advertiser Office, Portland, ME, 27 November 1880, to a Mrs. James
Elder, apologizing for the year that has passed since she had written asking for a sample
of her manuscript: “I was in England at the time whence I have just returned ... This, I
hope, is sufficient apology for my apparent heedlessness of your request ... my handwriting
is so far from pretty that I think you will be satisfied with the accompanying stanza ...”
Again, signed in full. Akers (1832 - 1911) published her first collection of verse in 1855,
under the pseudonym “Florence Percy.” Her career as a popular poet ran parallel with her
accomplishments as a journalist and editor. She served a two year appointment in the War
Department and included among her circle of acquaintances prominent feminists such as
Paulina Kellogg Wright Davis. Shortly after this poem was first published under her pseudonym
in 1860, her claim to authorship was challenged by a New Jersey poetaster and leather
dealer, Alexander Ball, and although her claim was vindicated, the controversy was the
subject of much public interest.                                                         $650.
8. [Aldine Imprint]: Lucanus, [Marcus Annaeus]: M. ANNEI LVCANI CIVILIS BELLI. [Venice:
Aldus Manutius, April 1502]. a-r 8,s 4; [140] leaves. Small octavo (155 x 90 mm). Recent
full black morocco, raised bands, ruled and lettered in gilt. Earlier binder’s endsheet preserved
with a 19th century tutor’s prize inscription, a bit tanned at edges, with occasional smudges,
light soiling and scattered foxing, small erasure at lower edge of a 1r, just a good copy.
First Aldine edition, printed in Italic type, with a prefatory note by Marco Antonio Mauroceno.
Best know as Lucanus’ Pharsalia, this is his epic poem about the struggle between Pompey
and Caesar after the latter’s crossing of the Rubicon. Aldus based this edition on the Venice
edition of 1493, and a brief life of Lucanus concludes the text.
L1557. ISAAC 12775.                                                                      $3000.
                                      Association Set
9. Allen, Hervey, et al: THE YALE SERIES OF YOUNGER POETS [series title]. New Haven:
Yale University Press, 1919 - 1930. Twenty-six volumes (of 29 published in sequence through
the period). Uniform small octavo. Printed wrappers over boards, and later, printed boards.
Spines darkened, two spines have small chips, else very good.
First editions. Twenty-six of the first twenty-nine titles in this important series, with uniform
provenance: from the library of Carl P. Rollins, who joined the Yale University Press in
1918 and was appointed Printer to Yale University in 1920 with rank of Professor. The
run is neatly enclosed in a wooden filing box bearing his ownership stamp inside the upper
lid, and two of the volumes bear his ownership signature. Tipped into the first volume is
a small typed slip bearing a congratulatory notice upon the inauguration of the series. The
three volumes lacking are numbers VII (Banks), X (Williams) and XXI (Slater), but those
present include first or early books by Hervey Allen, John C. Farrar, Harold Vinal, Amos
Wilder, Lindsey Hubbell, Ted Olson, Frances Frost, Henri Faust, et al. The series includes
several volumes printing significant war verse. A decent association set of a series that
is gradually becoming a bit more difficult to assemble as years pass. It should be noted
that the missing volumes would not have fit in the wooden box.
WALKER (ROLLINS) 661, etc.                                                                 $750.

10. [Allen Press]: [Clemens, Samuel L.]: MARK TWAIN: SAN FRANCISCO VIRGINIA
TO THE TERRITORIAL ENTERPRISE: 1865 - 1866. San Francisco: Book Club of California,
1957. Quarto. Cloth and decorated boards. Bookplate, small smudge on upper spine panel,
otherwise a nice copy.
First edition. Edited by Henry Nash Smith and Frederick Anderson. One of 400 copies printed
at the Allen Press.
ALLEN PRESS 20.                                                                      $200.

Dundrum: The Dun Emer Press, 1905. Linen-backed boards, paper spine label. Label a
bit frayed at edges, else a very nice copy.
First edition. Although not stated, the edition consisted of two hundred copies. Published
27 November 1905. Siegfried Sassoon’s copy, signed by him in 1906 on a preliminary blank,
and inscribed “(Bought at the Arts & Crafts Festival).” The posthumous Sassoon library
dispersal label appears on the front pastedown.
WADE 234. MILLER 7.                                                                  $650.

12. [Anonymous]: THE MONARCH PHILANTHROPIST [wrapper title]. San Francisco: Cubery
& Co., Steam Book & Job Printers 1892. 22pp. Printed wrappers. Very slight tanning at
edges, otherwise fine. Half morocco folding case.
First edition of this veiled fictional attack on Leland Stanford, pitting a farm owner against
railroad interests. A note on the title indicates “The manuscript of this California Romance
was found near the docks of San Francisco and was deemed worthy of publication. The
author will confer a favor by making his name known. If found it will appear in future editions.”
Appended to the text is a somewhat early reprinting in book form of Charlotte Perkins [Gilman]
Stetson’s poem, “The Old-Time Wail.”
WRIGHT III:3791.                                                                            $50.

[&c]. York: Printed by A. Ward, for C. Etherington ... Newcastle upon Tyne: reprinted by
Order of the Proprietor, 1759. [2],42pp. Octavo. 19th century three quarter morocco and
marbled boards, partially untrimmed. Bookplate, extremities rubbed, scattered foxing and
old vertical crease (prior to binding); a good copy.
Denoted the “Third Edition,” but an interesting variant, with the addition of the Newcastle
subsidiary imprint. ESTC locates two variants of the “third edition,” and this shares the
Arabic imprint date and line break of line 11 with ESTC N10016, but this variant with the
subsidiary imprint is not reported in ESTC. So sensational was the case, and the popular
interest so high, that there were at least nine editions in 1759 from London, York, Leeds
and Dublin, and reprints and expanded editions appeared well into the 19th century. Aram
stood for his own defense, arguing against the reliability of the circumstantial evidence
(the skeleton identified as Clark’s), but was convicted. While he was awaiting execution,
he confessed, attributing his actions to his discovery that Clark was having an affair with
his wife, and attempted suicide. The case was popularized by Bulwer-Lytton in his novel,
by Thomas Hood in a ballad, and served as a point of reference in works by Wodehouse
and George Orwell. The various 1759 editions/printings range from scarce to quite rare.
ESTC N10016 (ref).                                                                   $850.
           Surreptitious 16th Century London Printing of Pietro Aretino
John Wolfe], 1588. [8],285,[3] leaves. Small octavo. 18th century red-brown morocco, spine
elaborately gilt extra, a.e.g. 18th century armorial bookstamp (“Ex bibliotheca J. Richard
D.M.”), thin but significant worm tracks affect perhaps a third of the leaves (occasionally
slightly affecting sense), several worm pinholes to spine, small chip from spine crown, early
ink notes on verso of free endsheet; a sound and inexpensive copy.
A representative example of the publishing ventures of the prolific John Wolfe (d.1601),
a second generation London printer who, in addition to his general trade, actively produced
Latin and Italian texts with false or no imprints, many of them for sale on the continent.
Aretino’s comedies were first published in Venice in 1553, but were added to the Index
Librorum Prohibitorum in 1558. Undoubtedly to capitalize on the resulting market Wolfe
rose to meet the demand, as he had earlier when he published an edition of Aretino’s somewhat
more disreputable Ragionamenti, in late 1584. The title bears an oval portrait of Aretino,
surrounded by the legend: “D. Petrvs Aretinvs Flagellvm Principum,” and it reappears on
the three sectional titles.
STC OF ITALIAN BOOKS, p.517.                                                            $850.

15. Avedon, Richard: PORTRAITS. New York: Farrar / Noonday, [1976]. Quarto. Stiff wrappers.
Prefatory essay by Harold Rosenberg. Illustrated throughout with photographs, including
gatefold and double gatefold panels. Bookplate, otherwise a very good copy.
First edition, wrapperbound issue. Signed and dated by Avedon, in pencil, in 1977.         $250.
16. Bacon, Peggy: FUNERALITIES. [Kelmscott, NY]: The Aldergate Press, 1925. Quarto.
Cloth and boards, paper label. Frontis and illustrations by the author. Slight flecking to
cloth sizing around spine, otherwise near fine, without slipcase.
First edition of the first book publication by this joint enterprise of Egmont Arens and Paul
Johnston. One of 250 numbered copies, printed for subscribers and signed by the author/
artist. The frontis is an original etching by Bacon, and is also signed by her in the lower
margin.                                                                                 $175.

17. [Baker, William Mumford]: INSIDE: A CHRONICLE OF SECESSION. By “George F.
Harrington” [pseud]. New York: Harper & Brothers, 1866. vi,[7]-223pp., printed in double
column format. Large octavo. Original cloth. Title vignette and illustrations by Thomas Nast.
Bookplate and small piece of tape residue on pastedown, occasional light foxing, crown
of spine frayed; a good, sound copy, in chemise and half morocco slipcase.
First edition in book form, following serialization in Harper’s Weekly. Though the present
novel is set in the Carolinas, Baker (1825 - 1883) wrote it during the war while resident
in Austin, Texas, where he served, in spite of his Unionist views, as the Presbyterian minister
from 1850-1865. In the post-war years, he left Texas and assumed posts at successive
congregations in the north, and continued writing both fiction (much of it related to his Texas
experiences) and theological works.
WRIGHT II:195. HAMILTON, p.193.                                                           $125.

18. [Barth, John]: Southern, Terry, et al [screenwriters]: Original Studio Publicity Campaign
Presskit for END OF THE ROAD. [New York]: Allied Artists, [1970]. [28]pp total of text,
with 12 stills. Quarto. Loose and stapled leaves of duplicated typescript and off-printed
text, accompanied by 12 8x10" black & white stills. Some creases and occasional marginal
dust soiling to text leaves; stills very fine. Enclosed in somewhat dust-soiled printed studio
An informative presskit promoting Terry Southern, Dennis McGuire and director Alan Avakian’s
collaborative 1970 film adaptation of John Barth’s novel, starring Stacy Keach, James Earl
Jones, Harris Yulin, Dorothy Tristan, et al. It is notable as the first feature-length work
by cinematographer Gordon Willis, and beyond the fine set of production stills, the kit includes
production notes, biographical sketches, advance critical notice, etc. The film elicits much
the same response today, on the rare occasions it can be seen, as it did at the 1970 pre-
release showing at the USA film festival: either rabid enthusiasm or abject horror. Its
controversial ‘X’ rating at the time of release contributed both to its early obscurity and
the future paucity of original publicity material. This presskit is very scarce.          $225.

19. [Baskin, Leonard]: [Sadik, Marvin (curator)]: LEONARD BASKIN. [Brunswick, ME]:
Bowdoin College Museum of Art, 1962. Large octavo. Stiff pictorial wrappers. Plates. Very
good or better.
First edition. Introduction by Rico Lebrun. Essays by Julius Heald, Ray Nash, et al. Catalogue
designed by Leonard Baskin, and with an original woodcut, printed on tissue, bound in
front.                                                                                    $40.

CIES OF THE COLOR WOOD-CUT. Santa Fe, NM: Velarde Press, 1929. [12]pp. Small
octavo. Decorated boards, printed paper label. Woodcut frontis and two woodcut plates.
Minute nick at toe of razor-thin backstrip, bookplate, otherwise an unusually fine copy of
this fragile book. Folding cloth case.
First edition. One of one hundred copies, printed by hand by Baumann, with the woodcuts
printed from the blocks. This copy is not numbered, but is inscribed by the author/artist,
dated 1960. A treatise on woodcut technique by one of the masters of the medium. Baumann
settled in New Mexico in the summer of 1918, and as a painter, printmaker and, later, maker
of marionettes, he was a central figure in the New Mexico artists’ community. He also
served as area coordinator of the WPA Public Arts Project . “Although he became widely
recognized for the multicolored woodblock prints he did on his press in Santa Fe, he never
lost interest in the book as a forum for his work and produced two notable titles in the
period between the two world wars. Less well known than his masterful prints, Baumann’s
book work makes use of his woodblock illustrations ... One of the century’s truly great
artists and craftsmen, Baumann pursued various artistic interests in Santa Fe until his
death in 1971 at the age of ninety” - Lasting Impressions, The Private Presses of New Mexico
(online exhibition). While not as ambitious as Frijoles Canyon Pictographs (Rydal Press,
1939), and featuring monochrome woodcuts rather than color, this is nonetheless one of
the rarities of Southwestern fine printing.                                          $1850.

BY.... Los Angeles: William & Victoria Dailey 1980. Small quarto. Decorated boards, printed
paper label. Woodcut decorated endsheets. Illustrated throughout with woodcuts, including
several full-page and one four-panel folding plate. Bookplate on front pastedown, otherwise
fine in dust jacket.
Second edition. One of 250 numbered copies, printed by Patrick Reagh, with the pictographs
printed from Baumann’s original woodblocks, and with a prefatory note about Baumann
and the book by Victoria Dailey The original edition was one of the major achievements
of the Rydal Press, featuring Baumann’s woodcuts printed in a variety of earth-tones. Alfred
V. Kidder’s original Foreword is reprinted in this edition, and the dust jacket features two
woodblocks appearing here for the first time.                                         $300.

22. [Beardsley, Aubrey]: Jerrold, Walter [ed]: BON=MOTS OF CHARLES LAMB AND
Dent and Co., 1893. 12mo. Cream cloth, stamped in gilt and plum, with pictorial vignette
in corner of upper board, t.e.g. Portrait. Decorated title and illustrations. Binding soiled
and a bit edgeworn and bubbled, endsheets tanned, bookplate on front pastedown (see
below), and that of Baron Leverhulme on rear free endsheet, front inner hinge cracked, small
chip from corner of free endsheet, with horizontal strip of glassine from previous affixing
of letter (see below) on free endsheet; just a good, sound copy.
First edition, ordinary issue, of the second title in the celebrated “Bon-Mots” series, marking
some of Beardsley’s earliest work as a book illustrator. This is a good association copy,
inscribed on the verso of the free endsheet: “Mary Jerrold with love from her affectionate
nephew the Editor.” Formerly affixed to the front endsheet, and now laid in, is a 3 1/4 page
a.l.s., on four panels of a folded octavo lettersheet, Hampton-on-Thames, 3 April 1913,
from Walter Jerrold to author/collector A.M. Broadley, detailing recent travels, thanking
him for some books, and forwarding books to him: “I am sending with this the three Bon
Mot volumes - I am sorry that I have not unwritten-in copies but these have the bibliophilic
interest of being of the first issue (they ran into several editions). I think I am right in saying
the Smith-Sheridan volume was the first book published with A.B.’s illustrations ....” Broadley’s
bookplate appears on the front pastedown. The letter bears some glassine residue from
its earlier attachment to the free endsheet, and one panel is tanned due to proximity to
the highly acidic endsheets of the book, but otherwise is in good order.
LASNER 19.                                                                                    $400.

23. Beasley, Gertrude: MY FIRST THIRTY YEARS:- [Paris: Contact Editions / Three Mountains
Press, 1925]. Printed wrappers. Spine defective and backed with binder’s tape, wrappers
spotted and soiled, a few marginal smudges, but internally very good, and suitable for binding
to one’s own taste.
First edition of the author’s first and only book (barring the printed form of her graduate
thesis), an autobiographical account of a young lady’s early years in West Texas, tinged
with a viciousness and strength which makes it perhaps unique among such works. Apart
from a pirated serial publication shortly after its original appearance, unpublished in America
until 1989. This copy does not have the Contact Editions sticker on the verso of the title-
leaf obscuring the imprint of the London distributor, William Jackson on Chancery Lane
which appears in the majority of copies that were distributed at the time of publication.
Assertions about the book’s rarity overlook the appearance of a modest remainder of pristine
copies in the 1980s that enabled supply to exceed demand for several years.               $500.

24. Bell, C.A.: GRAMMAR OF COLLOQUIAL TIBETAN. Calcutta: The Bengal Secretariat
Book Depot, 1919. 224pp. plus folding table, and large colored folding map inserted in pocket
in rear. Pictorial slate green cloth. Minor rubbing at tips and very slight hand soiling to
cloth, but a very good copy.
Second edition, revised and expanded, over the text first published in 1905. A third edition
appeared in 1939. During his long career in the East as an administrator for the British
government, Sir Charles Bell (1870-1945) did much to “make Tibet intelligible to the world
and to vindicate the right of Tibet to independence ... [This work and his Dictionary have]
continued to hold the field as the best practical guide to the spoken language” - DNB. $250.

25. Benchley, Nathaniel: THREE TYPED LETTERS, SIGNED. New York. 24 Feb., 1965,
and 4 & 16 April 1966. Each a quarter page, on quarto sheet of personal letterhead. Folds
from mailing, otherwise about fine.
To “Mr. Seward,” thanking him for his comments about his books (“It is letters like yours
that bring cheer into dark corners”), and following up on Seward’s positive review of his
latest: “... it is something we should have graven in marble.” Each signed in full. $225.

26. [Benedict, the Moor, Saint]: Carletti, Joseph: LE NÈGRE, FILS DE L’ESCLAVE,
.... Lyon: Imp. Rusand, Halles de la Grenette, 1835. vi,209 12mo. Contemporary calf, spine
gilt extra. Frontis portrait. Bookplate, spine a bit rubbed, otherwise a very good copy, in
oversized half morocco clamshell case with insert.
First Lyon printing, published in the same year as a printing from Paris. The translation
from Carletti’s Italian is credited to Jacques Allibert, Primate of Lyon. Saint Benedict (“The
Moor” 1526-1589) was the son of Ethiopian slaves taken to a small town near Messina,
Sicily. He was granted freedom shortly after birth out of respect to his parents’ loyal service.
He continued to work beside his parents, and contributed from his meager wages to the
needy and sick. At the age of 21, he was publicly insulted on account of his skin color,
and his patience and dignity under the circumstances brought him to the attention of a
group of Franciscan hermits near Monte Pellegrino, and he joined the community, eventually
become its leader. Since his canonization, devotion to Saint Benedict has grown throughout
Latin America, and in North America, he is sometimes regarded as the Patron Saint of
African Americans. OCLC/Worldcat locates two copies of this Lyon printing (both in Lyon).
An edition in English was published in Philadelphia in 1875.
OCLC:421807630 & 494223306.                                                               $650.

27. Benham, Charles: THE FOURTH NAPOLEON A ROMANCE. Chicago & New York:
Herbert S. Stone & Co., 1897. Grey-green cloth, stamped in blue with tricolor decoration,
t.e.g., others untrimmed. Bookplate leavings on front pastedown, otherwise a very good
or better copy.
First edition of this tale of the near future, tracing the rise of a British barrister to the position
of Napoleon IV.
KRAMER 136. BLEILER, p.20. WRIGHT III:480.                                                       $75.

28. Benson, Arthur C.: BABYLONICA. Eton: George New, 1895. Small quarto. Printed green
wrappers. Frontis. Upper wrapper shows shallow chipping at edges and spine, with closed
tear along spine fold, otherwise a good copy, internally quite fine, in worn half morocco
First edition. One of seventy-five copies printed. One of several pamphlets Benson published
while on faculty at Eton.                                                             $175.

29. [Bentley, Richard]: PATRIOTISM, A MOCK-HEROIC IN FIVE CANTOS. London: Printed
for M. Hinxman, 1763. 66pp. Quarto. Extracted. Outer fore-corners a bit curled, scattered
foxing, but a good copy.
First edition of this extended poem by Walpole’s one-time protégé, who is more widely
remembered for his eccentric designs made to accompany Gray’s Poems. The second
edition, published the following year, added a sixth canto.
ESTC T9718. NCBEL II:824.                                                      $175.

30. [Berman, Wallace]: Hirschman, Jack [trans]: IGITUR BY STÉPHANE MALLARMÉ
RENDERED INTO ENGLISH .... Los Angeles: Press of the Pegacycle Lady, 1974. Large
octavo. Printed boards, pictorial onlay by Wallace Berman. As common with this boardbound
issue, the sewing is a bit slack, bookplate on front pastedown, otherwise about fine.

First edition of this translation, deluxe issue. One of one hundred numbered copies specially
bound, and signed by Hirschman, from a total edition of 500.                          $175.

31. [Bieler Press]: Gallo, Philip: A PRINTER’S DOZEN. Los Angeles: The Bieler Press,
1992. Narrow quarto. Printed wrappers. Five-color engraved title vignette by Gaylord Schanilec.
A fine copy.
First edition of this suite of twelve poems on various aspects of the art of printing by hand,
dedicated to Harry Duncan. One of 200 numbered copies, designed by Gerald Lange and
printed by Lange and Robin Price in handset Garamond Bold and Trump Medieval Bold
types in two colors on mouldmade Invicta paper, signed by the author and illustrator. At
the publisher’s current price:                                                           $275.
32. [Bieler Press]: Atherton, Jeffrey: BLACK-LETTER AN INTERPRETATION OF EVENTS
CA: The Bieler Press, 2000. Small folio. Three piece cloth and Japanese silk over boards,
with collotype inset in window on upper board. Fine in folding cloth clamshell box (with
small sticker shadow at one corner), with internal inset.
First edition, deluxe issue. One of twenty-six lettered copies, specially cased with an original
glass plate utilized to print the collotype of Atherton’s photograph, “mirror and mould,” mounted
within. The entire edition consists of 146 copies designed by Gerald Lange, printed on
handmade Fabriano Umbria Bianco, bound by Daniel E. Kelm at the Wide Awake Garage.
Signed in pencil by Atherton and Lange on the colophon. The text is a “synchronized gathering
of historical and technical notes, and fictional journal entries, scene descriptions, letters,
dialogues, dreams, and songs ... fashioned as a bibliographic ghost representing a compilation
of the flotsam surrounding the ‘Gutenberg Controversy’ that raged in the late 19th century
and into the early years of the 20th” - Publisher’s Note. The publisher’s slip about careful
treatment of the glass plate is laid in, as issued.                                        $1750.

33. Bierce, Ambrose: THE SHADOW ON THE DIAL AND OTHER ESSAYS. San Francisco:
A.M. Robertson, 1909. Gilt pictorial cloth. Large octavo. First edition. Usual slight darkening
at endsheet gutters and pastedowns, but a very good copy in the now somewhat uncommon
printed dust jacket, the latter exhibiting some sunning and minor chips, and having been
backed with plain white paper at some point in the recent past.
BAL 1127.                                                                                 $250.

GEORGE STERLING. San Francisco: Book Club of California, 1922. Large octavo. Cloth
and marbled boards, gilt spine label. Portrait. Bookplate on front pastedown, otherwise
a very good or better copy.
First edition. Edited by Bertha C. Pope. One of 415 numbered copies, printed by John Henry
Nash.                                                                                $125.

35. [Bierce, Ambrose]: Hall, Carroll: BIERCE AND THE POE HOAX. San Francisco: Book
Club of California, 1934. Quarto. Cloth, paper label. Photographs and facsimiles. Spine
label a bit curled at bottom edge, large bookplate of James S. Copley on front pastedown,
else near fine.
First edition. Introduction by Carey McWilliams. One of two hundred and fifty numbered
copies, printed at the Windsor Press. Bierce and two friends contrived the publication of
a poem falsely attributed to Poe in the Examiner, and sat back to await the explosion
of interest and controversy. Alas, there was none.
BAL I:227.                                                                         $200.

36. Billany, Dan: THE TRAP. London: Faber and Faber, [1950]. Cloth. First edition, published
unrevised in the wake of the author’s disappearance during the war. Ink ownership inscription
on free endsheet, spine darkened through jacket, otherwise a very good copy in lightly
edgeworn dust jacket with tanning to spine panel.                                       $45.

37. [Blake, William]: Keynes, Geoffrey: A BIBLIOGRAPHY OF WILLIAM BLAKE. New York:
The Grolier Club, 1921. xvi,516pp. plus inserted plates. Large, thick quarto. Publisher’s
quarter pebbled morocco and cloth, t.e.g., others untrimmed. Some rubbing to spine, joints
and extremities, bookplate, a few thin scratches and flecks to boards, otherwise a very
good copy.
First edition. One of 250 copies, printed at the Chiswick Press. For its times, a monument
to both bibliography and to book production. Heavily illustrated, including four plates in
color, and with significant primary material published here for the first time.      $1500.
38. Blake, William: AMERICA A PROPHECY. [Paris: The Trianon Press for the William
Blake Trust, London, 1963]. Small folio. Half morocco and marbled boards. Eighteen leaves
of color facsimiles, plus commentary by Geoffrey Keynes. Errata slip. Bookplate, four small,
faint tape shadows on pastedowns, otherwise fine in very good slipcase with some imperfections
to the marbled paper on the shelf panels.
One of 480 numbered ordinary copies, from a total edition of 526 copies on Arches. The
Mellon copy was utilized for this faithful facsimile.                            $800.

39. [Bookplates]: Westen, Walter von Zur: EXLIBRIS (BUCHEIGNERZEICHEN). Bielefeld
& Leipzig: Verlag von Velhagen & Klasing, 1901. 103,[1]pp. plus plates. Small quarto.
Elaborately gilt decorated flexible cloth boards, t.e.g. Heavily illustrated, including color
plates. Near fine.
First edition. An historical survey of the use and design of bookplates, published as a volume
in the “Sammlung Illustrierter Monographien” series, edited by Hans von Zobeltitz.       $150.

40. Borges, Jorge Luis: FICCIONES. [New York: Limited Editions Club, 1984]. Thick oblong
octavo. Full black aniline calf, stamped in blind. Spine a bit sunned, large bookplate of
James S. Copley on front pastedown, otherwise near fine in faintly shelf-rubbed slipcase.
First edition in this format, illustrated with twenty-two original hors texte silkscreens printed
by Jo Watanabe after designs by Sol Lewitt, who also undertook the design. Prefatory essay
by Alexander Coleman. One of fifteen hundred copies, signed by Lewitt.                    $550.
                                    Inscribed to Bryher
41. Bowen, Elizabeth: SEVEN WINTERS. Dublin: The Cuala Press, 1942. Linen-backed
boards, paper label. Title pressmark (A.E.’s “Sword of Light”) in red. Fine in heavily chipped
First edition. Copy #5 of 450 numbered copies. Winifred “Bryher” Ellermann’s copy, with
her bookplate. Inscribed: “Bryher from Elizabeth 1942.” Bowen was an occasional contributor
to Life and Letters To-Day during the period of Bryher’s ownership, and in her biography
of H.D., Herself Defined, Barbara Guest discusses the attraction Bowen held for Bryher,
and as well for H.D., the latter couched in terms of “crush” and “smitten.”
MILLER 71.                                                                           $650.

Roy A. Squires, 1974. Large octavo. Sewn printed stiff wrappers. Bookplate, else fine, without
the printed envelope, but in custom-made gilt cloth folder.
First edition, ordinary issue. One of four hundred numbered copies, from a total edition
of 485 copies printed in Joanna types on Nideggen paper. This copy bears Bradbury’s pleasant
and characteristic signed inscription.                                                 $100.

43. Bradbury, Ray: FAHRENHEIT 451. New York: Limited Editions Club, 1982. Narrow quarto.
Printed aluminum over boards. Bookplate of James S. Copley (Library), a few faint crimps
in aluminum, likely incurred in binding, otherwise about fine in very good slipcase with thumb-
tip size surface snag in paper on one panel and a few other much more minor rubs. Newsletter
laid in.
One of 2000 numbered copies, signed by the author, who contributes a new introduction
to this edition, and by the illustrator, Joseph Mugnaini, whose contribution includes an
original color lithograph.                                                         $500.

44. Bradbury, Ray, and Hans Burkhardt [illustrator]: THE LAST GOOD KISS A POEM
.... Northridge: Santa Susana Press, 1984. Small folio (33.5 x 25.5 cm). Loose sheets,
laid into plain wrapper. Three plates. Fine in cloth portfolio with printed label (bookplate
inside front panel of portfolio).
First edition. Illustrated with three original color linoleum block prints by Hans Burkhardt.
One of sixty numbered copies, designed by Howard Williams and printed in Century Type
on Arches by Patrick Reagh, signed by the author and the artist. Additionally, each of
the three blockprints is numbered and signed in the margin by Burkhardt.               $850.

45. Breton, André: MEXIQUE PREFACE D’ANDRÉ BRETON [wrapper title]. Paris: Renou
& Colle, 1939. [16]pp. Small quarto. Stiff printed wrappers, with pictorial onlay (after a photo
by Manuel Alvarez Bravo). Four tipped-in illustrations from photographs. Faint adhesion
mark from bookplate on verso of front wrapper, otherwise near fine. Full morocco clamshell
First edition. From a total edition of 620 copies, this is one of 570 copies on Vélin du Marais.
The catalogue for a substantial (144+ items) and representative exhibition of Mexican art,
including a significant component of Pre-Columbian works, many of them from the collection
of Charles Ratton, and from Breton’s own collection. Diego Rivera loaned some 19th century
works, and representation of contemporary artists includes work by Frieda Kahlo and
photographs by Manuel Alvarez Bravo, both of whom are the subject of special sections
in the text, the latter credited to Breton. A relatively early recognition of Bravo and his
work.                                                                                    $1000.

46. [Bronte, Charlotte]: “Bell, Currer” [pseud]: THE PROFESSOR, A TALE. London: Smith,
Elder and Co., 1857. Two volumes bound in one. viii,294,[2];[4],258,[2],8,16pp. Thick octavo.
Publisher’s blue-green cloth, stamped in blind, lettered in gilt. Rebacked, with the original
backstrip laid down, early ink name on free endsheet, later ink name in corner of rear endsheet
(Bronte critic Henry H. Bonnell), and long ink quotation, from Gaskell’s Life, on the first
half-title, otherwise a very good copy, the original cloth bright and fresh.
First edition, remainder issue, bound up in this fashion as a consequence of slow sales
of the original two volume issue, with an inserted catalogue dated December 1858. Although
substantially completed by 1846, and thus Charlotte Bronte’s first novel in order of composition,
The Professor was not published until two years after her death.
SMITH 7. PARRISH p.96.                                                                    $950.

47. Brown, Abbie Farwell: THE BOOK OF SAINTS AND FRIENDLY BEASTS. Boston &
New York: Houghton Mifflin, 1900. Pictorial tan cloth, highlighted in gilt, decorated in brown.
Frontis and illustrations by Fanny Y. Cory. A quite fine copy in a very good example of
the very scarce pictorial dust jacket (small chips and tears at corners, chip from middle
of spine panel, otherwise bright and fresh).
First edition. A collection of tales for younger readers about the interrelations between Saints
and the animal kingdom, notable for the presence of the pictorial dust jacket.            $125.

48. Brown, Anna Robeson: TRUTH AND A WOMAN. Chicago: Herbert S. Stone & Co.,
1903. Highly pictorial pale green cloth, decorated in gilt, black and dark green, t.e.g., others
untrimmed. A fine, bright copy.
First edition of the author’s first book, “ Mrs Charles A. Burr, known as the biographer
of Weir Mitchell and Alice James” - Kramer.
KRAMER 300. SMITH B-1269.                                                                $85.

49. [Browning, Robert, and Elizabeth Barrett]: Alciphron: [Title in Greek, then:] ALCIPHRONIS
RHETORIS EPISTOLAE GRAECE ET LATINE .... Trajecti ad Rhenum [i.e. Utrecht]: Apud
B. Wild et J. Altheer, 1791. [2],180pp. Octavo. Old calf and marbled boards. Extremities
worn and upper hinge cracked (still secured by cords), internally very good. Cloth clamshell
An attractive, large-margined printing of Bergleri’s edition of Alciphron, from the library of
Robert and Elizabeth Barrett Browning, inscribed by Robert in ink in the upper fore-corner
of the title leaf: “Roberti & Elisabethae Barratt Browning.” While most of the scattered
annotations are in the form of pencil underscores or marginal highlights, three pages bear
annotations of one or more words in RB’s hand, and several bear what are described by
an earlier bookseller’s description as emphatic endorsements by EB, of the form ‘(E.B.B.)’
in a larger hand, a conclusion we’re not inclined to affirm.                             sold

[Chicago]: Playboy Press, [1965]. Large octavo. Cloth. Photographs. Foreword by Kenneth
Tynan. First edition. A trace dusty at edges, otherwise near fine in very good dust jacket
with light rubbing at tips.                                                         $125.
                                     Presentation Copy
Company, [ca. 1918]. Light red cloth, lettered in black. Frontis and photographs. Pictorial
endsheets. Very minor hand soiling to cloth, otherwise a near fine copy.
Later impression of the first edition, without the Doran slug on the verso of the title. Inscribed
by the author: “To Scofield Thayer - who has the grace to give America its only literary
magazine. Louise Bryant July 1920.” Laid in is an autograph postcard from Bryant to Thayer
(a Russian postcard, of course, but mailed from the U.S.), reading: “July 8 - I’ll be at 72
W.S. until the latter part of next week. Hope to see you - LB.” An attractive association
copy of Bryant’s account of her experiences as witness, with John Reed, of the October
Revolution. In late 1919, as co-owner, Thayer assumed the editorship of The Dial, and
it is possible their meeting was arranged to discuss possible contributions. The date is
poignant, as it is shortly prior to Bryant’s reunion with Reed in Moscow in mid-September,
and his death in October. Books inscribed by Bryant are uncommon. One of Thayer’s
bookplates is laid in.                                                                      $850.

CA. 15 September 1912. One page, in ink, on recto of large quarto sheet of parchment.
Slight wrinkle at one corner, otherwise about fine. Folding cloth slipcase.
A fine display manuscript by one of the foremost American horticulturists of his time, written
from the location where, in 1875, he established his nursery and undertook the experiments
in cross-breeding that solidified his public fame. The quotation (sixteen lines plus title and
closing, ca. 100 words) opens: “Repetition is the best means of impressing any one point
on human understanding; it is also the means employed to train animals to do as we wish
and by just the same process we impress plant life ....”                                 $750.

53. Burgess, Anthony: TYPED NOTE, SIGNED, WITH SONNET. Piazza Padella, Bracciano
(Roma), Italy. 24 July 1974. One page, on oblong quarto sheet of response letterhead. Fine.
Utilizing a format characteristic of his responses at the time, on a “Message / Reply” sheet
imprinted with his name, Burgess responds to a letter from a fan, concluding “Here is a
sonnet. [/] Advice to would-be writers? Simple. Don’t. [/] Any profession’s preferable to
this ....” Signed, in ink, “Regards - Anthony Burgess.”                                $500.

54. Burgess, Gillette, et al: THE LARK [Whole Numbers 1 through 24]. San Francisco:
C.A. Murdock & Co. [1st number only]; then William Doxey, May 1895 - April 1897. Twenty-
four issues (of 25 published, lacking the Epilark). Wire-stitched and sewn pictorial self
wrappers, numbers 9 and beyond printed on one side of leaf only. Heavily illustrated. Usual
occasional tanning, some chipping along fore and bottom edges of first number, a few other
snags and creases at large overlap edges, but generally a very good set. Half morocco
slipcase and cloth chemise.
Edited by Gillette Burgess and Bruce Porter. A complete run, less the Epilark, including
the separate plates in the first two numbers and the separate leaflet supplement, “Vals
de Monterey Viejo,” to #22. The first number is in the scarce first printing, without Doxey’s
imprint. The chief literary organ of the Bayside Bohemians of the last decade of the 19th
century. Gelette Burgess was responsible for much of the text, along with illustrations and
cover designs by Florence Lundborg, Gelett Burgess, Ernest Peixotto, Hervert Van Vlack,
Newton Tharp, Reginald Rix, Willis Polk and Bruce Porter, and other contributions by Maynard
Dixon, Yone Noguchi, Porter Garnett, et al. A number of Stevenson relics appear in the
early issues, and the first number includes the first appearance of Burgess’ whimsical ditty,
“I Never Saw a Purple Cow...,” published later as a separate. While the clothbound issue
in two volumes (which includes the second printing of the first number) is readily available,
substantial runs of the original separate issues, with the first printing of the first number,
are now elusive.                                                                        $2500.

55. Burroughs, John: TWO AUTOGRAPH LETTERS, SIGNED. West Park, NY. 28 March,
[ny], and 3 July 1914. Four pages, in ink, on panels of two folded quarto lettersheets. Old
creases from mailing, small chip from one blank corner, otherwise very good. With
accompaniments (see below), in folding cloth case.
Two warm and friendly letters, one to “Mr. Foreman,” the other to “Mr. & Mrs. Foreman.”
In the March letter, Burroughs reports “...we are just back from Georgia whither we went
early in Feb. I had a pleasant time there & did some work - corrected the proof of my new
volume - ‘The Breath of Life’ & wrote one new bird paper called ‘Old Friends in New Places.’
The printed slips you enclose are delightful. Peter does preach convincingly. It makes my
old longing for a dog come back. I have been dogless 15 years ... Your century old Wilson
does not look it. He is on the ‘Summit of the Years’ indeed. I am approaching my 78 birthday
on April 3rd without flinching ... & feel no chastisement of my joy in life ....” In the letter
of July, Burroughs notes “....The time I spent at your house was the flower of my visit to
Rochester. That outlook is something not to be forgotten & the inlook had it own charm
& your ... hospitality & sympathy warmed my heart ....” He further gives an account of
the delays he experienced while returning home by train. Both letters signed in full.
Accompanied by a casual snapshot of Burroughs and two men, as well as a formal cabinet
portrait (neither signed), and an extracted page from a visitors book, signed by Burroughs
in June of 1914, no doubt associated with the visit recorded in the letter.             $750.

56. Burroughs, John: AUTOGRAPH LETTER, SIGNED. Washington, DC. [nd]. Three pages,
in ink, on three panels of folded quarto lettersheet. Old creases from mailing, otherwise
about fine. Folding cloth case.
A warm and accommodating letter to a “Mr. Gilbert,” evidently at one time Burroughs’s
teacher: “Your letter of the 16th inst. found me here in W. with my wife & little boy on
a little holiday tour to old & familiar scenes. I thought of you many times since we met
or parted so long ago, probably many more times than you have me. The pupil remembers
his teacher, as a rule, much longer than the teacher remembers the pupil ...It is a pleasure
to me to know that I have not entirely faded from your memory & that you have been a
reader of my poor books ....” After discussions of potential visits, and exchanges of
photographs, Burroughs signs in full, followed by a substantive postscript: “I came near
forgetting your request about the extracts from books &c. Certainly, you may use any parts
of my writings that suit your purpose. Some part of the ‘Is it going to Rain’ piece may suit
you, or ‘With the Birds,’ but when I get back home I will look over my books to see if I
can name the page or pages that seem best for your purpose. J.B.”                      $400.

57. Burroughs, John: MANUSCRIPT FAIR COPY, SIGNED, OF “WAITING.” [Np]. [nd].
One page, on octavo sheet, in ink. 24 lines, plus title and signature. Fine, and enclosed
in a half morocco slipcase and chemise with two other items (see below).
An excellent example of Burroughs’s best known poem, accompanied by a two page t.l.s.,
from Burroughs’s aide and companion, Dr. Clara Barrus, West Park, NY, 10 January 1919,
a long, chatty letter to a friend about personal events, poetry, and Burroughs’s activities,
and a copy of the first edition of Burroughs’s The Light of Day, Boston, 1900, wherein
the poem is printed as the envoi preceding the Preface. From the collections, with the
bookplates, of Estelle Doheny and later, James S. Copley.
BAL 2166.                                                                            $500.

58. Butler, Samuel: A FIRST YEAR IN CANTERBURY SETTLEMENT. London: Longman,
Green [et al], 1863. x,162,[2],32pp. plus folding map. Octavo. Original plum cloth, decorated
in blind, spine lettered in gilt. Collector’s bookplate on pastedown, crown and toe of spine
frayed, with shallow patch of surface loss at crown, signs of early tightening between a
couple of gatherings, otherwise, for this book, a near very good copy.
First edition of the author’s first book, compiled into a narrative and published by his father
from Butler’s letters home from New Zealand and his early press publications. The narrative
covers the earliest years of his New Zealand venture, beginning with his voyage from Gravesend
in 1859.
HOPPÉ 2.                                                                                 $500.

EDWARD VON HARTMANN .... London: David Bogue, 1880. viii,288,32pp. Errata slip. Brown
cloth, ruled in black, lettered in gilt. Thumb-tip size spot on lower board, inner hinges cracking
but sound, two bookplates, but a good copy.
First edition. With the bookplate of Sir William Crookes, as well as that of a later collector.
The immediate successor to Evolution, Old and New, in which Butler elaborates further
on his disagreements with Darwin. While the total number of copies seems not to have
been recorded, Butler noted in his 1899 “Analysis of the Sales of My Books” that only 272
copies had been sold, and a substantial number of sets of sheets were destroyed in a
fire at Ballantyne’s.
HOPPÉ 12.                                                                                $275.

London: Trübner & Co., 1884. viii,325,[3]pp. Original brown cloth, decorated in black, and
lettered in gilt and black. Two collectors’ bookplates, inner hinges cracking (but sound),
tiny finger nail tip size bump and snag to middle of spine panel, cloth lightly handsoiled,
but a good copy.
First edition, first issue, of this selection (with revisions) by Butler from several of his earlier
works. A second issue, comprised of sheets from this printing and cancel prelims, was
distributed by Longmans in 1890. Hoppé notes that up to 1890 only 120 copies had been
sold and denotes this first issue as “rare.”
HOPPÉ 15.                                                                                    $225.

THE SANCTUARY OF CREA. London & New York: Trübner &Co., 1888. xiv,iv,277,[5]pp.
Brown cloth, stamped in gilt and black. Frontis and plates. Inner hinges cracking slightly
(but quite sound), bookplate, modest darkening to cloth, otherwise a very good copy.
First edition, first issue, variant state, with coated cream-colored endsheets rather than
slate, and with the important insertion of 4pp. of “additions and corrections” which Butler
had separately printed. Hoppé gives the 4pp. leaflet a separate entry. It was distributed
on request to buyers of the book, but then was inserted in later copies, as evidenced by
its presence in the 1890 Longmans second issue of the first edition sheets. In his 1899
“Analysis of the Sales of My Books,” Butler noted the sale of only 217 copies of this title,
presumably including those from the Longman’s second issue of 1890. Yet a third issue,
in 1909 by Fifield, again consisting of first edition sheets, with cancels, accounted for 191
copies. By implication the copies of the proper first issue, which now must be seen as
including two states, must have been rather few.
HOPPÉ 21 & 23.                                                                          $275.

62. Butler, Samuel: [Contributions to UNIVERSAL REVIEW]. [London: Swan Sonnenschein
& Co., 1888 - 1890]. Quarto. Relevant sequences of leaves extracted and bound together
in early 20th century gilt lettered cloth. Plates and illustrations. Light rubbing at spine ends,
very good.
The relevant pages printing contributions by Butler to H. Quilter’s periodical, similar in some
ways, it would appear, to the copy in the Wilson collection at Chapin Library, which was
ex Streatfeild - Bartholomew.
HOPPÉ II:33-40.                                                                             $65.

HER HANDS. London: Longmans, Green and Co., 1897. xv,[1],275,[1],32pp. Large octavo.
Plum cloth, stamped in gilt. Portrait, maps and plates. Crown of spine frayed, extremities
sunned, endsheets tanned (as usual), collector’s bookplate on pastedown, a bit of foxing
offset from portrait to title-page, but a sound copy of a book seldom met with in truly fine
First edition, first issue, second state of p. [276], with the leaf a cancel correctly identifying
Murray as the publisher of The Life and Letters of Dr, Samuel Butler. Inscribed by the
author on the title-page: “E.T. Lloyd with the author’s very kind regards June 24, 1898.”
A second issue of the sheets from the first printing appear in 1908, with a cancel Fifield
title leaf and binding.
HOPPÉ 36.                                                                                  $400.

64. Carson, Rachel (Biologist and Environmentalist 1907 - 1964): AUTOGRAPH LETTER,
SIGNED. Silver Spring, MD. 27 September 1963. Four pages, in ink, on rectos and versos
of two octavo sheets of personal letterhead. Folds for mailing, otherwise very good. Cloth
folding case.
Carson writes to a close friend about arrangements relating to her receipt of a prestigious
award, its attendant responsibilities and more personal matters: “I am aware that the Cullum
Geographical Medal is indeed an honor, and I am surprised, happy and quite overwhelmed
by the news that it has come to me. I want to explain to you the situation about my talk.
When you said ‘We hope you will say something’ I thought you meant a relatively brief
response to the presentation ... However, when someone from the Society called a few
days ago, I learned that I was down for the principal talk of the evening ....” She explains
her reasons for declining to do more than speak briefly, outlining other commitments, and
in confidence, reporting that her health “... now is not at all good ... so to add a major
talk within these few days would be most unwise, and also contrary to doctor’s orders!”
She reports further that “If you have seen this week’s Sat. Eve Post you will know that
I am not a ‘vindicated prophet’ in the eyes of everyone. I think you may remember Mr.
Diamond, for I think he approached you for some information on the Long Island case. In
the very early days of my planning for Silent Spring he was engaged by Houghton Mifflin
to do some of the ‘leg work’ to speed things along. He performed most unsatisfactorily
and in a few weeks was fired. He is now having his small revenge in the Post’s ‘Speaking
Out’ department.” Among her future obligations is a symposium in San Francisco, where
“the topic is Man Against Himself. My subject is the pollution of the environment, and
since I am the first speaker I can get in some good general thoughts, as well as specific
points ....” She concludes: “My warm good wishes to you both, As ever, Rachel.” At the
time, Carson was waging a battle with breast cancer, and in January of the following year,
her situation began a precipitous decline. She died of a heart attack in April of 1964. The
Cullum Geographical Medal is one of the oldest and most prestigious awards made by the
American Geographical Society. The criticism she refers to was an editorial statement by
Edwin Diamond, “The Myth of the ‘Pesticide Menace’,” which bore the subtitle: “Thanks
to an emotional, alarmist book called ‘Silent Spring,’ Americans mistakenly believe their
world is being poisoned” (Saturday Evening Post, Sept. 28, 1963).                 $1750.

65. Carter, John, Percy H. Muir, et al: PRINTING AND THE MIND OF MAN. A DESCRIPTIVE
CIVILIZATION DURING FIVE CENTURIES. Münich: Karl Pressler, 1983. Quarto. Cloth.
Facsimiles. Fine in very good dust jacket (a trifle frayed at the spine crown), without slipcase.
Publisher’s review plate affixed to front free endsheet.
Second edition, somewhat revised and enlarged, with a new introduction by Muir, a revised
index, and additional bibliographies. The revised form of the exhibition catalogue, and one
of the most justifiable of the lists pursued by collectors.                           $175.

66. Cassady, Neal: THE FIRST THIRD & OTHER WRITINGS. [San Francisco]: City Lights
Books, [1971]. Pictorial wrappers. First edition, first printing. One of 5000 copies. Very
minor tanning to spine and margins of lower wrapper, otherwise about fine.
COOK 93a.                                                                            $125.

67. Cather, Willa: THE SONG OF THE LARK. Boston & New York: Houghton Mifflin, 1915.
Medium blue cloth, lettered in gilt. Bookplate on front pastedown, traces of rubbing at tips
and edges, otherwise a bright, tight, very good copy. Half morocco slipcase.
First edition, first printing, with the boxed advert for three titles by Cather on the verso
of the title-page, and ‘moment’ for ‘moments’ on page 8, third line from the bottom.
CRANE A8.a.i.                                                                          $600.

68. Cather, Willa: A LOST LADY. New York: Knopf, 1923. Pale green gilt cloth. Bookplate
on pastedown, otherwise a very good or better copy in pictorial dust jacket — a bit too
short for the book, as usual — with old paper internal reinforcement along the top and bottom
edges. Half morocco slipcase and chemise (spine sunned).
First edition, first binding, trade issue, preferred state with the original settings in the final
gathering.                                                                                 $400.

69. Cather, Willa: SHADOWS ON THE ROCK. New York: Knopf, 1931. Large octavo. Marbled
boards, gilt spine label. Noted collector’s bookplate, else fine, in very good dust jacket
(a few closed tears mended with archival tape), and later cloth slipcase with gilt labels.
First edition, limited issue. One of 619 numbered copies printed on handmade paper and
specially bound, in addition to 199 copies on Japan vellum differently bound, all signed
by the author.                                                                     $600.
                                         Copy #1
                                      Specially Bound
70. Charbonneau, Louis: MAMBOU ET SON AMOUR. Paris: René Kieffer, [1925]. iv,221,[3]pp.
including map. Octavo. Full black Niger morocco, raised bands, elaborately decorated in
blind with an African shield motif, t.e.g., original decorated wrappers bound in, by Kieffer.
A fine copy.
First illustrated edition, with color “Décors négres” by Jean Vergély. Prefatory note by Raymond
Escholier. This is copy #1 of fifty copies specially printed on Japon Imperial, in addition
to one thousand copies on vélin. The first edition of this fictional depiction of life in the
Congo and environs appeared in 1924, and was picked up in the then current vogue for
explorations of African exoticism.
MONOD 2634. WORK, p. 238                                                                    $950.
                     With An Original Drawing and Color Proofs
Los Angeles: Zeitlin & Ver Brugge, 1973. Quarto. Stiff pictorial wrappers. Bookplate, otherwise
about fine in edgeworn pictorial slipcase with small sticker mark in corner of one panel.
First edition, deluxe issue. Prefatory note by Peter Morse. Illustrated with 32 color lithographs
drawn directly on the plates by Charlot. From an edition of one thousand copies, this is
one of only thirty-two copies including an original color drawing made in preparation for
the lithograph (in this case, #5 “Bedtime”), as well as the key, twelve progressive proofs
of the lithograph and an additional final impression. Also inserted in back is another example
of the lithograph “Hawaiian Swimmer,” signed in pencil by the artist in the margin. Charlot
has also signed the colophon, as has Lynton R. Kistler, who printed the lithographs. Published
to mark the 40th anniversary of the publication of Charlot’s first Picture Book. $2750.

                           Includes Coleridge’s “Monody ....”
by B. Flower, for the Editor ... , 1794. xxix,[3],329pp. Large octavo. Contemporary mottled
calf, neatly rebacked and recornered to style, with gilt label. Engraved extra title. Some
foxing and minor discolorations to endsheets, engraved title shows modest tanning, but
a very good, relatively tall copy.
First this edition, the text edited by Lancelot Sharpe, including a new Preface by him, and
significantly, the text of Coleridge’s “Monody on the Death of Chatterton” - his second
appearance in print, published by “the permission of an ingenious Friend.”
TINKER 671. WISE (COLERIDGE), pp.197-8. HANEY, p.35. ESTC T75380.                     $750.

73. [Clemens, Samuel L.]: SACRAMENTO DAILY UNION. Sacramento: James Anthony
& Co., Thursday, 6 June 1867. [4]pp. Vol. XXXIII. Whole Number 5052. Folio newspaper,
text in seven columns. Old folds to eighths (preserved in quarters). Modest use and one
tiny break at fold, otherwise very good. Folding cloth slipcase.
The front page features a 1 1/4 column review, under “New Publications,” of The Celebrated
Jumping Frog ..., in the context of which is reprinted the text of “Lucretia Smith’s Soldier.”
The review is generally laudatory (suggesting the author’s reputation may exceed those
of Artemus Ward and Orpheus C. Kerr), and somewhat proprietary — the same paper had
published Clemens’s “Letters from the Sandwich Isles” the previous year. The review credits
Roman & Bancroft as the California co-publishers with Webb in New York.                $125.

74. [Clemens, Samuel L.]: Twain, Mark: MARK TWAIN’S (BURLESQUE) AUTOBIOGRAPHY
AND FIRST ROMANCE. New York: Sheldon & Co., [1871]. Plum cloth, stamped in gilt
and blind. Very early ownership inscription on pastedown, and two early pencil inscriptions,
bookplate of the James S. Copley collection, some very minor rubbing at tips and a tiny
spot on upper board, otherwise a very good or better copy. Half morocco slipcase (small
label shadow on one side panel) and chemise.
First edition, clothbound issue, BAL’s state 1, without the advert on the copyright page.
The inscription is dated Saratoga Springs, March 10th, 1871. The book was announced
as “now ready” on the 1st.
BAL 3326.                                                                           $500.

75. [Clemens, Samuel L., et al]: Price, J., and C.S. Haley [ed]: THE BUYERS’ MANUAL
Francisco: Francis & Valentine, Steam Book and Job Printing Establishment, 1872.
v,[5],192,16pp. Octavo. Original plum-gray cloth, lettered in gilt. Illustrations and adverts,
including 4pp. insert printed in red and green. Light foxing to endsheets, a few faint spots
to cloth, otherwise an uncommonly nice copy of a book usually found rather ragged. Half
morocco slipcase and chemise.
First edition. In addition to its substantial business and technology-related components,
this collection includes prose and poetry by Bret Harte, Clemens, Joaquin Miller, Ambrose
Bierce (his first publication in book form), Prentice Mulford, O.W. Holmes and J.R. Lowell,
a few of the items, including Clemens’ “The Public to Mark Twain - A Reply” and a speech,
appearing here for the first time in book form. Harte’s “The Luck of Roaring Camp” and
Clemens’ “Jumping Frog of Calaveras,” though obviously reprints, are given lead billing.
“Town Crierisms,” pp.19-21, constitutes Bierce’s earliest publication in book form.
BAL 3348 & 1094.                                                                     $600.

76. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED. “Mid-Atlantic.” 30 October [c.
1873]. Four pages, on four panels of a folded quarto sheet of letterhead (“Cunard Steam
Ship Batavia”), in ink. Slight wear at folds, ink ghosting from verso, otherwise very good.
Addressed to “Our dear friend the doctor,” identified as Dr. John Brown of Edinburgh, the
author of the highly popular dog story, “Rab and his Friends,” who Clemens had met the
previous summer. He opens: “We have plowed a long way over the sea, & there’s twenty-
two hundred miles of restless water between us now ...and yet you are so present with
us, so close to us that a span & a whisper would bridge the distance.” He reports that
the earliest days of their voyage were stormy (“ wife, child, maid & Mrs & Miss Spaulding
were sea-sick 25 hours out of the 24 & I was sorry I ever started...”) but now the seas
are calm, “... & at night there is a broad luminous highway stretching over the sea to the
moon, over which the spirits of the sea are traveling up & down all through the secret night
& having a genuine good time ....” He reports that a stowed away dog was found: “...Now
his owner has to pay £10 or heave him overboard. Fortunately the doggie is a performing
doggie & the money will be paid. So after all it was just as well you didn’t entrust your
collie to us.” He concludes: “A poor little child died at midnight & was buried at dawn
this morning - sheeted & shotted & sunk in the middle of the lonely ocean in water three
thousand fathoms deep. Pity the poor mother. With all our love S.L. Clemens.”          $4250.
                              Rhapsodic Description of York
IN-LAW. York [UK]. 20 July [1873]. Six pages, in ink, on rectos and versos of three octavo
lettersheets. Folded for mailing, tiny marginal break at one fold, otherwise very good.

A fine, descriptive letter, addressed “Mother Dear -” (i.e. Olivia Lewis Langdon), written
during the course of his second extensive tour of the UK (May - October 1873). He writes,
in part: “... we have been 24 hours out of London, & they have been 24 hours of rest &
quiet. Nobody knows us here - we took good care of that. In Edinburgh we are to be introduced
to nobody, & shall stay in a retired, private hotel, & go on resting.” He comments about
York: “For the present we shall remain in this queer and walled town, with its crooked,
narrow lanes that tell us of their old day that knew no wheeled vehicles; its plaster-&-timber
dwellings with upper stories far overhanging the street ... the stately city walls, the castellated
gates, the ivy-grown, foliage-sheltered, most noble & picturesque ruin of St. Mary’s Abbey,
suggesting their date, say 500 years ago, in the heart of crusading times & the glory of
English chivalry & romance; the vast cathedral of York, with its worn carving & quaintly
pictured windows preaching of still remoter days; the outlandish names of streets & courts
& byways that stand as a record & a memorial, all these centuries, of Danish dominion
here in still earlier times; the hint here & there of King Arthur & his Knights & their bloody
fights with Saxon oppressors round about this old city more than 1300 years gone by; &
last of all, the melancholy old stone coffins & sculptured inscriptions, a venerable arch
& a hoary tower of stone that still remain & are kissed by the sun & caressed by the shadows
every day just as the sun & the shadows have kissed & caressed them every lagging day
since the Roman Emperor’s soldiers placed them here in the times when Jesus the Son
of Mary walked the streets of Nazareth ....” He closes: “We are enjoying it, & shall go
on enjoying it for several days yet ...,” and signs “Yr loving son Samuel [flourish].” $5500.

Hartford. 20 February [1875]. One page, in ink, on octavo ruled lettersheet. Folded for mailing,
else very good or better.
To James R. Osgood, then principal of James R. Osgood & Company, and later publisher
of The Prince and the Pauper, and other titles by Clemens and his contemporaries: “My
Dear Osgood: Confound it, my Boston trip is knocked in the head. It would take so long
to explain why, that I will not attempt it, but only send regrets, do some private cussing,
& wish the dinner party a happy time & Aldrich & family godsend & a glorious tour. Ys
Ever Mark [flourish].” Clemens had earlier declined another invitation to dine with Osgood
on 12 February. T.B. Aldrich and his wife embarked in late March for an eight month tour
of Europe.                                                                          $2850.

MONTHLY MAGAZINE “RECORD OF THE YEAR” [wrapper title]. New York: G.W. Carleton
& Co., 1876. 14pp. Stiff sewn printed wrappers. Illustrated adverts. Old vertical crease,
small chips at wrapper corners, clean split to portion of spine below the lower stabhole,
otherwise a very good copy of a fragile book. Folding cloth slipcase.
First edition, BAL’s likely earliest printing. Includes among the earliest, if not the earliest,
printings in book form of Clemens’ “A Literary Nightmare,” albeit in a form somewhat truncated
from its appearance in Atlantic Monthly in February of the same year. The text was widely
reprinted, and is better known as “Punch, Brothers, Punch!” OCLC/Worldcat locates 14
copies, without distinguishing between the two or more printings.
BAL 3366a. JOHNSON, p. 125.                                                              $225.

80. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED, TO JAMES R. OSGOOD. Hartford.
6 April 1883. 1 2/3 pages, in pencil, on two octavo lettersheets. Folded for mailing, filing
pinhole through upper left corner, else very good or better.
To James R. Osgood, then principal of Osgood & Company, and publisher of The Prince
and the Pauper, and other titles by Clemens and his contemporaries, on the occasion
of George W. Cable’s appearances in Hartford: “Cable read Parson Jones before the Young
Girls’ Club & scored a rattling victory. They have made it the talk of Hartford. The Warners
are gathering a crowd for tonight & when Cable is through with them his stock will be away
up, & the memory of his defeat will be sponged out & forgotten. He knows how to read
- there ain’t no question about it ....” Cable arrived in Hartford on 2 April, and stayed with
C. Dudley Warner; during the course of his six days in Hartford, he spoke or read at several
public or private venues, including a reading at Unity Hall on the 4th, where Clemens introduced
him, but the reading went poorly. As indicated in Clemens’ letter, he vindicated himself
with a reading on the 5th. Clemens concludes his letter with a troubling paragraph about
Livy Clemens’ deteriorating health, closing: “I am uneasy & bothered. Yrs truly SL Clemens.”

81. [Clemens, Samuel L.]: Twain, Mark [intro to]: THE NEW GUIDE OF THE CONVERSATION
Osgood and Company, 1883. xiv,182pp. Original tan printed wrappers. Small chips at two
corners of upper wrapper, mild spot of discoloration at upper fore-corner of rear wrapper
and last leaf, otherwise a very good copy. Half morocco slipcase and chemise.
First American edition, and the first to include the Introduction by Clemens. Copies were
issued in both cloth and wrappers, and those in wrappers seem the less common these
BAL 3412.                                                                           $350.
82. [Clemens, Samuel L.]: Gerhardt, Karl: ORIGINAL BUST OF GEN’L U.S. GRANT BY
KARL GERHARDT, SCULPTOR [cover title]. [Hartford & Elmwood, CT: Wm. N. Woodruff,
ca. 1885]. [3]-14pp. plus 15 leaves of ruled ledger paper. Large octavo. Original gilt green
cloth. Preliminary leaf (title?) excised, corners a bit rubbed, relevant clipping affixed to
front pastedown, otherwise a good, sound copy.
A promotional / salesperson’s subscription book for the public sale of bronze and terra
cotta renderings of Gerhardt’s famous 1885 clay portrait bust of General Grant. Clemens
had arranged for the sitting, was enthusiastic about the final bust his protégé produced,
and got involved in a scheme to sell versions to the public via a subscription plan, not unlike
the model perfected for some of his own books. By most accounts, the venture was not
particularly successful, and this subscription book remains an interesting artifact of the
undertaking. However, it may have been utilized for purposes entirely apart from selling
busts to the admiring public. It bears Gerhardt’s 1887 presentation inscription to California
tycoon Adolph Sutro, and affixed to three of the ledger leaves intended to record subscriptions
— all are blank — are 1) the promotional facsimile of Fred D. Grant’s letter of praise; 2)
an original cabinet photograph of the Putnam Monument; and c) an original cabinet photograph
of the Nathan Hale statue, both Gerhardt’s work, both in Hartford, and the latter captioned
in manuscript by Gerhardt. Several testimonials to Gerhardt’s talents are printed in the
text pages, including Charles Dudley Warner’s 1884 article in praise of Gerhardt’s bust
of Clemens (not recorded in BAL in this form), and letters of praise from S. Gaudens, J.Q.A.
Ward, and others. It would seem possible that Gerhardt sent this item to Sutro as a means
of promoting himself for a commission, rather than in an attempt to sell him a copy of the
bust, and he might very well have excised the title leaf in an attempt to minimize the commercial
appearance of the item and emphasize it’s function as a promotional for his work. OCLC/
Worldcat locates only two copies of this promotional, at CT Historical and CT State Library.
         “... it is my purpose to go out & kill all persons of the name of
                        Osgood, regardless of age or sex ...”
83. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED. Hartford. 15 December 1886.
Two pages, in ink, on two panels of a folded large quarto lettersheet. Small rust mark on
second panel, four spots of discoloration in corners of first panel from having been mounted
early on, else very good.
Addressed “Dear Sir” (but inferentially a “Mr. Smith”), about the recipient’s non-receipt of
a set of books: “Now we shall see! I am very glad you told me that that book had not
arrived. I dropped a note to the publisher at once. By his note, enclosed, it appears that
he was in Hartford yesterday, but had better judgment than to venture unprotected out to
my house; he divined correctly that I would kill him with a billiard cue in the midst of his
first lesson. The brother whom he mentions is the London representative of the New York
publishers, Harper & Brothers. If the book should fail again, I beg that you will let me
know, because in that case it is my purpose to go out & kill all persons of the name of
Osgood, regardless of age or sex ....” Signed: “Truly Yours S.L. Clemens.” Accompanied
by a 1 1/2 page a.l.s., in ink, from E.L. Osgood to Clemens, Hartford, 14 December 1886.
In 1886, Osgood published John H. Trumbull’s Memorial History of Hartford, Connecticut,
1633 - 1884, which is likely the set referred to when he writes: “I was much surprised when
I received your letter on Saturday and was still more annoyed, when on investigation I found
that my binders had overlooked my order to send the set of Hartford History to Mr. Smith
- I have today forwarded a set in 1/2 morocco to Messrs Harper & Bros to be included in
the next shipment to my brother and have written him to forward it at once to Mr. Smith.
I shall very soon avail myself of your kind suggestion to come and teach you how to play
billiards. Yours very truly, E.L. Osgood.”                                           $3250.

Hartford. 31 “Janiwary [sic]” 1887 Two pages, in ink, on two panels of folded quarto lettersheet.
Folded for mailing, a few smudges, otherwise very good.
To “My Dear Gilder,” in the recipient’s role as editor of Century Magazine: “Do you want
a powerful readable short article (about 5,000 words at a rough guess?) And will you pay
a higher rate than of yore (for reasons explainable when I see you) if you accept it? And
will you crowd it into the March No.? If there’s any hurry ... use the telegraph - because
I want to take a day, or maybe two, to knock out adjectives & polish up ....” Signed: “Yr
sincerely SL Clemens [flourish].” A four line postscript follows: “Praps [sic] I don’t want
it in next number - I can’t quite tell, yet. But am tolerably sure I do.” The article in question
was, most likely, “English as She is Taught,” which appeared in the April issue of Century
Magazine.                                                                                 $2750.
               “I would have paid him that any time these ten years
                        just to see him break his neck ... “
Four closely written pages, ca. 500 words, on rectos only of four 23 x 14 cm lettersheets,
in ink, with deletions and insertions. Neatly hinged at left margins, very good.
On Christmas Eve of 1889, the authorized theatrical version of The Prince and the Pauper,
adapted by Abby Sage Richardson, premiered in Philadelphia, and opened in January at
the Broadway Theatre in New York. A journalist, Edward House, filed a lawsuit against
Clemens, claiming that in 1886 he had granted House the rights to undertake the adaptation.
The lawsuit was the subject of some considerable public attention, and the judge’s ruling
in favor of House led, until House was paid a settlement, to the suspension of performances.
In this lengthy, somewhat embittered letter, Clemens writes to his good friend, giving a
full and colorful account of his previous relations with Edward House, beginning with their
first meeting in the first quarter of 1867, subsequent meetings over the years (characterized
generally in Clemens’ account by generosity on his part and bad faith on House’s) and
leading up to House’s return to America from Japan: “... When he wrote, in 1885, that he
should sail for America in the spring, to remain for good, I wished the ship would go to
the bottom. You see, I was the only ostensible friend the man had in the world, & I had
to keep up appearances, or be a brute. He arrived in N.Y. May 10, ’86, (or ’87?) & my
sorrows began ....” Clemens outlines a sequence of visits by House to his home and to
that of friends, accompanied by insults, apologies and concealments, “... & when he finally
moved to New York he had quarreled with everybody he could get a chance to talk with
... Old friendship? Oh dear! In one of his lying affidavits House swears I offered him $5,000
to ‘compromise’ a claim which never existed save in his own laudanum-soaked imagination.
Great Scott, I would have paid him that any time these ten years just to see him break
his neck. I tried my level best to get that man to agree to dramatize the P&P, but I failed,
& then after his brief attempt here in the house [during a visit detailed earlier in the letter]
I totally dropped the matter — & so did he. He told George Warner months afterward that
I had tried to get him to dramatize the book but that he ‘saw nothing in it.’ It turns out,
now, that he didn’t write Arrah-na-Pogue (as he always claimed). I thought he was a dramatist
....” Signed: “Sincerely Yours, S.L. Clemens.” Clemens met Sage through Joseph Twitchell,
the Hartford Congregationalist minister, and they corresponded and visited occasionally.
Clemens described Sage as “the best citizen I have known in America.”                   $6500.
                           “... it’s a noble & elegant tale ....”
GILDER. Villa Viviani Settignano, Florence. 19 October [1892]. Two pages, in ink, on two
panels of folded quarto lettersheet. Folded for mailing, short marginal break at one fold,
a few small smudges, otherwise very good or better.
To “My Dear Gilder,” in the recipient’s role as editor of Century Manazine: “... What little
I have written lately was kind of forced into the Syndicate because they seduce a person
by the large wage they pay, which is double & treble what the magazines grant to the laborer
in the literary field. Naturally I prefer to be in the magazines but you see how it is ... I’ve
only one Mag. article on hand at present, but I’ll enclose that one to you - ‘The £1,000,000
Bank Note’ ... it’s a noble & elegant tale ....” He comments further on his hope and expectation
that Cleveland will win the election, noting “I have been trying to get some Republican to
pair with me, but find them all too sagacious to pair with a person in Europe. I thought
maybe our old colored servant George might do me the favor, but found that he & his immediate
colored political following had gone over to the Cleveland side themselves ....” Signed:
“Yr sincerely Mark [flourish].”                                                         $3250.

- S., Florence. 24 November [1892]. Two full pages, in ink, on recto and verso of octavo
lettersheet. Old folds from mailing, date and name docketed at top edge by recipient or
recipient’s secretary, otherwise very good or better.
A fine, humorously biting letter from Clemens to the editor of Harper’s Magazine: “I know
I never never shall get over the astonishment of it! I sent you the most delicious thing that
has been offered to any magazine in 30 years in the way of innocent, unconscious & absolutely
killing humor ... & you declined it because I didn’t write it. Why, dang it, the reason for
declining it is really worse than the crime itself; for gold is gold, & varying the mint-mark
can’t alter its value - & if that wasn’t gold, standard gold, sterling gold, golden humor, then
I don’t know that metal when I see it ... Look here, Alden, you didn’t read it. You saw it
was mainly reprint and jumped to an over-hasty conclusion. But if you had read it - & read
it aloud to people, as I have done - then you’d have seen effects such as you have never
seen in your life up to now ....” Signed: “Yours with sincere affection SL Clemens.” According
to Fears, the piece Alden had rejected was “The Enemy Conquered; or, Love Triumphant,”
by Samuel W. Royston.
Fears, MARK TWAIN DAY BY DAY, II, p.750.                                                $3750.

A WHIMSICAL POEM. “At Sea.” 28 August 1895. Two and one-half pages, on three panels
of a folded octavo lettersheet, in ink. Old folds to thirds, with clean partial split to one horizontal
fold, very good.
Writing while returning from British Columbia and en route to Hawaii and Australia, Clemens
here addresses an onboard friend: “Dear Jack:- We are going to celebrate your birth-day
to-night and out of affection for you & for your father we shall do the occasion all the credit
we can, & make all the noise the captain will allow. You are a naturalist, & I am gradually
grinding out a poem for such of the tribe as are interested in the fauna of Australia ... so
I privately & confidentially promised you a copy of this great work as far as I’ve gone with
it. I haven’t yet worked the moa in, nor the emu nor the dodo, but I am after them ....”
There follows a twenty line draft poem, entitled “Invocation,” which concludes, in part: “Come,
Kangaroo, the good & true, [/] Foreshortened as to legs, [/] And body tapered like a churn
... And tell us why you linger here, [/] Thou relic of a vanished time, [/] When all your friends
as fossils sleep [/] Immortalized in lime.” Signed: “From your well-wishing friend Mark
Twain.”                                                                                $7500.
                         Mark Twain’s Pledge about Immortality
AN AUTOGRAPH NOTE, SIGNED. Quarry Farm, Elmira, NY. 2 July 1895. One page, in
ink, on quarto front panel of a large linen-lined envelope. Marginal pencil note crossed through,
several ink squiggles in blank areas symptomatic of a struggle with an unreliable pen, otherwise
very good.
A manuscript memento of a famous artifact, being Clemens’ fourteen line rough draft verse
(signed “M.T.”), written in preparation for his inscribing the verse on three stones for
presentation to Mrs. Thomas K. Beecher, wife of Reverend Beecher who officiated at the
wedding of Clemens and Livy Langdon in 1870. An account of the undertaking appears in
the October 1895 number of Munsey’s, and in brief, a sort of wager grew out of a friendly
debate between Clemens and Mrs. Beecher about the immortality of the soul. Mrs. Beecher
concluded by asking Clemens: “If you meet me in heaven a million years from now, will
you confess yourself wrong?” And when Clemens assented, she insisted a record of his
agreement be rendered in stone for future generations.

The manuscript in hand is Clemens’ draft of what was placed on three sections cut from
a stone Mrs. Beecher picked up from the Susquehanna river bed near Charles Beecher’s
summer home near Wyalusing, PA. The actual stones, known as the “wager stones,” are
now preserved in the Twain Archive at Elmira College. Clemens’ poem (incorporating his
alterations) reads: “If you prove right & I prove wrong [/] A million years from now, [/] In
language plain & frank & strong [/] My error I’ll avow [/] To your dear mocking face. [/]
If I prove right, by God his grace [/] Full sorry I shall be, [/] For in that solitude no trace
[/] There’ll be of you & me [/] Nor of our vanished race. [/] A million years, O patient stone,
[/] You’ve waited for this message: [/] Deliver it a million hence [Survivor pay expressage.]
M.T.” Appended to the manuscript is an autograph note from Clemens, 2 July 1895, to
Livy Clemens’ friend, Clara Spaulding: “Dear Clara: Livy says it is this rough old original
draft that you preferred. I didn’t understand & I beg pardon. This looks too disreputable.
My purpose was to have a nice trim comely copy made for you. Yours ever, SL Clemens.”

GILDER. “Kaltenleutgeben, near Vienna.” 7 May 1898. 3 1/3 pages, in ink, on rectos and
versos of two octavo lettersheets. Modest tanning, old folds from mailing, slightly weak
at one fold, one word slightly smudged below baseline, otherwise very good.
To “Dear Gilder,” in the recipient’s role as editor of Century Magazine: “If I want more,
‘say so.’ A young person would walk into that trap, imagining it a promise, whereas it
has only the gilded outside aspect of one ... But I am not a young person: I have had it
& cannot catch it again. So I, who am the descendant of the horse-beck’s daughter, say
not a single word, but am amply content with the addition of that great compliment wherein
you tell me it is the highest price you have ever paid to anybody for anything. I have had
that compliment paid to me three or four times in my life, & in every case there was something
upliftingly splendid about the feel of it. I think it must be the way a pirate or tiger feels
when he has made a ‘record’ ... I still remember the first two instances ... One was 31
years ago, when a now forgotten London magazine went down into its treasury & paid me
$12.50 per mag. page for a 4-page article; the other was 22 years ago when the Atlantic
paid me $18 per mag page for a series of articles. To be conscientiously accurate, that
wasn’t the highest the Atlantic had ever paid for prose - it had paid the same rate to Holmes
for the ‘Autocrat.’ Still, as you will easily understand, the ‘feel’ was there: because to
be rated with Oliver Wendell was itself a ‘record.’ In those days the author hadn’t his today’s
chance to scrape the fat off’n an editor, but in those days there wasn’t any fat on him -
he hadn’t either circulation or advertisements ....” Signed “Yours sincerely Mark.” $4750.
                                Mark Twain on Saint Joan
Wellington Ct., Albert Gate, London. 17 April 1900. 3 1/4 pages on four panels of a folded
octavo sheet of letterhead. A few minor finger smudges, folded for mailing (with careful
repair to break at one fold) otherwise very good or better.
To Canon [Basil] Wilberforce. In an October 1899 letter to W.D. Howells, Clemens noted
that he had just received an invitation from Wilberforce to “talk Joan of Arc in his drawing-
room to the Dukes and Earls and M. P.’s ...,” and indicated that he would endeavor to
postpone the occasion. He appears to have succeeded in doing so, for here, six months
later, he discusses the nature of the proposed talk: “The short paper which I wrote for Mr.
Murray’s book [T. Douglas Murray, Jeanne d’Arc, Maid of Orleans: Deliverer of France
(1903)] contains what I should wish to say — a grouping, under two or three heads, of
the chief marvels of Joan’s character as revealed by the prominent incidents of her career.
It is not an effort to account for Joan, but rather an argument or confession that she cannot
be accounted for. A large part of the interest which she has for me, grows out of just that
perplexing & fascinating mystery: that our capablest rules of measurement are baffled &
defeated in her case — we can’t get at her astronomical dimensions with our yard-stick.
If I might read from that paper & intersperse the reading with talk enough to relieve the
formality & stiffness of the deliberately-prepared sentences, I think I might get through without
ship-wreck ....” Signed: “Very sincerely yours S.L. Clemens.” Wilberforce & Clemens are
enshrined in the body of literary anecdote via the incident in July of 1899 when Wilberforce
confused Clemens’ hat for his own and made off with it.                                   $4750.

12 February 1900. Two pages, in ink, on two panels of folded quarto sheet of letterhead
(30, Wellington Court, Albert Gate). Folded for mailing, else near fine.
To Samuel G. Blythe (1868-1947), then editor of the Buffalo Enquirer: “Objections? Indeed
no. On the contrary I shall be glad. I shall now lay for the young man who called the other
day, & who seemed to know a great many things — & to lack delicacy in some little degree:
for, while smoking my bad cigars & warming himself at my good fire he suddenly up &
said, without any humane & softening preparations for the remark, that my Christian Science
article had cost the Cosmopolitan 10,000 subscribers. He made me feel pretty bad, but
I will transfer that sensation to him, now, when I catch him. And I will be sarcastic, & tell
him Mr. Walker wants to lose another 10,000 & knows by harsh experience how to go about
it. With my kindest regards to Mr. Walker, & best wishes to you & him & the magazine
....” Signed: “Sincerely Yours S.L. Clemens.” Clemens refers to his article in the October
1899 issue of Cosmopolitan, “Christian Science and the Book of Mrs. Eddy,” and to either
J.B. Walker (owner) or E.D. Walker (editor) of the periodical at the time, and may have
been writing Blythe in response to a request for reprint permissions for Clemens’ then
controversial article.                                                           $3500.

Ampersand, NY. 16 September 1901. Two pages, in ink, on two small quarto lettersheets.
Old folds from mailing, with clean breaks at margins at folds, otherwise very good. With
the original envelope, addressed in his hand.
Clemens writes appreciatively of a gift, or after receiving some of Boyle’s writings, either
in manuscript or book form: “They arrived last night, & I have drunk to them & from them
‘with my heart,’ & to the holy & pathetic things which they stand for & symbolize, the golden
days of a vanished youth. I give you my best thoughts for them & for the darling poem,
which is lovely & beautiful, & eloquent with the spirit of those same lost & lamented days.”
Boyle, as both poet and fiction writer, was closely associated with literary evocations of
the Old South (at the age of 10, she was christened by Jefferson Davis as the “Poet Laureate
of the Confederacy”). Her 1900 collection of local color stories, Devil Tales, achieved some
success, and just perhaps that is the collective “they” to which Clemens here refers. He
continues on, at length, proposing a meeting with her, in company with her husband, Thomas
R. Boyle (to whim he directs a paragraph of jousting banter) when they come to New York,
and extending warm felicitations on behalf of his wife and daughters, “for they are good
creatures, considering.” Ca. 300+ words. Signed “Sincerely yours SL. Clemens.” Boyle
printed a portion of this letter, in company with a poem in tribute to Clemens, in her late
collection, Songs from the South.                                                     $2750.

94. [Clemens, Samuel L.]: Twain, Mark [pseud]: TO THE PERSON SITTING IN DARKNESS
[wrapper title]. New York: Reprinted [by the Anti-Imperialist League] from the North American
Review, February 1901. 16pp. Printed self-wrappers. Some soft creases to upper left corner,
upper wrapper has several old, faint smudges and a faint splash-mark,
First separate edition. Johnson records the League’s assertion that 125,000 copies of this
polemic were distributed in this format as campaign literature, and infers that there consequently
must have been more than one printing. However, he notes that “It is now [1935] so scarce
that I can give no hint of any distinction ...” between printings. 75 years later, it remains
BAL 3470. JOHNSON, p.73.                                                                   $1500.

HELL?” New York City. 14 January [1903]. Two pages, in ink, on two panels of a folded
sheet of Riverdale on the Hudson letterhead. Corner creases and two small pin-holes in
upper margin, otherwise very good. Accompanied by tear sheets and wrappers of the December
1902 issue of Harper’s Magazine. Half morocco slipcase (rubbed and scraped) and chemise.
A heart-breaking letter, in which Clemens responds to the recipient’s comments about the
implication in his story, “Was It Heaven? Was It Hell,” that lying is possibly excusable
under special circumstances — though the story leaves the judgment unresolved. The issue
was raised to special attention when the accidental death of Clemens’ daughter on 24 December
led to a multitude of intellectually disadvantaged minds suggesting the event was some
form of retribution for the notions expressed in the story. Addressing “Dear Sir,” Clemens
singles those out: “...Thousands? - indeed there are several millions of them. And they
would be prompt to say, too, that in excusing the lying done in that tale I brought a judgment
upon myself. The story was published as of Xmas Day. On that day my wife had been
lying feeble and helpless in bed nearly 5 months & it had been 3 months since I or any
one except a daughter, the doctor, & a trained nurse had seen her face; on that Xmas
Day my other daughter was lying near to death in a remote part of the house, (pneumonia),
& the diligent lying of the tale was going on! The mother does not suspect that for three
weeks there has been another trained nurse in the house. She thinks Jean (the sick daughter)
is having fine times outside with the neighboring young people, skating, skeeing [sic] &
tobogganing - the other daughter gives her a full account of it every day. For the last ten
days I have been allowed to see my wife ten minutes every day. Yesterday she spoke of
a play & said ‘Send Miss Lyon with Jean to the matinee to-morrow.’ I came very near saying
‘Why Jean can hardly sit up in bed, yet’ - but I caught myself in time & gave the promise.”
Signed: “Sincerely Yours, S.L. Clemens.” The tear sheets from the December issue are
those for the original appearance of the story.                                     $7500.

96. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED. Villa de Quarto, Florence. 12
April 1904. 1 2/3 pages, on two panels of a folded octavo sheet of hotel stationary. Old
folds for mailing, paper faintly tanned, very good.
A poignant letter, written by Clemens from Florence, where he was situated in an attempt
to find a climate more favorable for his wife, Olivia, then critically ill. He responds to a
“Mrs. Graham,” in gratitude for her charming letter, which arrived “just in time to do a kind
of miracle: that is, add a grace to this April morning, a thing difficult to the verge of impossibility;
for the foliage & the flowers are looking their ... richest ... in the flooding sunshine, & far-
away Florence, glistening vaguely through her enchanted veil, is a dream!” On the second
panel of the lettersheet, the mood emphatically changes: “The Obverse - minutes later.
The physicians have come to hold a consultation; for our house is a hospital these 5 months,
& the sunshine is all outside of it, there is none within.” Signed: “Sincerely Yours, S.L.
Clemens.” In June, Olivia Clemens died in Florence of heart failure.                          $3000.

97. [Clemens, Samuel L.]: Twain, Mark [pseud]: “A DOG’S TALE.” [London]: Printed for
the National Anti-Vivisection Society, 1903 [i.e. 1904]. Printed wrappers. Illustrations. A
fine copy. Half morocco slipcase and chemise, bearing the bookplate of the James S. Copley
First separate edition, printed from the plates of the 1903 Christmas Number of Harper’s,
and preceding the U.S. book edition.
BAL 3479.                                                                          $350.

CLARA. [Dublin, NH]. “Sunday Oct. 1 / 05” & “[Oct 3/’5]” 1905. Four pages, in ink, on
outer panels of two folded quarto sheets of mourning stationary. Folded for mailing, otherwise
very good, accompanied by mourning envelope addressed “For Clara” c/o Miss Katy Leary,
in NYC (ragged tear at edge from being opened, postmarked in Dublin 3 October and received
in NY 4 October).
An evocative letter from Clemens to his daughter, Clara, then in care of their long time
servant, Katy Leary: “Oh, you poor dear child! How these fiendish maladies do hunt you
down & persecute you ... I finished ‘A Horse’s Tale’ yesterday evening & am satisfied with
it, though it was not manufactured calmly but with an eight day drive & rush - a dangerous
process; it is noon, now, warm, brilliant, profoundly still & reposeful, the valley & the retreating
hills are a bewildering intoxication of color - why, it is a joy to be alive! There is no place
like Dublin ... Love & progress to you, dear! Don’t write, Rest! Father.” The preceding part
of the letter is supplemented by a postscript, dated the 3rd, and of equal length, describing
additional events and the environs: “Clara dear, you think you have seen autumn foliage,
but it is not so; you have seen only attempts, partial successes, & failures. And you have
not had these attempts properly grouped, properly neared & distanced, properly leveled
for vivid display in the foreground, properly retreating & softening away through a spacious
gate in the gorgeous hills & dimming to smouldering embers under the hazy mountains
on the verge of the world. I have to shut my eyes to shave, this painted dream distracts
my hand & threatens my throat. And I have to stop & write this postscript to quiet my mind
& lower my temperature, so that I can go to stand between the windows again & without
peril resume. Father [flourish]. There is to be a reading of the horse-story in this house,
Thursday, with 4 invited guests ... In the last chapter there are bugle-calls & war-music,
& Miss Lyons will break in at the precise places & play this, as I read. We practiced it
last night & got the cues right, & it was dramatic & stirring.” While documents accompanying
the letter suggest that the postscript of 3 October was at one point separated from its
companion and sold separately, the implication is clear from content and likely circumstance
that the portion written on the 3rd was originally meant to accompany the portion written
on Sunday the 1st.                                                                    $4500.

Dublin, NH. 18 July 1905. Two and one-half pages, in ink, on three panels of a folded small
quarto sheet of mourning lettersheet. Old folds from mailing, otherwise very good. With
the original envelope, addressed in his hand.
Clemens catches up with Boyle, noting “we are here for six months, & shall go home when
the cold drives us. I shall find your book there if it doesn’t come here - & there is the
right place, for I do not read anything that is interesting when I am at work, because it
breaks my thread, & summer is my work time. I have lost only one day of the 60-odd that
I have had here. The resulting stack of manuscripts is pretty high ... I am very close to
70, now, & I don’t suppose I shall ever make another journey [to visit her in Memphis].
I beg you to give my cordial regards to your husband, & thank him for thinking so well of
my work. Sometimes I don’t admire it myself after it gets into print, but I like others to
admire it ....” Signed “Sincerely your friend SL. Clemens.” As both poet and fiction writer,
Boyle was closely associated with literary evocations of the Old South (at the age of 10,
she was christened by Jefferson Davis as the “Poet Laureate of the Confederacy”).   $2500.

100. [Clemens, Samuel L.]: Twain, Mark [pseud]: IS SHAKESPEARE DEAD? FROM MY
AUTOBIOGRAPHY. New York & London: Harper & Bros., 1909. Gilt green cloth, t.e.g.,
others rough-trimmed. Portrait frontispieces of Shakespeare and Bacon. Bookplate, otherwise
a fine, bright copy, without dust jacket.
First edition, the state intended to be distributed in the U.K., with the inserted British advert
leaf for John Lane at the end, and with the “Printed in the U.S. of America” stamp below
the copyright notice.
BAL 3509.                                                                                   $225.
                         Andrew Carnegie’s Tribute to His Friend
101. [Clemens, Samuel L.]: Carnegie, Andrew: CORRECTED TYPESCRIPT OF HIS ‘NORTH
22 April 1910]. 3 1/4 pages, typescript, with pencil and ink corrections, on four leaves of
foolscap. Folded and a bit used, with pin-holes in upper left corner and some occasional
minor soiling, otherwise very good. Half morocco folding clamshell case.
The corrected typescript of this exceptional, personal and anecdotal memoir by Carnegie
of his longtime friend, with scattered corrections and revisions throughout (in at least two
hands, including Carnegie’s), and signed by him in pencil at the conclusion. The typescript
is docketed in ink on the verso of the last leaf in ink in an unknown hand: “N.A.R. Mark
Twain Andrew Carnegie,” and caption titled in pencil at the top of the first page in the same
hand. While readily accessible public records include Carnegie among the attendees at
the 23 April Memorial Service for Clemens in New York, it does not appear that he delivered
a eulogy there, or in the days immediately following. Rather, he chose to publish a tribute
to Clemens in the June issue of The North American Review, and the working typescript
in hand is the basis for that tribute.
After opening on a grand note (“‘Mark Twain gone! - such the refrain that comes to my
lips at intervals. The gaiety of nations eclipsed, the most original genius of our age and
one of the sweetest, noblest men that ever lived”), Carnegie turns to the personal and particular,
writing of their first meeting (“... we met may years ago upon the ocean ... He told me,
much to my surprise that the idea of ‘A Yankee at the Court of King Arthur’ came from
reading my first literary outburst ... I was young then and naturally greatly flattered that
the business man should be hailed as fellow-author. The intimacy continued to grow until
I could safely consider myself one of his circle”), and of how, in time, “My admiration for
him increased as I knew him better, until great as the author was, the man, the friend took
first place.” He recounts his meeting with Clemens after the death of his wife, tells a lengthy
anecdote about his providing whiskey as a tonic during Clemens’s illness, commends
Clemens’s treatment of his creditors during his financial crisis, and remarks on Clemens’s
wrath in the face of injustice. He nears his conclusion: “And so he passed away with the
smile upon his face. Nor would we have it otherwise. Mark Twain has nothing to dread
hereafter and he now rests close by the side of his wife and children all having preceded
him save one. The earth had lost its charm, and philosopher to the last, he was ready
to go ...,” and after a selection of verse, finishes poignantly and personally: “And yet -
and yet - I find the tears drop as I write” [Carnegie’s spelling errors are corrected and the
revisions included in these quotations]. Less than a year before his death, Clemens had
stood in tribute to Carnegie at a dinner in his friend’s honor held by the Lotos Club.   $7500.

102. [Clemens, Samuel L.]: Twain, Mark [pseud]: QUEEN VICTORIA’S JUBILEE THE GREAT
LIGHT OF HISTORY, AND AS A SPECTACLE .... [New York?]: Privately Printed for Private
Distribution Only, [nd. but likely ca. 1910]. [2],22pp. Large octavo. Cloth-backed pictorial
boards. Frontis and plate. Bookplate, old bookseller’s description affixed to rear pastedown,
cream boards a trace darkened at edges, slight bumps to tips, else very good or better.
Half morocco folding case. From the James S. Copley collection.
First edition in book form, privately printed in an edition ostensibly limited to 195 numbered
copies, of which this is copy #168. Though the paper is watermarked 1887, BAL, and the
production, point to a more likely 1910. Twain’s article first appeared in the New York
Journal in June 1897, and was reprinted in 1910 in the New York American. It was not
collected in book form until 1923.
BAL 3514.                                                                               $1500.

103. [Clemens, Samuel L.]: Twain, Mark [pseud]: THE CURIOUS REPUBLIC OF GONDOUR
AND OTHER WHIMSICAL SKETCHES. New York: Boni & Liveright, 1919. Cloth and decorated
printed boards. Bookplate on front pastedown, otherwise a near fine copy, in largely complete,
about good, but nicked and torn printed dust jacket with several old paper and cellotape
mends on the verso. Half morocco slipcase and chemise.
First edition in book form of these sketches originally published in The Galaxy and The
Buffalo Express.
BAL 3527.                                                                         $450.

104. Clemens, Samuel L.: S.L.C. TO C.T. [New York: Privately Printed, 1925]. 24pp. Decorated
wrappers. Small ink number in lower forecorner of upper wrapper, otherwise a very good
copy. Folding cloth case.
First edition. Asserted to be one of only one hundred copies printed. A substantial sequence
of letters from Clemens to Charlotte Teller, chiefly ca. 1906, with a Foreword by the recipient.
BAL 3538.                                                                                 $600.

105. [Clemens, Samuel L.]: Twain, Mark [pseud]: A BOY’S ADVENTURE [THE WHIPPING
BOY’S STORY] [caption title]. [New York: Privately Printed for Merle Johnson, 1928]. [4]pp.
folded small quarto leaflet. Very shallow, small discoloration at top edge, otherwise about
fine. Oversize folding cloth case.
First separate edition of this chapter originally intended to appear in The Prince and the
Pauper, but omitted at W.D. Howell’s recommendation. It is here reprinted from its periodical
appearance in the Bazaar Budget, Hartford, 4 June 1880.
BAL 3545.                                                                              $250.
106. [Clemens, Samuel L.]: Twain, Mark [pseud]: 1601 OR A FIRESIDE CONVERSATION
IN YE TIME OF QUEENE ELIZABETH. [San Francisco]: Privately Printed, 1929. Small octavo.
Quarter red morocco and gilt decorated green cloth over boards. Colored frontis and three
colored illustrations. Colored initials. Slight darkening to endsheet gutters, otherwise about
fine in marbled paper wrapper. Half morocco slipcase and chemise.
One of an edition of forty copies. Although the parties responsible for this attractive edition
are not explicit in the book itself, references attribute to the late Albert Sperisen, printer
and California printing historian, the information that the edition was printed by Lawton Kennedy
and Harold Seeger, and the illustrations executed by W.R. Cameron.                          $150.

107. [Clemens, Samuel L.]: Mintz, Sam [screenwriter]: MARK TWAIN’S “TOM SAWYER”
ADAPTATION - DIALOGUE AND CONTINUITY BY ... [Hollywood: Paramount Studio], 3
July 1930. [1],A1 - H22,[1] leaves, foliated in sequence format. Legal format. Mimeographed
typescript, printed on rectos only of rose paper, and stapled at left margin. Studio filing
stamps on title leaf, portion of terminal blank torn away, light use, else very good.
In spite of the denotation of “continuity,” this is actually a preproduction script for the third
U.S. film adaptation (but the first sound version) of Clemens’ novel, directed by John Cromwell,
and starring Jackie Coogan and Junior Durkin in the leads. The film was released on 19
December 1930, and this unspecified draft of the script concludes with the screenwriter’s
note: “Will write last scene whereby Sid gets his dues from Aunt Polly later. Sam Mintz.”

108. [Clemens, Samuel L.]: Twain, Mark: BE GOOD, BE GOOD A POEM [wrapper title].
New York: Privately Printed [for Merle Johnson], 1931. French fold leaflet, printed in green.
Horizontal fold across middle, otherwise very good or better. Morocco backed folding case.
First edition in this format, ordinary issue, reprinted from the Houston Chronicle (July
1931) as a Christmas token. Some additional copies (10 or 12) were printed on vellum,
in blue ink.
BAL 3553.                                                                         $300.

109. [Clemens, Samuel L.]: Twain, Mark [pseud]: THE PRIVATE LIFE OF ADAM AND EVE
New York & London: Harper & Bros., [1931]. Cloth and pictorial boards, paper label. Frontis
and illustrations by F. Strothmann and Lester Ralph. First combined edition. Bookplate
on front pastedown, portion of printed wraparound band “preserved” in plastic sleeve formerly
affixed to verso of frontis, but a very good copy in lightly used dust jacket with tanning
and a splashmark to the spine panel. A snippet from a Clemens letter authorizing the omnibus
edition is printed here for the first time.
BAL 3700.                                                                               $300.

110. [Clemens, Samuel L.]: O’Connor, Laurel: [editor]: DRINKING WITH TWAIN RECOL-
LECTIONS OF MARK TWAIN AND HIS CRONIES .... [Kalamazoo, MI?]: Privately Printed
[by Howard Printing Company?], 1936. 18 leaves, printed on rectos only. Octavo. Sewn
printed wrappers. About fine in morocco backed folding cloth case.
First edition. One of five hundred numbered copies. An “as told to” narrative by one of Clemens’
Elmira friends. Whatever the virtue of the text, a ridiculous effort at bookmaking, printed
on heavily pebbled parchment paper and approximating a rather painfully twee greeting card.
The place of publication and printer are identified in OCLC/Worldcat, where an alternate
entry from LC also suggests Battle Creek as the place of perpetration.                      $75.

111. [Clemens, Samuel L.]: Twain, Mark [pseud]: LETTERS FROM THE SANDWICH ISLANDS
WRITTEN FOR THE SACRAMENTO UNION. San Francisco: The Grabhorn Press, 1937.
Large octavo. Cloth and decorated boards. Illustrations (in color) by Dorothy Grover. Bookplate
of the James S. Copley collection, one fore-tip bumped, otherwise near fine, in half morocco
slipcase and chemise.
First edition in book form, with introductory and concluding text by G. Ezra Dane. One
of 550 copies printed by the Grabhorns as the 4th volume in the 3rd series of “Rare
BAL 3558. GRABHORN 266.                                                          $250.

112. [Clemens, Samuel L.]: Twain, Mark [pseud]: THE WASHOE GIANT IN SAN FRANCISCO
BEING HERETOFORE UNCOLLECTED SKETCHES .... San Francisco: George Fields, 1938.
Large octavo. Cloth and boards. Illustrations. Two bookplates on front endsheets, otherwise
about fine in very good dust jacket with some small chips and closed tears along top edge.
First edition. Printed at the Ward Ritchie Press. Edited by Franklin Walker, and illustrated
with drawings by Lloyd Hoff. Laid into this copy are two of the originals of Hoff’s ink drawings,
for the illustrations on pages 66 and 115.
BAL 3559.                                                                                  $350.

113. [Clemens, Samuel L.]: Frear, Walter Francis: MARK TWAIN AND HAWAII. Chicago:
Privately Printed at the Lakeside Press, 1947. xiv,519pp. Large, thick octavo. Gilt cloth.
Portrait, maps, photographs. Bookplate on front pastedown, a few minor rubs to cloth, otherwise
about fine in half morocco slipcase and chemise.
First edition. One of 1000 numbered copies, signed by the author. “Contains much material
here first collected including the first complete printing within the covers of a single book
of the Sandwich Island letters written for the Sacramento Union in 1866” - BAL.
BAL 3576.                                                                               $150.
114. [Clemens, Samuel L.]: Twain, Mark [pseud]: THE LOVE LETTERS OF MARK TWAIN.
New York: Harper & Bros. 1949. Large octavo. Black cloth, paper spine label. Portrait.
Bookplate on front pastedown, faint offset to front endsheets from formerly laid in clipping,
otherwise fine in dust jacket and lightly rubbed slipcase with residue of tiny sticker in lower
corner of bottom panel.
First edition, limited issue. One of 155 numbered copies, specially printed and bound, with
the extra frontispiece and a limitation leaf signed by Clemens both with his given name
and as Mark Twain. This posthumous signed edition was prepared utilizing signed sheets
that Harper & Bros. had retained in their files for fifty years. The text was edited for publication
by Dixon Wecter.
BAL 3579.                                                                                   $4000.

115. [Clemens, Samuel L.]: Twain, Mark [pseud]: AN OPEN LETTER TO COMMODORE
VANDERBILT [wrapper title]. [Boston. 1956]. Octavo. Printed white wrappers, sewn. Wrappers
somewhat dust-soiled, with a few finger smudges, but a good copy.
First separate printing of this squib, first published in Packard’s Monthly Magazine, March
1869. According to the colophon on the rear wrapper, the edition consisted of 123 copies.
BAL 3584.                                                                             $225.

116. Clemens, Samuel L.: “I DO SET A CLEAN PROOF.” Berkeley: The Bancroft Library
Press, 1984. [16]pp. Small octavo. Sewn pictorial wrapper. Small crease at lower fore-
tip of upper wrapper, otherwise fine. Oversize cloth slipcase.
First edition in book form. One of only twenty-five copies printed by Wesley Tanner, Phyllis
Blegen, C.D. Elliot and M.C. Dern on an Albion handpress. With an afterword by Richard
Hirst. One of the two earliest surviving letters from Clemens to his mother, describing his
new job at a printing firm, reprinted from its first appearance in the Hannibal Daily Journal
of 10 September 1853. By virtue of the limitation, uncommon. Laid in is a label suggesting
this copy was exhibited at the Rounce & Coffin Club 1985 Western Books exhibit.         $225.
117. [Cocteau, Jean]: Emboden, William A.: JEAN COCTEAU AND THE ILLUSTRATED
BOOK. Northridge: Santa Susana Press, 1990. Folio. Quarter morocco and linen by Craig
Jensen. Color frontis, lithographed facsimiles and tipped-in plates. Decorated endsheets.
Tipped-in bookplate, otherwise fine in slipcase.
First edition. From a total edition of 226 copies designed and printed by Patrick Reagh,
this is one of 125 containing an original illustrated leaf from the 1923 first edition of Dessins.
Signed by the author, and by editor Norman Tanis. A beautifully produced consideration
of Cocteau’s illustrative contributions to his own texts, as well as those of others.        $400.
                                     Fine Script Archive
118. Cole, Lester: Archive of Typescripts for JACKHAMMER [released as TOO TOUGH
TO KILL]. [Los Angeles: The Author], 17 July through August 1935. Six volumes. Quarto.
Chiefly carbon typescript, but also original typescript, the latter with extensive manuscript
revisions and notations. Each unit bradbound or stapled into typescript wrappers. Some
use, wrappers a bit frayed at edges and chipped at spines, last wrapper separated at spine,
but typescripts in generally very good order consistent with use.
A fine, contiguous sequence of scripts tracing the development of this film from its earliest
stages through the final working draft of Cole’s screenplay, and the intercession of another
writer. The 1935 film, directed by D. Ross Lederman, was released under the title Too
Tough to Kill, and starred Victor Jory, Sally O’Neill, Ward Bond, et al. The film, as conceived
by Cole, is a depiction of an investigation into labor strife at a tunnel and aqueduct construction
site near Morongo, California. The film as finally released was co-credited to Cole and
Jay Griffin, based on a story by Robert Speers. However, with the exception of the last
item, the material in this archive is credited throughout solely to Lester Cole, and includes
the following: a) Treatment ([1],22 leaves carbon typescript); b) First Draft Screenplay, 22
July, ([1],91 leaves carbon typescript, with scattered revisions and annotations in pencil);
c) Second Draft Screenplay, 30 July, (110 leaves carbon typescript, with scattered pencil
queries, comments and alterations); d) Third Draft Screenplay, 2 August ([1],104 leaves
carbon typescript); e) Fourth Draft Screenplay, 5 August ([1],104 leaves carbon typescript);
and f) Fourth Draft Screenplay (altered in manuscript to read “Final Working Copy”), 5 August,
(ca. 104 leaves, plus lettered inserts and other variations, largely original typescript, but
some carbon, very heavily revised throughout in pencil in at least two hands). The first
four items are designated in manuscript with the name of Ben Pivar, the production supervisor
of record for the film. The last bears the ownership signature of J. Griffin Jay, and would
obviously appear to be the copy of Cole’s draft Jay utilized for the start, if not the bulk,
of the revisions and rewrites that earned him co-credit. Cole was one of the cofounders
of the Screen Writers Guild, and in 1934 joined the CPA. Like his other colleagues known
as the “Hollywood Ten,” Cole refused to cooperate with the HUAC in 1947, was sentenced
to a year in prison and a fine, and was placed on the Blacklist. He continued to work sporadically
under pennames, and his last major film, Born Free, was so credited. Jay had his own
substantial list of screenwriting credits, chiefly in the genres of adventure, science fiction
and horror films. A fine, coherent and contiguous archive, the sort seldom preserved intact
over the passage of 75 years.                                                              $3750.

119. [Collier, John, and Maynard Dixon (illus)]: EVEN AS YE DO UNTO THE LEAST OF
THESE, SO YE DO UNTO ME [wrapper title]. [San Francisco: Indian Defense Association
of Central and Northern California, ca. 1924]. [16]pp. Decorated wrappers. Full-page illustrations.
Pencil erasure from upper wrapper, otherwise near fine.
First separate printing of this series of articles by Collier critical of the Indian Bureau and
arguing for greater emancipation for the Native Americans, accompanied by a sequence
of editorial drawings by Maynard Dixon. The articles first appeared in the Scripps-Howard
papers in June, 1924.                                                                     $150.

120. Connolly, Charles Cashel: SONGS OF THE CELT. Baltimore: John Murphy & Co.,
1888. 416pp. Octavo. Dark green cloth, decorated in gilt and black. Some modest rubbing
at edges, with a few flecks to cloth, ink name on preliminary blank, otherwise very good.
First edition of the author’s second collection, preceded by Tones of the Harp, which Connolly
self-published in Washington in 1861. OCLC/Worldcat locates 4 copies of this substantial
collection of original verse (Princeton, NYPL, Notre Dame and Potomac State). O’Donoghue
reports that Connolly was born in Bundoran, Co. Donegal. Some of his later work was the
subject of musical adaptation for the stage and publication as sheet music, including,
regrettably, “We’ll Have No More Coon Rag-time Songs To-night” (1900).
O’DONOGHUE, p.42.                                                                       $125.

121. Connolly, Cyril: AUTOGRAPH MANUSCRIPT, SIGNED. [London. nd. but ca. 1968].
8 pages, closely written and lightly revised, in ink, on rectos of eight octavo sheets. Very
good, or better, with transcription, in oversize half morocco clamshell case. From the James
S. Copley collection.
An early draft of a substantial review by Connolly of Royston Lambert’s The Hothouse
Society, published in 1968 by Weidenfeld & Nicolson. Inscribed in the top margin: “from
Cyril Connolly.” Connolly finds Lambert’s book, a sociological study of life in public schools,
“of the greatest importance and [it] constitutes a minor Kinsey Report on the mores of
British adolescents and the virtues and faults of our educational system ... The great merit
of this book is also its chief defect - the vast amount of quotation, all of it anonymous.
This produces an atmosphere of total verisimilitude but also an appalling density per page
... The children however must have enjoyed it, a welcome opportunity to blow off steam.”
He faults the book for lack of candor, noting it finds the catalogue of thirty words in current
usage among students relating to sex unpublishable, and: “Surely such a book is there
to publish the unpublishable, else why devote two chapters to sex?” He further regrets “the
absence of a chapter on hobbies and special interests in this book or even on attitudes
to work. We are told what everyone thinks about games or getting up early or fagging, but
not who loves literature or why or discovers the recorder or the virtues of Latin prose. Surely
within [sic], education has to offer ... is equal to the excitement of discovering some special
aptitude, a vocation hitherto unsuspected and perhaps brought out by a ... teacher ... Where,
in his welter of statistics, are the prodigies?” Ca. 1000 words.                         $750.
                      The Cheats (and So Much Else) of London
SEXES ... BY THE AUTHOR OF THE MIDNIGHT SPY. London: Printed by J. Cooke, at
the Shakespeare’s Head ..., [nd. but ca. 1770]. 96pp. plus engraved frontis and four plates.
12mo. Untrimmed, partially sewn signatures. Frontis mounted and detached, with marginal
restoration to terminal leaf (verso quite darkened, but still legible) and blank fore-tips of
title-leaf, some occasional marginal smudging and short tears, section of blank fore-margin
clipped from B 6 , with no loss of text, still a reasonably good copy of a rare pamphlet.
One of four undated variants or editions of this title recorded in ESTC, all of them quite
rare - ESTC locates only the Bodleian copy of this printing, and a total of eight copies
of all four variants/printings. The intent of the work is made plain in the extended subtitle:
to provide a guide for visitors to London, and the young, so that they might avoid the snares
set out by “Highwaymen, Scamps, Sharpers, Gamblers, Kidnappers, Wagon-hunters, Money-
droppers, Duffers, Setters, Pretended Friends, Mock-Auctions, Register Offices, Quacks,
Bullies, Bawds, Whores, Pimps, Jilts. Gossips and Fortune-Tellers.” The cautions are often
couched in the form of narratives of incident and experience with the particular category
of denizen. Pages 87 - 96 print adverts for Cooke’s other publications, some of them quite
colorful: The Lover’s Instructor; The Life and Adventures of Roxana; an edition of Moll
Flanders; The Cries of Blood; The Book of Fate, etc. Two of the other printings do not
include the “King’s Royal Licence” statement as part of the title, and one of the others
attributes authorship to the writer of The New London Spy. A charming, and rare, example
of London street-literature.
ESTC N32584.                                                                           $1500.
Low, Son & Co., 1859. xiv,[1],503,[1],16pp. Large octavo. Original brown cloth, decorated
in blind, lettered in gilt. Bookplate on front pastedown, one leaf creased (but not torn),
cloth a bit handsoiled, short cracks at top of joints, scattered light foxing, but a good copy.
First edition, British issue, of this informal sequel to The Virginia Comedians..., bound
up from imported sheets of the Harper & Bros. issue advertised as ‘ready’ two months earlier
than this issue. The inserted Sampson Low catalogue is dated July 1859, and is dwarfed
by the much larger text block. This British issue is rather uncommon, and it seems unlikely
that the number of copies imported would have been large.
BAL 3716n. SABIN 16315. WRIGHT II:616 (NY edition).                                   $450.
                              First Book - Large Paper Issue
SUBSCRIPTION EDITION. San Francisco: [John H. Carmany & Co., Printers], 1881. 173,[3]pp.
Small folio. Gilt decorated cloth. a.e.g. Cloth somewhat rubbed, with a few scratches,
extremities worn, a bit musty, offset to two prelims from now absent clipping, but a good,
sound copy. With the bookplates of Robert E. Cowan and Henry B. Collamore.
First edition, the rare special folio large-paper issue, of the first book (of three) by the future
poet laureate of the state of California, co-editor of The Overland Monthly, niece of Joseph
Smith, and the only female member of the Bohemian Club at the time. The number of copies
issued in this format is unstated, but OCLC records report 51 copies of the ordinary issue,
versus twelve of this large-paper issue.                                                     $350.

125. [Cooper, James F.]: THE PRAIRIE; A TALE. Philadelphia: Carey, Lea & Carey, 1827.
Two volumes. xi,[1],[13]-252;276pp. 12pp. April 1827 catalogue inserted in front of first
volume. Original boards, neatly rebacked to style, with original printed labels laid down
(the first a bit chipped). Untrimmed. Some foxing, with some occasional spotting; bookplates
of James S. Copley in each volume. A good set, in dual compartment half morocco slipcase
and chemises.
First American edition, preceded by the London and Paris printings. With the corrected
copyright pasteovers in each volume.
BAL 3836. WRIGHT I:688.                                                          $750.

126. Covarrubias, Miguel [illustrator]: THE DISCOVERY AND CONQUEST OF MEXICO 1517
- 1521. By Bernal Diaz Del Castillo. Mexico: Printed by Rafael Loera y Chávez for ... The
Limited Editions Club, 1942. Large quarto. Full Mexican calf, raised bands, gilt labels.
Illustrated throughout with color full-page drawings and vignettes by Miguel Covarrubias.
Bookplate on front pastedown, otherwise fine in good, somewhat edgeworn slipcase with
small sticker scar in corner of one panel.
Edited from the original manuscript by Genaro García, translated, with introduction and
notes, by A.P. Maudslay, and with a new introduction by Harry Block. One of 1500 numbered
copies, signed by Covarrubias, the printer and Block. One of the Limited Edition Club’s
double hands-full of truly inspired conjoinings of illustrator with text from its years under
George Macy.                                                                            $250.

AT THE ROYAL THEATRE COPENHAGEN 1926. Oxford & London: Oxford University Press
/ Humphrey Milford, 1930. [6],21,[3]pp. plus thirty-two plates with interleaves bearing caption
texts. Large folio. Quarter gilt parchment and red cloth, gilt extra, t.e.g. Small bump to
lower edge of rear board, a few very faint spots of dulling to upper board, otherwise a very
near fine copy, in rather worn and stained slipcase.
First edition, limited issue. One of 105 numbered copies, specially printed on handmade
paper, and signed by the artist, in addition to five hundred ordinary unsigned copies on
mould-made paper. Twelve of the collotypes incorporate color.
FLETCHER & ROOD A32.                                                              $1500.

TWAIN’S “LARIAT” IN “INNOCENTS ABROAD.” New York: N. Tibbals & Sons ... Published
for the Author, [1886]. iv,[5] - 499,[1],[3]pp. Octavo. Medium brown cloth, decorated in black,
spine stamped in gilt. Engraved portrait frontispiece. Portrait of S.L. Clemens and other
plates. Edges rubbed, text stock characteristically tanned, frontis a bit foxed, edges rubbed,
just a near very good copy of a poorly produced book.
First edition. Characteristically inscribed by the author on the front pastedown: “To my
very much esteemed Friends Mr. & Mrs, Charles Walters With the Compliments of the
Author Bloodgood H. Cutter 1889 / Prove all things hold fast that which is good ....” Cutter
married well and, through capable property acquisitions and management, amassed a fortune
sufficient to allow his eccentricities to flourish in a relatively unrestrained fashion. He fancied
himself a poet, and had a penchant for self-publication, largely in leaflet or broadside form.
By virtue of circumstance, he found himself traveling in company with S.L. Clemens, who
granted him some form of fame as the “Poet Lariat” in Innocents Abroad. Cutter seldom,
if ever, failed to try to capitalize on that association, as here in his most substantive collection
of his fugitive “verse.” One needs only to scan a single quatrain to appreciate how deficient
Mr. Cutter was in the area of self-criticism.                                                 $275.
                                   Dana on the Blockade
129. Dana, Richard Henry, Jr. (novelist and attorney, 1815 - 1882): ORIGINAL AUTOGRAPH
MANUSCRIPT, SIGNED. [Np]. 30 September 1864. Two pages, quarto. In ink, on rectos
of two plain lettersheets, onlaid and inset at an early date to two sheets of album mat
paper. A few minor foxmarks to lower blank margin of one sheet, mounts tanned, otherwise
very good.
An important statement by Dana on the relative humaneness of war at sea, as opposed
to war on land, and the justification of maritime booty, signed and dated at the end: “Rich.
H. Dana Jr. Sep. 30. 1864.” This manuscript was most likely written out by Dana, perhaps
as a souvenir, in the year following his defense before the U.S. Supreme Court of the federal
position on the seizure of the vessels of enemy combatants and the blockade of the
Confederates. In his statement, Dana asserts that: “War upon the sea is more humane,
and accompanied with less danger to all that is most dear and sacred to humanity than
war upon the land. The ship of war traverses the common, uninhabited highway of the world.
It does not, like an army, pass over cultivated fields, billet itself in towns, destroy crops
... cause alarm if not outrage to non-combattants [sic], and leave women and children poorer
if not wretched for its passage. War at sea deals only with men, and with men who go
to sea as combattants [sic]. The ship ... violates no homesteads, no altars, no monuments
& touches nothing that is sacred or necessary to life. When maritime war makes prizes
of merchant vessels, it is only of merchandise voluntarily sent to sea for gain, entrusted
to men engaged for that purpose. It transfers commercial values ... on the common highway
of commerce ... from the total of the commercial resources of one belligerent to the total
of the commercial resources of the other belligerent.” In addition to the great popularity
and critical success of his novel, Two Years Before the Mast, perhaps the second greatest
pinnacle of Dana’s career was his arguing the case for the blockade as U.S. Attorney before
the U.S. Supreme Court, and this is a cogent and attractive summary of that argument.
Accompanied by a 9.3 x 5.8 portrait photograph of Dana, similarly mounted.             $1500.

130. [Dangling Participle Press]: Eberle, Matt: RUDY & MIDGE. [Madison, WI]: Dangling
Participle Press, [1998]. Oblong small octavo. Quarter linen and pictorial boards. Illustrations
and inserts. Fine.
First edition. One of thirty-five numbered copies printed in a combination of letterpress,
lithography, and serigraphy, with images derived from found travel ephemera and other material
from whence the narrative evolves. Signed by the author/printer/artist.                $250.
                       Crossroads Edition, With Manuscript Leaf
New York: Charles Scribner’s Sons, 1916. Twelve volumes. Large octavo. Elegantly bound
in full red crushed morocco, elaborately gilt extra, t.e.g., others untrimmed, silk endsheets,
by Stikeman for Scribner. Portraits and frontispieces. Bookplate in each volume on preliminary
blank, spines very slightly darkened, with slight rubbing at tips, otherwise a handsome
set, near fine.
The best collected edition of Davis, denoted the “Crossroads Edition,” published the year
after his death and collecting material for the first time in book form in volumes ten, eleven
and twelve. This is set #13 of 256 numbered sets, is in the most lavish of the sequence
of bindings available, and includes in the first volume a leaf of autograph manuscript by
Davis. The colophon is “signed” by the publisher. Five of the frontispieces are signed in
the margins by the respective artists, including Charles Dana Gibson and Howard Chandler
Christy. Apart from his fiction and drama, Davis left an indelible mark on the evolution of
the role of the war correspondent in American journalism. His sometimes controversial,
and not always disinterested dispatches from the Spanish American War, the Boer War,
the Russo-Japanese War and the opening years of the Great War were influential in swaying
both public opinion and government policy, and in embellishing the reputations of both principals
and units in the conflicts.
BAL 4574.                                                                                $2000.

132. Day, Dorothy: HOUSE OF HOSPITALITY. New York & London: Sheed & Ward, [1939].
Cloth. Slightly musty, endsheets a bit tanned and foxed, otherwise a very good copy in
lightly nicked and worn pictorial dust jacket with some dust spotting to blank areas of rear
First edition of Day’s account of the House of Hospitality Movement and its reflection of
Catholic social activism as articulated in Day’s activities with the Catholic Worker. $300.
               Association Copy of a Rare Tribute to a Welsh Terrier
133. [De la Tour, Maud des Champs]: THE HISTORY OF PINCHER, BY HIS MISTRESS.
Lymington: Printed by Henry Doman, [nd. but ca. 1876]. 83pp. 12mo. Forest green cloth,
lettered in gilt, a.e.g. Light rubbing at edges, but a good copy of a cheaply made book.
First and only edition of this affectionate and extended tribute by the author to her Welsh
Terrier, Pincher, including a poetic eulogy, as well as a poetic rendering of “Last Words
of a Favorite Dog to His Mistress.” Inscribed by the author to “William Allingham Esq with
kind regards from ‘Pincher’s’ former mistress - Maude D.C. de la Tour Jan. 1st 1877.” There
are a few scattered corrections in the text in the same hand. Whether Allingham was
acquainted with the author, or simply the recipient of an unsolicited token from an admirer,
is unclear. The book is uncommon: not reported in OCLC/Worldcat, and COPAC and NSTC
locate only the British Library copy. Any additional literary accomplishments credited to
the author seem equally elusive, if not non-existent.                                 $200.

134. [De Quincey, Thomas]: CONFESSIONS OF AN ENGLISH OPIUM-EATER. London:
Printed for Taylor and Hessey, 1822. vi,206,[2]pp. Modern full medium brown crushed levant,
gilt inner dentelles, a.e.g., by Zaehnsdorf. Hairline crack in upper joint, otherwise about
fine, with the half-title and advert leaf. Cloth slipcase.
First edition of De Quincey’s masterpiece. “This book ... sets out the picture of a soul,
a psycho-graph; and as such it outranks all that our marvelous literature possesses....”
- William Bolithio.                                                               $3000.
135. Debs, Eugene Victor: WALLS AND BARS. Chicago: Socialist Party, [1927]. Large
octavo. Flexible grey cloth, lettered in gilt, t.e.g. Portrait. Overlap edges and spine extremities
rubbed, as usual, small ink name on pastedown, otherwise very good.
First edition of Debs’s memoir of his term in prison, along with observations on prison reform,
criminal justice and the relations between incarceration and poverty and class. Signed in
ink by Theodore Debs at the conclusion of his brief prefatory note.                      $100.

136. DeMille, Cecil B.: TYPED LETTER, SIGNED. Hollywood. 23 January 1958. One page,
on quarto sheet of Paramount Pictures letterhead. A bit rumpled, with some wear at folds,
large pencil docket by recipient, small chip from blank corner. Good, in folding half morocco
clamshell box.
To Arthur S. Wenzel, in response to his expressions of sympathy after the death on 16
January of Jesse L. Lasky, associate with DeMille and Sam Goldwyn in the founding of
the Lasky Feature Play Company in 1913. DeMille, then engaged in the production of The
Ten Commandments, waxes philosophical: “...I believe that a man’s mind is imperishable,
that it is immortal and close to the Divine Mind. I believe that the laying aside of a body
is like the laying aside of a suit of clothes that we have been fond of and appeared in and
utilized until it is worn out and the mind is freed to go on in a new garment which we have
never seen, but which we believe is a much finer one than the one cast aside. I agree with
you when you say Jesse and I will be together always for the mind can go where it wills
and be with whom it wills ....” Dictated, then signed with a flourish: “C.B. de M.”   $400.

137. DeVere, William: TRAMP POEMS OF THE WEST. Tacoma, WA: Cromwell Printing
Company, 1891. 102pp. Large octavo. Gilt pictorial cloth. Portrait. Illustrated throughout.
Cloth a bit dull and smudged, bookplate, early ink name and gift inscription on title and
verso of portrait, publisher’s address slip pasted to verso of contents leaf, front inner hinge
cracking, a few small tape fragments on pastedowns. A sound copy of a poorly made book,
in half morocco folding case.
First edition. The illustrations are the author’s own, and like the poetry, their naive charm
runs thin pretty quickly. A book about which even the most ardent collectors of tramp literature
have second thoughts.                                                                      $75.

                           A Substantial Archive of His Poetry
138. Dixon, Maynard: POEMS (AND NEARLY) [and Untitled]. Two Presentation Portfolios
of Manuscript and Typescript Poems. [San Francisco, January 1915, and ca. 1936].
Two volumes. [40] leaves, and [42] leaves. Quarto, laid into two folding portfolios (approx.
29 x 22 cm), the earliest being watercolor decorated paper over cardboard, with old calf
fore-tips to the upper board, the later cloth-backed boards, the upper board decorated in
ink with a small rendition by Dixon of a thunderbird and a small monogram on the lower
board. Some modest edgewear to portfolios, but generally very good or better.
Two significant collections of Dixon’s poetry in typescript, carbon typescript, and autograph
manuscript, with occasional corrections, revisions and annotations, prepared personally
by him for presentation. The earliest, which includes twenty-six poems, includes a manuscript
title-leaf in his hand: “Poems, (and Nearly),” with a small ink rendering of a thunderbird,
and is inscribed: “Franc from Maynard Jan - 1915.” The title leaf is accompanied by a
manuscript index of the included poems, also embellished with an ink drawing. All of the
poems in this album are present in either carbon or original typescript, most bearing the
approximate or exact dates and places of composition, the latter information occasionally
revised or amplified in ink or pencil by Dixon. The earliest poem in this album dates from
1896, the latest from 1914. The second, later album includes no formal title, but opens
with a leaf inscribed in pencil: “Betty - I don’t believe you will like these - But here they
are - it’s you asking. M.D.” It consists of thirty-five poems in typescript or carbon typescript
(two - including the important poem “Jeffers” - with significant manuscript revisions, a couple
more with minor manuscript tinkerings, and two signed at the end with initials in coarse
pencil, with date and/or place), and three wholly in manuscript, in ink, in Dixon’s bold hand.
Two of the typescript poems in this album, “San Francisco” (1913) and “Nebula” (1914),
appear in the earlier album, the first from a definitively different typing of the text. The latest
poem in this album bears a 1936 date of composition. “Jeffers,” which bears meaningful
manuscript revisions, is undated in this draft, but is dated “ca. 1925” in its published form.

All but one of the poems in these albums are printed in some form in the authoritative edition
of Dixon’s poetry, edited by his widow, Edith Hamlin (Rim-Rock and Sage The Collected
Poems of Maynard Dixon, California Historical Society, 1977), although occasionally under
variant titles or with minor variations in their texts. One poem in the later album, entitled
“Japs,” is uncollected and may have been omitted by Hamlin due to its rather strident and
painfully negative ethnic caricatures.
Maynard Dixon (1875 - 1946) has long been regarded one of the most significant artists
and illustrators of the American West and Southwest, but his parallel career as a poet
is less widely known. Although a number of his poems appeared in the western periodical
press, his sole lifetime book publication is the now elusive Poems and Seven Drawings,
privately printed by the Grabhorns in 1923. While his painting and drawing commissions
claimed much of his attention during the remaining 23 years of his life, he continued to
write poetry until at least as late as 1937, touching on many of the same themes as drove
his drawings and paintings, both public and personal: the terrain, people (most particularly
the native peoples) and history of the West, with a critical but not wholly unsympathetic
eye toward certain tendencies of modernism, all coupled with a strain of physical
consciousness occasionally bordering on the erotic. In his Preface to Rim-Rock and Sage,
J.S. Holiday denotes the 164 poems collected therein as “every known poem by the artist.”
The sixty-one poems preserved by Dixon in these two albums span virtually his entire career
as a poet, representing over one third of that known output, and the collection adds one
hitherto unpublished poem to that number.                                           $9500.
139. Dixon, Maynard: POEMS AND SEVEN DRAWINGS. [San Francisco: Privately printed
at the Grabhorn Press], 1923. Small quarto. Printed boards (to all appearances, slightly
later than publication). Some light spotting to endleaves, bookplate of James S. Copley
on front pastedown, a few minor marks to boards, otherwise a very good or better copy.
First edition. One of 250 copies printed by Edwin and Robert Grabhorn and James McDonald.
Though initially printed for private distribution, some copies were also sold to the public.
There were at least two variant bindings at the time of initial distribution - this is not one
of them. Now rather uncommon in commerce.
GRABHORN 52.                                                                             $650.

140. Donleavy, J.P.: THE GINGER MAN. Franklin center, PA: The Franklin Library, 1978.
Large octavo. Gilt green publisher’s leather, a.e.g. Ribbon marker. Fine, as usual.
First printing in this format, as a “limited edition” with illustrations by Skip Liepke and a
two-page note by the author new to this edition. Signed by Donleavy. Selected by the board
of the Modern Library as one of the 100 Best 20th Century Novels in English.             $75.

141. Douglas, Norman: SOUTH WIND. London: Secker, 1917. Cloth. First edition (997 copies
printed). For the record, this copy has 335:1&2 in their proper order, as they appeared
in the proofs. Very slightly rubbed at spine tips, some slight tanning to endsheets and
prelims (perhaps from a long absent clipping) otherwise an unusually nice copy, very good
or better, and certainly a considerable cut above the norm. Cloth slipcase and chemise.
WOOLF A19a. MODERN MOVEMENT 28.                                                     $375.
142. Douglas, Norman: SIREN LAND ... NEW AND REVISED EDITION. London: Martin
Secker, [1923]. Medium brown cloth, stamped in gilt. Portrait. Boards very slightly bowed,
otherwise very good and bright.
A publisher’s dummy for the first edition under Secker’s imprint, the text revised from that
of the 1911 edition and reset. This dummy includes the prelims and portrait (the latter bearing
a pencil format annotation), and the first 32pp. of text. The spine stamping is in this case
vertically centered on the upper board. Rare in this form.                               $225.

1901. Elaborately gilt decorated cloth (by M. Armstrong), t.e.g.. Photographs. Decorations
(also by Armstrong). One signature barely starting (visible only at the top edge), otherwise
an unusually bright, near fine copy.
First edition thus, with one poem here first printed in book form. The title-page is in BAL’s
state B, printed in black and green.
BAL 4937.                                                                               $350.

144. Dyck, Paul: BRULÉ THE SIOUX PEOPLE OF THE ROSEBUD. Flagstaff, AZ: Northland
Press, [1971]. Quarto. Publisher’s half gilt calf and cloth. Illustrations, plates and photographs.
Bookplate, cloth faintly dust smudged, otherwise a very good or better copy in lightly sunned
and dust-smudged slipcase.
First edition, limited issue. One of one hundred numbered copies, specially bound, with
an original pen and watercolor drawing on the colophon, signed by the author/artist. Dyck’s
text is commentary on the accompanying collection of photographs by John Anderson taken
at the Rosebud Agency beginning in 1889.                                            $1000.

Health-Culture Company / L.N. Fowler & Co., [1910]. 440pp. Deep blue cloth, lettered in
white. Portrait. Edges a bit dusty, small dent in upper board, offset to endsheets from dust
jacket (fragile, partial panels laid in), otherwise a very good copy.
First edition of this novel promoting eugenics and social, political and economic reform.
The novel proposes a form of contractual platonic cohabitation prior to marriage as a solution
for the rising divorce rate.
HANNA 1057. SMITH E-1.                                                                   $85.

146. Earle, Alice Morse: CURIOUS PUNISHMENTS OF BYGONE DAYS. Chicago: Printed
for Herbert Stone & Co., 1896. Straw cloth, stamped in red and brown, t.e.g., others untrimmed.
Frontis and plates by Frank Hazenplug. Very slight darkening to spine, otherwise a very
good or better copy of this popular title.
First edition. The first catalogue of Herbert Stone & Co is inserted as [8pp] of terminal
adverts in this title.
KRAMER 118.                                                                          $85.

147. Emerson, Adaline Talcott: LOVE-BOUND AND OTHER POEMS. Cambridge: Printed
at the University Press, 1894. Small octavo. Gilt green cloth, t.e.g., others untrimmed.
Portrait. Light rubbing to spine tips, otherwise near fine.
First edition. One of five hundred copies privately printed under the direction of Stone &
KRAMER, p.361.                                                                        $85.

148. Emerson, Ralph W.: ENGLISH TRAITS. Boston: Phillips, Sampson and Co., 1856.
Dark brown cloth, stamped in blind, lettered in gilt. Early ink name on first blank, ink initials
in corner of free endsheet, bookplate of the James S. Copley collection, minor occasional
spotting to the text, hence internally very good; externally an unusually fine, bright copy.
Half morocco slipcase and chemise.
First edition, published in early August. The London edition announced by Bentley in early
July did not appear, and the Routledge edition appeared in late August. An early laid in
bookseller’s description proclaims this copy “miraculous,” and perhaps “unique” in its perceived
exemplary condition (in all caps, no less!).
MYERSON A24.1.a. BAL 5226.                                                                 $475.

149. [Encino Press]: Dobie, J. Frank: BOB MORE MAN AND BIRD MAN. Dallas: The Encino
Press, 1965. vii,27,[1]pp. Small quarto. Cloth, paper label. Illustrations. Bookplate, otherwise
about fine in card slipcase with paper label (a bit sunned, with stray mark on upper panel
and small label residue in lower corner).
First edition in book form, and the first clothbound publication of the Encino Press. One
of 550 numbered copies designed, and with an introduction, by the principal of the press,
William Wittliff, later an accomplished photographer and screenwriter. An uncommon book
a couple of decades ago.                                                              $95.

150. Ernst, Morris L., and Pare Lorentz: CENSORED THE PRIVATE LIFE OF THE MOVIE.
New York: Cape and Smith, [1930]. Cloth and decorated boards. Frontis and plates. Foretips
and lower edges shelfworn, crown of spine a bit soft, otherwise a very good copy, without
dust jacket.
First edition. Warmly inscribed and signed by Ernest in the year of publication. An interesting
survey of censorship actions taken against films on both national and local levels.      $100.

Three volumes. Printed wrappers. Wrappers faintly used, short tears at top and bottom
edges of third rear wrapper, but a very good set.
The sale catalogue (in three portions) of Reginald Brett’s important collection, notable for
its particular emphasis on then contemporary poets. 2134 lots, of which any one of several
group lots would constitute a notable author collection offering these days.           $55.

& Campden: Press of the Guild of Handicraft, Essex House / Eyre & Spottiswoode, 1903].
[12],387pp. Folio. Half pigskin and beveled oak boards, with braided leather ties and metal
hasps. Frontispiece. Printed in black and red, with elaborate pictorial borders for prelims
and pictorial initials throughout. A bit of wear to extremities, ties a bit frayed and missing
one loop; neat gift inscription on preliminary blank, small collector’s bookplate, but a very
good copy, internally about fine.
One of four hundred numbered copies printed under the direction of C.R. Ashbee on Batchelor
handmade paper in ‘Endeavour’ type and a special type cast specifically for use in this
book. The 150 cuts and borders were drawn by Ashbee and engraved by W. Hooper and
Miss Clemence Housman. Known also as The Prayer Book of King Edward VII (and
so titled on the spine), this was one of the most substantial productions of the press, and
the model for an edition of the Bible that, due to lack of subscriptions, did not progress
beyond a prospectus. There were also ten copies on vellum.
TOMKINSON (ESSEX) 37. RANSOM (ESSEX) 37.                                             $2500.

ACTED AT THE DUKE’S THEATRE. London: Printed by J. Macock, for Henry Herringman
..., 1676. [8],95,[1]pp. Small quarto. Extracted from binding. Small early pamphlet volume
index number in corner of title, light scattered foxing, a few tiny pen splashes in upper
margins of last three leaves, small rust hole in N 3 affecting one word, otherwise a very good
First edition of Etherege’s final and most successful play, which has become “‘as it were,
one of the very symbols of the comedy of manners’ ... [it] is still the most popular of Etherege’s
comedies” - Pforzheimer. Etherege and Rochester were occasional companions in social
pastimes - they both sired children with the actress Elizabeth Barry - and Etherege wrote
this comedy partially in response to comments Rochester made in his “Session of Poets,”
which circulated the previous year. The character Dorinant is said to be explicitly modeled
on the Earl, and Etherege has himself been identified with Sir Fopling. Dryden contributed
the Epilogue.
ESTC R38861. WING E3374. WOODWARD & McMANAWAY, 551.                                          $950.

PRINT DECORATIONS BY MARY FABILLI. Berkeley: Equinox Press, 1949. Quarto. Stiff
quarter vellum and decorated paper over boards. Toe of spine a bit darkened, vellum flared
along edge where it meets the decorated paper, light rubbing to gilt stamping, otherwise
about fine.
First edition of Everson’s first major exercise in fine printing, limited to one hundred copies
set in Centaur and Arrighi types, and printed by hand on Tovil handmade paper. With the
original invoice to the first owner, in Everson’s hand, on Equinox Press letterhead, 15 November
1949, accompanied by the envelope, also addressed by the poet/printer.                    $3000.
                                  One of Fourteen
                           Accompanied by Original Drawings
STATES. [Berkeley]: Oyez, 1976. Quarto. Half calf and decorated boards. Fine.
First edition. From an edition of 250 copies designed and printed by Thomas Whitridge
and illustrated by Patrick Kennedy, this is one of 14 lettered copies in which the poet wrote
out a stanza of verse. This copy is accompanied by five of the original drawings and studies
for the illustrations for the book, on four large sheets of drawing paper (folded across middle
and with corner nicks and creases).                                                      $850.

STATES. [Berkeley]: Oyez, [1976]. Quarto. Pictorial wrappers. Fine.
First edition, trade issue. Inscribed by Everson: “To Allan Tate for the hospitality of his
home and for his prodigious service to American Letters William Everson.” An interesting,
if somewhat unexpected, association copy. Designed by Thomas Whitridge, with illustrations
by Patrick Kennedy.                                                                  $125.

157. Everson, William [intro to:] TRUE BEAR STORIES. By Joaquin Miller. [Covelo, CA]:
Yolla Bolly Press, [1985]. Large octavo. Full “California Latigo leather,” stamped in blind.
Illustrated with woodblocks by Vincent Perez. Fine in slipcase with small label shadow
at corner of one panel.
First printing in this format, edited by James Robertson, with an Introduction by William
Everson. One of 230 numbered copies (of 250), printed on Curtis Rag paper, with the
illustrations printed from the blocks, signed by Everson and by Perez. Issued as #4 in the
press’ “California Writers of the Land” series.                                     $225.

158. [Everson, William, et al (printers)]: A LITTLE REBELLION NOW & THEN. Santa Cruz:
William James Association, 1976. Title/index leaf, fourteen broadsides, and errata sheet.
Folio (52 x 39.5 cm). Loose typographically decorated broadsides, laid into gilt lettered
folding cloth portfolio. Bookplate residue on portfolio pastedown, light rubbing to portfolio,
otherwise near fine, broadsides fine.
First and only edition. One of ca. 200 sets printed on Tovil handmade paper. A singular
undertaking in observance of the Bicentennial Year, wherein distinguished printers were
invited to select appropriate texts and present them in broadside form, with the only requirement
being size and paper. Those who contributed are: Clifford Burke (Cranium Press); Sebastian
Carter (Rampant Lions Press); Bert Clarke (A. Colish); William Everson (Lime Kiln Press);
Katherine & Sherwood Grover (Grace Hoper Press); Andrew Hoyem (Arion Press); Mark
Landsburgh (Sign of the Albion Press); Cheryl Miller, Kathy Walkup and Jaime Robles (Five
Tree Press); Henry Morris (Bird & Bull Press); Ward Ritchie; Jack Stauffacher (Greenwood
Press); Stinehour Press; Tom Whitridge (Didymus Press) and Adrian Wilson (Press in Tuscany
Alley). The accompanying errata indicates that David Godine and Alvin Eisenman would
be sending their broadsides directly to the subscribers, but neither broadside was published.
In spite of the large limitation, sets infrequently turn up for resale, many of the original
subscribers having been institutions.                                                       $500.

159. Fast, Howard: TYPED LETTER, SIGNED. New York. 25 November 1945. Two-thirds
of a page, on quarto sheet of personal letterhead. Folded for mailing, pencil squiggle across
imprint at top, very good.
To William Targ, at World Publishing Co. A dictated letter, but personalized by Fast by
amendment of the salutation in manuscript from ‘Mr Targ’ to ‘Bill’: “I am pretty sure that
you feel very much as I do about the atom bomb. I felt there was a desperate need to take
some kind of action and fortunately, through the Independent Citizen’s Committee, we have
been able to arrange a Madison Square Garden meeting. But, unless the Garden is filled,
the meeting will have very little effect - and there’s no one but you and I, and a few hundred
more interested citizens, who can assure it being filled.” Fast had enclosed tickets for
the event, and requests Targ’s help in their distribution/sale, closing “And if you send a
letter similar to this to a dozen friends of yours, we’ll have the Garden packed to the rafters
....” Signed in ink, “Howard.”                                                           $125.
160. Faulk, John Henry: FEAR ON TRIAL. New York: Simon & Schuster, 1964. Cloth. Binding
a bit sunned at edges, edges a trace dusty, otherwise a very good copy, in occasionally
creased, nicked and edge-tanned dust jacket.
First edition. Inscribed by the author: “For Ken Roberts, who stood firm long before I even
got involved, and who never backed away - With great admiration, much gratitude, and much
affection, John H. Faulk 4 Nov. 1964.” The recipient was, in all likelihood, the radio and television
announcer and co-founding member of the American Guild of Radio Announcers and Producers,
later AFTRA. Faulk’s account of his long legal battle against, and victory over, the blacklisting
right-wing fringe group AWARE, served as the basis for an Emmy-winning 1975 television
adaptation starring William Devane, George C. Scott, et al. While Faulk, always a gentleman,
was unsparingly courteous in response to requests from admirers for inscriptions in his books
in later years, early presentation/association copies of this book are not common.             $125.

161. Faulkner, William: MARIONETTES A PLAY IN ONE ACT. [Oxford: Yoknapatawpha
Press, 1975]. Tape backed boards. Illustrated. Fine in folding case, with accompanying
explanatory booklet.
First edition thus, reproduced in exact facsimile of Faulkner’s illustrated manuscript booklet.
One of 500 numbered copies (of 510). With the explanatory text by Ben Wasson, “A Memory
of Marionettes.”                                                                         $350.

162. Ferber, Edna: TYPED LETTER, SIGNED. New York. 4 October 1931. Two and one-
half pages, on three panels of a folded quarto sheet of letterhead from the Lombardy. Very
To writer/educator Hamilton Holt, then President of Rollins College: “... I wish I might accept
your invitation to visit Rollins College, but I am sorry to say that it seems impossible. That
Fatal Interview was, as you say, copied all over the country. I haven’t talked for publication
in something like ten years. I can’t imagine why I exploded at just that point. But I meant
it ... an interview such as that one usually is full of misquotations, and is bound to give
a false impression. But I only regret that I was not more emphatic. I wish that the boys
and girls of the United States could be convinced that Politics is something in which they
are vitally concerned. As things now stand it is merely something comic or vulgar that
goes on in Washington or in the state legislature; something which doesn’t concern them
at all, but which is made up of the antics of tobacco chewers in black string ties or wise-
cracking boys like Jimmy Walker. In any case, it doesn’t interest them, though, oddly
enough, their lives seem to depend pretty much on what happens just now in this mysterious
world-mess known as politics ....” Signed in full.                                        $450.

163. Field, Eugene: AUTOGRAPH LETTER, SIGNED. Chicago. 25 May 1893. One page,
in ink, on single panel of quarto folded lettersheet. Folded for mailing, otherwise fine, with
envelope addressed in his hand (stamp cut away).
To “Mrs. Coonley,” most likely Lydia Avery Coonley Ward, the prominent suffragette /
philanthropist / poet / patroness (1845-1924) of Wyoming and Chicago, and widow of J.C.
Coonley. Field writes apologetically: “Your courteous invitation for last evening reached
me too late for acceptance. We have moved our place of residence ... Pray acquit us of
any apparent rudeness; the loss is wholly ours. Very cordially yours, Eugene Field.”
Accompanied by a small photogravure portrait of the author, signed in pencil in the margin
— most likely a frontispiece extracted from a book.                                  $350.

164. Fine, Ruth E., and William Matheson: PRINTERS’ CHOICE. A SELECTION OF
W. Thomas Taylor, 1983. Folio. Cloth, paper label. Photographs. Tipped-in specimen leaves.
Bookplate on front pastedown, otherwise about fine.
First edition. Bibliographical descriptions by W. Thomas Taylor. One of 325 numbered
copies, printed on Rives heavyweight paper by David Holman at the Windriver Press. A
lovely and important book, based on the Grolier exhibit, and printing capsule histories of
forty-one important American fine presses, with bibliographic descriptions of the books
selected to exhibit the work of each press. Enhancing this volume are specimen leaves
printed by each of the following presses: Allen Press, Arion Press, Bird & Bull Press,
Cummington Press, Laguna Verde Imprenta, Perishable Press, Plantin Press, and the Warwick
Press. Among the other presses treated: Abattoir Editions, Anvil, Cranium, Gehenna,
Greenwood, Heron, Janus, Labyrinth Editions, Lime Kiln, Press in Tuscany Alley, Stone
Wall, and the Windhover Press.                                                      $450.
                                   Presentation Copy
SUR LE THÉATRE DE VAUDEVILLE LES 11, 12, 13 ET 14 MARS 1874. Paris: Charpentier
et Cie., 1874. [6],165,[1]pp. Small octavo. Unsigned 20th century three-quarter forest green
morocco and marbled boards, raised bands, t.e.g., original wrappers bound in. Wrappers
and first blank remargined at gutter, the former with some repairs and restored loss at blank
margins and corners, first blank mounted with some foxing and soiling along gutter, otherwise
internally bright and clean, and handsomely bound.
First edition of Flaubert’s first published dramatic work, inscribed by him on the preliminary
blank “a mon ami Cordier [/] G Flaubert.” The first letter ‘a’ is partially affected by the
remargining. The recipient may have been Alphonse Cordier (1820-1897), the senator from
Normandy, with whom Flaubert was acquainted and corresponded, and who proved instrumental
in the prosecution against De Maupassant’s Des Vers being withdrawn. Le Candidat was
a commercial failure, and its reception led to Flaubert joining with Zola, Edmond de Goncourt,
and Turgenev for a Dîner des Auteurs sifflés, a Dinner of Jeered Authors, in April (Brown,
Flaubert, p.493)
TALVART & PLACE (FLAUBERT) 6a. CARTERET I: 270.                                         $2750.

BAJA CALIFORNIA. [San Diego]: Leland Foerster Portfolio One, [1995]. Twelve matted
color photographs (image size 11 x 15 inches, plus margins; mat size 16 x 20 inches).
Accompanied by explanatory text, enclosed in archival cloth case. Fine.
A superb portfolio of Foerster’s original Ilfochrome prints of twelve of his photographs of
missions on the Baja peninsula: San Luis Gonzaga. San Borja, Santa Gertrudes, San Ignacio,
and San Javier. The portfolio is limited to fifty numbered sets, numbered and signed on
the explanatory text insert by the photographer, and with each print numbered and signed
on the mat. This is portfolio #4. For the past 16 years Foerster has been an instructor
in the Arts and Humanities Department of the University of California San Diego Extension
where he teaches courses in artistic photography. He has completed two books: There
is Work, Hay Trabajo, about agriculture, people and water in California’s Imperial Valley,
and The Californios, about the descendants of the mission era in Baja California.     Sold

167. [Ford, John]: Nugent, Frank S.: [SCRAP BOOK OF PRESS-CLIPPINGS, CITATIONS,
ETC]. [Los Angeles]. 1948 - 1966. Ca. 90 filled pages, plus many loosely inserted items.
Large, gilt lettered padded leather scrapbook, 36.5 x 28cm. Occasional discoloration due
to glue used to tip in items, some clippings lightly used, detached and/or tanned, but in
generally very good or better state.
The retained scrapbook compiled by screenwriter Frank S. Nugent (1908-1965) of reviews,
press coverage, awards, and other such matter during this portion of his career, and concluded
by his widow after his death. Beginning in 1948 with his first major screen credit, Fort
Apache, Nugent was closely associated with John Ford and eleven of his twenty-one scripts
were for Ford, including some of the latter’s most important films (She Wore a Yellow
Ribbon, The Quiet Man, Mister Roberts, The Searchers, The Last Hurrah, etc). Among
the laid in items are a 1948 t.l.s. to Nugent from Walter Wanger; a 1956 congratulation
telegram from Jack Warner after Nugent won the Screen Writers Award for Mister Roberts,
along with his original signed nomination for the award; the original signed Screen Writer’s
Guild nomination for The Quiet Man; Box Office Blue Ribbon Awards for The Last Hurrah
and Mister Roberts; a publicity portrait photograph of Nugent; two copies of the program
for the 25th Annual Academy Awards, for which Nugent’s screenplay for The Quiet Man
was nominated; and the copy of the Feb. 1966 issue of the Writers Guild Newsletter containing
the memorial tribute to him sent to Nugent’s widow, with transmittal letter. In total, an interesting
assemblage tracking an important career in the film industry.                                  $750.

168. Forrest, Bernard: HER FOOT IN MY HAND. Los Angeles: Press of the Pegacycle
Lady, 1972. Cloth and boards, paper spine label. Frontis. Bookplate on front pastedown,
otherwise fine.
First edition. One of fifty numbered copies (the entire edition) printed on handmade paper,
signed by the poet, and with an original wash and watercolor painting by him tipped in
as the frontispiece.                                                                  $200.
                          Letter of Introduction to Albert Camus
169. Frank, Waldo: TYPED LETTER, SIGNED, TO ALBERT CAMUS. Truro, MA. 9 April
1953. One half-page, on half-sheet of quarto letterhead. Folded for insertion into envelope
(present), else fine.
A charming, if brief, letter of introduction from Frank: “Dear Albert, Here is my very dear
friend, Lewis Mumford, about whose visit I wrote you. No one in our country has his width
and depth of knowledge of America and the modern world. I wish I could be with you, when
you talk. Warmest good wishes to you and your wife.” Signed in ink, “Waldo Frank”, and
in type at bottom: “for Albert Camus.” The envelope is addressed, in type, to Camus care
of the NRF. Camus met Frank during the course of his visit to New York in 1946, and counted
him among those who made the strongest impression upon him.                           $300.

170. Frank, Waldo: FINE TYPED LETTER, SIGNED, TO LEWIS MUMFORD. Cali, Colombia.
4 February 1949. One page, closely typed, on recto only of quarto sheet of Hotel Alferez
Real stationary. Old folds from mailing, otherwise very good.
A dense and informative letter by Frank, then in the midst of one of his several trips through
South America, to Lewis Mumford, as “Lewis, dear dear Brother,” reading only in part: “...
These four weeks in Columbia, I have travelled, studied, met innumerable people, and tried
to capture the essence of this strange, schizoid country, so advanced politically and so
backward economically and indeed intellectually - where books of poems are best-sellers
and there is no demand for (no supply of) novels — a revelatory trait of a country whose
‘elite’ are utterly out of contact, except in theory, with the workers ... My book is rapidly
forming; it will be good, I think, and it will be timely. I am eager now to return, and to begin
to write it.” He will depart the next day for Ecuador, “... where I shall be the guest of the
government, since it is a liberal one (for how long?) One by one, they fall, not through
the work of the old fashioned caudillo, who after all had a relationship with the common
people, but through the act of Armies schooled in Hitlerian Germany and fascist Italy, and
munitioned by the USA — in preparation for a war against Russia. It is a ghastly situation.
For here, even more than with us, there is no 3rd Force: it is the Church-and-Army, against
a handful of communists - the liberals are scattered and impotent.” In addition, he tells
of a 4 day pilgrimage to San Augustin and the continuing discoveries there of statuary
“not seemingly related with either Maya or Peruvian - probably it is earlier, and there is
a mising [sic] link between it and these later cultures ....” He turns to other matters, including
renewal of a Fellowship, and closes “ever your brother....” Signed in ink, “Waldo,” and with
a handful of minor corrections. Ca. 600+ words. Beginning in the 1930s, Frank turned further
away from his fiction writing toward concentration on the economic, political and social
history of Latin America. The book he refers to may have been Birth of a World: Bolivar
in Terms of His Peoples, published in 1951.                                                   sold
                                    Manuscript Poem
[Np]. [nd. but possibly ca. 1920s]. One page, on recto only of 22 x 14 cm sheet. Trace
of symmetrical offset around perimeter from having once been framed, otherwise very good
or better. Half morocco folding clamshell box.

An autograph transcript of this twelve-line poem, titled, and signed in full by Frost at the
conclusion. Further, he has inscribed it at the bottom “For Hilda.” A laid in slip indicates
the recipient was Hilda Conkling (1910-1986), a child prodigy whose own poems (composed
orally when she was but a child and transcribed by her mother, poet Grace Hazard Conkling)
were collected in three volumes published between 1920 and 1924. Frost visited the Conklings
during that period, and this poem, first published in book form in West-Running Brook
(1928), seems a likely candidate for Frost to have written out and given her during one
of those visits.                                                                   $10,000.

New Haven: The Beinecke Library, 1988. Cloth. Photographs. About fine in dust jacket.
First edition of these informative, anecdotal and highly readable reminiscences of the former
Curator of American Literature at the Beinecke Library, Yale University, published to coincide
with his 75th birthday. Inscribed by the author “For Joan & Chester Kerr, my first readers!
with grateful affection Don Gallup, New Haven, 12 May 1988.” Accompanied by a 3/4 page,
closely typed, t.l.s. from Gallup to the recipients, commenting on the book, the publication
event at the Beinecke, editing, etc. In his book, Dr. Gallup includes accounts of the acquisition
and growth of the Stein, Pound, Williams, O’Neill and Stieglitz archives, as well as personal
accounts of his own acquaintance with many of the most prominent literary and artistic
figures of the 20th century. In the course of the text, material by Eliot, Wilder and Stein
appears here for the first time in book form, along with records of conversations and interviews
with Georgia O’Keeffe and Carlotta O’Neill. Dr. Gallup’s own experiences as a collector
are by no means slighted.                                                                   $95.

WITH LITERATURE, PAINTING AND THE DRAMA. Chicago & Cambridge: Stone & Kimball,
1894. Gilt decorated cloth, t.e.g., others untrimmed. First edition. Slight darkening to
endsheets, with residue of small bookseller’s label on front pastedown, offset from now
absent clipping to colophon and facing page, a few pencil notes to terminal blank, otherwise
fine and bright.
KRAMER 19.                                                                             $100.

174. [Gehenna Press]: Bresdin, Rodolphe: BRESDIN TO REDON SIX LETTERS 1870 TO
1881. [Northampton]: The Gehenna Press, 1969. Large octavo. Quarter morocco and marbled
boards by Arno Werner. Etched portrait by Leonard Baskin. Bookplate of James S. Copley,
pencil erasure from endsheet, otherwise fine.
First edition. Edited by Roseline Baker, translated by Seymour S. Weiner. Copy #125 of
three hundred regular copies, from a total edition of four hundred numbered copies printed
in Centaur and Arrighi types on Japanese paper by Harold P. McGrath, and signed by Baskin.
One hundred deluxe copies were specially cased, with an extra impression of the portrait.
BASKIN 61.                                                                          $350.

175. [Gehenna Press]: Brown, Charles Brockden: ALCUIN: A DIALOGUE. [Northampton]:
The Gehenna Press, 1970. Octavo. Marbled paper over boards, gilt morocco label, by Gray
Parrot. Bookplate on front pastedown, otherwise about fine, in board slipcase with patch
of rubbing at one corner.
First printing in this format of Brown’s first book, featuring the text of 1798, along with
the posthumously published third and fourth parts, edited, with an afterword, by Lee R.
Edwards. The third of the Gehenna Tracts. One of 300 numbered copies printed in Centaur
and Arrighi types by Harold McGrath, with a portrait and colophon device by Leonard Baskin,
signed by him on the colophon. According to the colophon, copies #1-100 were issued
with an additional impression of the portrait on Japanese paper, signed by Baskin. Although
this copy is #265, it is accompanied by a mounted “touched [i.e. colored] proof” of a variant
etched portrait of Brown, captioned and signed by Baskin on the mount.                 $350.

176. Gilot, Francoise: MONOGRAPH 1940 - 2000. [Lausanne]: Actos, [2000]. 444,[1]pp.
Large, thick quarto. Printed boards. Extensively illustrated in color and b&w. Bookplate
on front pastedown, otherwise fine in dust jacket and slipcase (small sticker residue in
corner of one panel of latter).
First edition. A substantial collection of Gilot’s writings and art work, accompanied by a
biography (with rich associated photo-documentation) and analysis by Mel Yoakum, and
a foreword by Dina Vierny. Inscribed and signed by Gilot, and signed by Yoakum. $375.

THE RIVER, THE LAND, AND THE PEOPLE. New York: Duell, Sloane and Pearce, [1949].
xii,243,[1]pp. Quarto. Cloth. Photographs. Map. Bookplate on front pastedown, otherwise
a very good copy, in shelfworn and somewhat chipped, price-clipped dust jacket, with old
internal masking tape reinforcement along edges.
First edition. The product of Gilpin’s 1800 mile trip along the Rio Grande, extensively illustrated
with her splendid photographs. One of the key modern books on the region.                    $125.
                        “... the best minds of my generation ...”
178. Ginsberg, Allen: HOWL AND OTHER POEMS. San Francisco: City Lights / Pocket
Poets Number 4, [1956]. Black wrappers, printed white label. White label a bit tanned at
edges and a trace foxed, else a very good copy.
First public edition, first printing, preceded by the scarce 1955 mimeographed printing prepared
for Rexroth’s San Francisco State College class, of which few copies remain extant.
Introduction by William Carlos Williams. One of 1000 (or 1500) copies printed according
to Cook, or 2000 according to Wallace. “The publication of Howl marks a watershed in
American poetry as definitely as Leaves of Grass did in 1855” - Wilson.
COOK (CITY LIGHTS) 4. COOK (POCKET POETS) 4. WALLACE B71. WILSON 50.                      $2750.

179. Ginsberg, Allen: HOLY SOUL JELLY ROLL POEMS AND SONGS 1949 - 1993. [Los
Angeles: Rhino Records / Word Beat, 1994]. Four CDs, in cases, accompanied by 62pp.
booklet, pictorial stiff wrappers, illustrated. The whole enclosed in publisher’s pictorial board
clamshell box. Box a bit shelfworn at corners, otherwise very good or better.
Inscribed presentation copy from Ginsberg, inscribed inside the upper lid of the box: “For
Lucien Carr 9/28/94 Allen Ginsberg Washington D.C.,” accompanied by a large ink drawing
covering the blank areas of the lid. Within the booklet of text, he has inscribed and signed
it again to Carr “...hopefully the poem’s last longer than the metallic C-D’s ....” A very
good association copy: Ginsberg met Carr at Columbia University in 1943, and through
Carr met Jack Kerouac, Neal Cassady and William Burroughs. In the NYT Obituary for Carr
(30 January 2005), Ginsberg’s earlier comment about Carr’s role in the circle of friendships
that gave birth to the literary arm of the Beat Generation was quoted: “Lou was the glue.”
Carr went to work for United Press International in 1946 and was promoted to night news
editor in 1956, coincident with the preparations for press of the first public edition of Howl.
Carr was included, with Kerouac, Burroughs and Cassady, in the printed dedication, and
when he received his copy, wrote Ginsberg expressing “one small gripe” about his inclusion
there, and requesting, out of deference to his privacy, that Ginsberg avoid such mention
in future books. At Ginsberg’s expense, Carr’s name was deleted from the dedication page
of the second impression (then already printed), and from subsequent printings. Nonetheless,
in 1982, Ginsberg dedicated Plutonian Ode to Carr, “... for friendship all these years....”$850.

SUBALTERN.” London: Henry Colburn, 1829. Three volumes. [4],318,[2];[4],[3]-307,[1];
[4],[3]-328,2,[2]pp. Octavo. Modern boards, printed spine labels, untrimmed. Half-titles and
ads bound in. Bookplate in each volume, very occasional light foxing, tiny ink smudge on
title of third volume, else a very good set.
First edition of this historical narrative, thinly concealed as fiction, by the prolific novelist
and writer on military matters. Gleig served in the War of 1812 and the Peninsular Wars,
going on half-pay after the Battle of Waterloo to return to studies in Oxford. In 1820 he
took orders, and turned to writing to supplement the meager income allotted to his curacies.
He was a frequent contributor to Fraser’s Magazine, where The Subaltern had first appeared.
WOLFF 2571.                                                                                $450.

OF WOMEN. London: Printed for J. Johnson..., 1798. [4],[4],199,[1]pp. Small octavo.
Contemporary (and perhaps original) boards, rebacked at a later date in simulated black
calf, fore and bottom edges wholly untrimmed. With the uncommon frontis portrait engraved
by Heath after the portrait by Opie. 1880 bookplate of Colonel Francis Grant on pastedown.
Boards a bit edgeworn and marked, free endsheets wanting, advert leaf and errata bound
after the full title, old tape shadows at gutters of boards and facing leaves, neat correction
of numbering error of F 4r, otherwise a very good copy. Cloth clamshell case.
First edition of the only contemporary biographical notice of Mary Wollstonecraft. A week
after her death due to complications attending the birth of Mary Godwin Shelley, Godwin
set about editing her posthumous works and composing this memoir, regarded by some
as his most readable book. “While the publication of her four volume posthumous works,
won her adherents and converts, the more frank Memoirs created more shock than adulation.
Boldly reversing the conventions of contemporary biography which normally sought to
demonstrate how admirable qualities lead to admirable achievements, the book is a vindication
of Mary Wollstonecraft, a vindication of the principles of the Vindication, and an open celebration
of the characteristics which writers on women usually mentioned only to deplore. The Memoirs
marks an important step in the development of the art of has more in common
with the poets and novelists of the future than with the moral philosophers and classifiers
of the past...The Memoirs shocked Godwin’s contemporaries more than any of his other
writings...” - St Clair, The Godwins and the Shelleys, pp. 181-185. A second edition
was soon called for, and incorporated revisions intended to deflect some of the more violent
criticisms. The portrait is often lacking from copies, and untrimmed, unpressed copies are
NCBEL II:1250.                                                                              $3750.

182. Goldman, William: THE SEA KINGS A PIRATE MOVIE .... New York: Joseph E.
Levine Presents, Inc., August 1978. [1],132 leaves. Quarto. Mechanically reproduced
typescript, printed on rectos only. Bradbound in gilt stamped flexible Studio Duplicating
Service wrappers. Title inked on lower edge, minor use to wrappers, otherwise near fine.
An unspecified draft of this unproduced original screenplay by Goldman. At the time, production
was anticipated under Levine’s auspices, potentially starring Sean Connery and Roger Moore
as the swashbuckling duo of Blackbeard and Bonnet, but the financing for the film was
not available, and the project was scrapped.                                             $225.

183. Goldschmidt, Lucien, and Weston J. Naef: THE TRUTHFUL LENS. A SURVEY OF
Club, 1980. xii,241,[1]pp. Quarto. Cloth. Gilt leather label. Photographs. As new in publisher’s
slipcase and shrinkwrap.
First edition. One of one thousand copies. A major survey of photographically illustrated
book, issued to accompany an exhibition at the Grolier Club, with catalogue entries for
192 books and two excellent essays on the subject. Printed by the Stinehour Press, with
plates by the Meriden Gravure Company. A ground-breaking work.                     $475.

184. Gooden, Stephen: Copperplate Title-Page Proof for THE NEW TESTAMENT. London:
The Nonesuch Press, 1926. Original proof engraving (plate size 23 x 15.5 cm, on 29.8 x
22.2 cm sheet). Fine.
One of a reported twelve proofs, printed before the copperplates were steel-faced, for Gooden’s
superb title-page design for the Nonesuch Press’s edition of the Holy Bible, a work considered
to be among the artist’s greatest achievements.
CAMPBELL DODGSON 41.                                                                      $250.

185. [Gordon, Caroline]: Watkins, Floyd C., and Charles Hubert Watkins: YESTERDAY
IN THE HILLS. Chicago: Quadrangle Books, 1963. Cloth. A very good copy, in rather worn,
tanned and chipped dust jacket.
First edition of this evocation of Ball Ground in the Georgia hills. An attractive association
copy, inscribed by Floyd Watkins to Caroline Gordon.                                      $75.
186. Gorky, Maxim: IVAN EL GUERRERO Y OTRO TEXTO. La Plata, Argentina: M.F.,
1943. 16mo. Original printed wrappers. Trace of staple rust and minor bump to one corner,
otherwise about fine.
First printing in this format, and perhaps first printing of this translation. One of 180 numbered
copies, from a total edition of two hundred copies, published by Marcos Fingerit and Alejandro
Denis-Krause. Laid in front is a gift card from Fingerit, best known as editor of the periodical
Fabula and for his long distance association with the Italian Futurists.                     $125.

.... San Francisco: Grabhorn-Hoyem, 1968. Quarto. Cloth and decorated boards. Illustrations.
Tipped-in specimens/facsimiles. Fine.
First edition. One of four hundred copies. Introduction by Robert Grabhorn. A charming
assembly of Jane Grabhorn’s own writings, often rescued from minuscule private editions,
productions of the Jumbo Press, and elusive ephemera.                             $175.

188. [Grabhorn Press]: Macarthur, Mildred Yorba [ed & trans]: CALIFORNIA - SPANISH
PROVERBS. San Francisco: Colt Press, 1954. Gilt vellum and decorated boards. Printed
in red and black. Bookplate, minor mottling to the vellum, otherwise about fine, with the
prospectus laid in. Wanting the unprinted shipping wrapper.
First edition. One of 450 copies printed in Goudy Thirty on handmade paper at the Grabhorn
Press. 332 proverbs printed in parallel Spanish/English.
GRABHORN 556.                                                                        $100.

189. Grahame, Kenneth: DREAM DAYS. New York and London: John Lane: The Bodley
Head, 1899. Gilt blue cloth, t.e.g., others untrimmed. Fine and bright.
First edition. Although dated ‘1899’ and with an 1898 copyright notice, according to Brussel
this edition was actually published in October or November of 1898, and the British issue
was comprised of sheets from this printing.
BRUSSEL (EAST TO WEST), p.94.                                                         $125.

190. Grapes, Marcus J[ack].: A SAVAGE PEACE AND OTHER POEMS. [New Orleans:
Published by the Author, 1965]. Pictorial wrappers. Illustrations by Susan Weinberg. Colored
tissue sectional interleaves. Trace of sunning at spine and edges, small ink name inside
upper wrapper, but a very good or better copy.
First edition. One of one hundred numbered copies. An early collection of Grapes’ poems,
some reprinted from The Outsider, Wormwood, Ole, etc.                               $85.

191. Graves, Robert: AUTOGRAPH LETTER, SIGNED. Palma de Mallorca. 1 August 1955.
Three-quarters of a page, in ink, on large quarto sheet of letterhead air letter flimsy. A
few creases, else very good or better, with envelope, addressed in ink. Half morocco folding
To “John G. Moore,” in Pasadena, CA. Thanks the recipient for his letter, noting: “Yes,
it is a pity when poetry gets into the hands of the sods, dopes & wacks. ‘Down, Wanton,
Down’ was a nice obscene joke of William Shakespeare Gent in his King Lear; about a
prudish cockney wife who hit some erect eels on the head with a spoon. I enlarged on
it in the 17th century fashion. Frost was a good poet in his day - around 1922 ...” Signed
in full.                                                                             $450.

192. Graves, Robert: AUTOGRAPH LETTER, SIGNED. Deya, Mallorca, Spain. 25 June
1965. Four pages, in ink, on four leaves of airmail flimsy letterhead. Folded for mailing,
otherwise about fine.
Marked “Confidential,” to “Dear Mr. [Edwin] Sy,” then special collections curator at Lockwood
Memorial Library: “Enclosed a number of photographs. The ‘Robert Graves Day’ rather
embarrasses me because I have always tried to remain a private character, but, having
a large family to support, I have been forced to make public appearances in U.S. & England.
And the recent deaths of the four best known poets writing in English - Frost, Cummings,
Eliot [,] Edith Sitwell — has as it were sucked me upwards by the vacuum they created.”
He continues further in detail about his need to raise funds by way of another sale of his
manuscripts, and his feelings of obligation to Lockwood. He has assembled “a collection
of prose manuscripts to be sold by my friend Lawrence Wallrich ... Various buyers, from
the coasts mainly, would have paid the money if the collection had included verse. But
all the verse (which is the most important of course) has always gone to you ... Now since
April 23 1964 I have written the nearest to poetry that I can claim to have come; and nothing
else but an occasional article or lecture. The wad of poem drafts is about three inches
thick. Wallrich suggests that I ‘sweeten’ the prose collection by including these; but I tell
him that I should satisfy my moral debt by asking your permission ... What I should most
like of course would be for you to buy the whole lot ....” He continues further about the
possibilities of making such a sale come about (“There would be no hurry about payment
so long as I have a contract to show my bank, to borrow on”), forthcoming publications,
other possible sources of revenue (“ Solomon and Sheba musical which Alex Cohen
has signed a contract for and wishes to produce on Broadway”), etc. He concludes: “At
70 I feel in a way that I am just beginning. Whatever your reaction to this letter, I shall
send you a contribution to the display — the Army pack with my name and rank still on
it, which I wore in World War I.” Signed in full, “with best wishes to you all.” Accompanied
by an 8 x 10 press photograph of Graves, captioned on the verso by Sy, and a newspaper
clipping about the exhibition marking Graves’s “79th [sic] Birthday,” corrected in ms. to
‘70’. Provenance: library of James S. Copley                                             $600.

193. [Greenaway, Kate]: Spielmann, M.H., and G.S. Layard: KATE GREENAWAY. London:
A. & C. Black, 1905. Small, thick quarto. Cream cloth, ruled in blind, lettered in gilt, t.e.g.
Frontis, plates and numerous illustrations, some in color, pictorial endsheets. Cloth darkened
at spine and with some overall modest handsoiling, bookplate, a trifle shaken, with inner
hinges cracked but sewing sound, some mild tanning at edges of text block, but a good
First edition, limited issue. One of five hundred numbered copies, signed by the subject’s
brother, John Greenaway, and with an original pencil drawing by Kate Greenaway mounted
in the prelims and signed by John Greenaway on the mount. In this case, the sketch is
a charming vignette of a young mother with babe in arms, with a slightly older bonneted
young girl in the foreground and table, chair, basket and toys in the background. $1500.
                                   One of Fifty Copies
194. Gregory, Lady Augusta: KINCORA A DRAMA IN THREE ACTS. New York: Published
by John Quinn, 1905. Grey wrappers, printed in black. Near fine.
First American edition. Copy #20 of fifty numbered copies. Signed by the author on the
title page. The counterpart of the Dublin printing as #2 in the Abbey Theatre Series, published
for copyright protection in the U.S.
QUINN SALE 3596.                                                                        $1250.

195. Gregory, Lady [Augusta]: THE IMAGE. A PLAY IN THREE ACTS. Dublin: Maunsel
& Co., 1910. Printed boards. Endsheets tanned, else fine in glassine wrapper.
First edition, issue in boards. Signed by the author on the title page. Copies were also
issued in wrappers.
COLBECK I:317.                                                                     $600.
                                  The Author’s Own Copy
BELLOWS [-] THE JESTER. New York and London: G.P. Putnam’s Sons, 1922. Light blue
green cloth, paper spine label. Portion of preliminary blank torn away, else very good, with
panels of dust jacket laid in.
First edition. The author’s own copy, inscribed by her on the front free endsheet: “A Gregory
Coole - own copy.” With Lady Gregory’s bookplate on the front pastedown.               $1250.

OTHER DISTILLED SPIRITUOUS LIQUORS. London: Printed for M. Downing, 1735. 23,[1]pp.
Octavo. Printed self-wrappers, formerly sewn. Some foxing, early ink authorship attribution
on title, a few mild marginal discolorations, but a good copy.
Third edition. The first edition appeared in 1733, and the second in 1734. All are scarce:
of the first edition, ESTC Online locates four copies, of the second six copies, and of this
edition four copies. Hales (1677-1761) was a skilled botanist, physiologist and inventor,
including among the latter efforts the development of artificial ventilators. His publications
in those fields were of lasting importance. Pope thought very highly of him as a friend,
though Walpole derided him as a “poor, good, primitive creature.” His campaign against
alcohol was based largely on scientific evidence, including experiments testing the effects
of alcohol on animal tissues, with a dash of theology tossed in, and his publications on
the topic were reprinted into the 19th century.
ESTC N31762. GABLER G22840 (2nd edition).                                               $450.

                                      Association Copy
DECEMBER EVENING IN 1943 [wrapper title]. [Aurora, NY: Hammer Press, 1946]. 10 leaves.
Quarto. Sewn printed wrappers. Printed in red and black, with pictorial opening initial in
red and blue. Wrappers a bit nicked, frayed and creased at overlap edges, but internally
very good. Half morocco folding case, with small shelf label on side panel.
First edition. Although not stated, the edition consisted of 350 copies printed in Hammer’s
American Uncial on Van Gelder paper as a keepsake for the Society of Typographic Arts
of Chicago, who had helped subsidize the casting of the font. This was Hammer’s first use
of the font in a formal publication, and was formerly John Carter’s copy, with his long pencil
inscription in the blank portion of the first leaf: “This invidious and pretentious offence against
typography was given me by Stanley Morison, who has a perverse weakness for Hammer,
at the Traveller’s Club, after Derby Round and a Piesporter 1959, on 31 Aug.61 John Carter.”
Above his inscription, Carter has additionally identified the paleographer (E.A. Lowe) and
the printer (“Mr Hammer himself”) with arrows drawn to the text on that page. An interesting,
if somewhat churlish, association copy of the uncommon debut of an important American
type font.
HOLBROOK (HAMMER) 9.                                                                         $250.

199. Handy, William C.: TYPED LETTER, SIGNED. New York. 30 July 1954. One and one-
half pages, on two quarto sheets, the first bearing Handy’s letterhead. Folded for mailing,
otherwise very good.
To the Kalamazoo Gazette. The first page of the letter is one of Handy’s duplicated letters
for multiple mailing, addressed simply “Dear friends.” The second page is original and specific
to the recipients, and refers to the enclosed “8th edition of ‘The Handy News’ that says
more than this letter...,” and is signed in ink “W.C. Handy.” Both portions refer to his
participation in a This is Your Life tribute to Gilda Ray, performances in New Hampshire,
New York, and Michigan, as well as appearance as a participant in a forthcoming program
in Windsor, ON, sponsored by the British American Association of Colored Brothers. He
comments in the second portion that “You can see by the foregoing what inspired J. Maloy
Roach to write a song, ‘Handy Really is a Travelin’ Man’ which as yet has not been presented
to the public on records ....” A characteristic example of the African American musician’s
efforts at self-promotion, and a snapshot record of his busy life during his later years before
his 1954 stroke.                                                                         $375.

WORTH [etc]. London: Sotheby & Co., 1939-54. Thirty-two (of 36) volumes. Printed wrappers.
Plates. A few wrappers a trifle chipped or marked, one wrapper neatly detached, but generally
very good.
A substantial assemblage of the catalogues of the dispersal of this major library, including
sessions (or many sessions) devoted to English literature, a large and significant Americana
component, Lewis Carroll, bibliography, tracts, John Bunyan, continental books, etc. Many
of the catalogues are illustrated, and a few have prices realized laid in. The numbers here
present are: 2,4-14,16,18-35, and the session of returns and buy-ins.                  $250.

201. Harrison, Jim: KOBUN [caption title]. New York: Dim Gray Bar Press, [1990]. Oblong
quarto broadside (25.2 x 33 cm), decorated calligraphically and with pictograph chops.
First edition. One of one hundred numbered copies, signed by the author. A handsome
broadside.                                                                        $175.

202. Hart, William S.: TYPED LETTER, SIGNED, TO ANDY ADAMS. Hollywood, CA. 29
June 1921. One page. Quarto. Closely typed on recto only of William S. Hart Company
letterhead. Signed in full, with manuscript insertion of one word. Old folds from having been
mailed, otherwise fine. Accompanied by the original envelope.
A fine letter to cowboy novelist Andy Adams, and an uncommon exception among Hart
letters in actually having significant content. Writing in response to a letter from Adams,
Hart writes, in part: “I consider your book ‘The Log of a Cowboy’ the best and most truly
drawn picture of the old western life, in narrative form, ever written and I have personally
recommended it to hundreds of people ... It is necessary for a fast moving motion picture
story to have a certain amount of plot action and heroic realism but I have always tried
to keep as near truth as possible and to make the characters fit as human beings. From
what I have seen and heard as a boy and read since I have grown to manhood, there never
lived more natural human characters than Wm. B. (Bat) Masterson, Wyatt Earp, Luke Short,
Doc Holliday, Ben Thompson, Bill Hichock [sic] and scores of others of like calibre — so
why with such examples to guide, portray the men who made the west — as ruffians with
faces so tough they seem unfinished and who are so depraved that they’d put ground glass
in a baby’s milk. It is libelous, unconvincing and untrue, to say nothing of the horrible
injustice it does to that great race of men who moulded the country in which we live ....”
Ca. 250 words. Hart with his films, and Adams with his novels, were two of the most influential
forces in the creation of the popular image of the American cowboy during the first quarter
of the 20th century.                                                                    $750.

DAY EXHIBITED BY THE NATIONAL BOOK LEAGUE.... Cambridge: Published for the
National Book League by the Cambridge University Press, 1947. Quarto. Printed wrappers.
About fine.
First edition, ordinary issue. A remarkable exhibition of important and first editions of key
works of English poetry, and the guide for some of the most considerable collections in
the field since the occasion.                                                            $45.
204. Heaney, Seamus: POEMS AND A MEMOIR. [New York]: Limited Editions Club, [1982].
Small folio. Full calf, decoratively stamped in blind, t.e.g. Bookplate on front pastedown,
else about fine, with prospectus laid in, in lightly rubbed slipcase with tiny sticker shadow
on one panel.
First edition thus, with a new foreword by Heaney. Illustrations by Henry Pearson. Introduction
by Thomas Flanagan. One of two thousand numbered copies, signed by Heaney, Flanagan
and Pearson.                                                                             $750.

205. Hemingway, Ernest, et al: THE LITTLE REVIEW. New York. Spring/Summer 1926.
XII:1. Quarto. Typographically decorated wrappers. Plates. Wrappers a trace darkened
and soiled along edges, a couple of leaves a bit roughly opened along top edges, but a
very good copy, partially unopened.
One of the best of the late issues, including “A Collection of Work by Some Young Americans”
(i.e. Hemingway, Josephson, Cowley, Crane, Williams, et al), and “The Work of Some Young
Europeans: Mostly French-Surrealiste” (i.e. Arp, Crevel, Tzara, Delteil, Ribemont Dessaignes,
et al).
HANNEMAN C170. WALLACE C104.                                                           $350.
                                   Rare and Inscribed
[Privately] Published by William Heinemann, 1901. Single octavo signature, folded to make
16pp., untrimmed and not sewn. Outer pages dust-soiled around perimeter, a few spots
of foxing, otherwise very good.
First edition of the second part of the 1899-1901 version, privately printed for the author
as a proof and for distribution to friends. This copy is a presentation copy from Henley
to his wife, Anna Henley, the dedicatee of two of his earlier collections: “1st [?] W.E.H.
to A.J.H. 2/5/1901.” The beginning of the inscription is - as often with Henley’s handwriting
- a bit difficult to decipher. This proof prints sections XXV-XLIV of the poem. Between October
1899 and September 1901, there were three different proof printings of sections of the poem,
as well as an undated different reprinting of the first. This is the second in that sequence,
and bibliographical information on them is sparse. Edmund Gosse’s copy of the first is
described in the Ashley Catalogue, and is alluded to by Sadleir in his Henley checklist.
Colbeck provides a brief note in reference to the BL set of the three parts, and as one
might presume, institutional holdings are relatively scanty, and often limited to holdings
of single pamphlets rather than complete sets of all three.
COLBECK I:368. NCBEL III:630 (ref). SADLEIR, “Some Uncollected Authors X: W.E. Henley,”
in The Book Collector (1956), P.167.                                                     $450.

207. [Hertzog, Carl]: Carroll, H. Bailey: CARL HERTZOG AND THE GHOST OF BANDELIER.
[Dallas]: The Quoin Press, 1975. Small octavo. Printed wrappers. Portrait. Fine.
First edition in book form. One of 195 numbered copies, printed and bound by hand by
Steve Schuster, and signed by Carl Hertzog.                                    $100.

208. [Heyeck Press]: Tokutaro Yagi: SUMINAGASHI-ZOME. Woodside, CA: The Heyeck
Press, 1991. Small quarto. Marbled broadcloth over boards. Illustrations. Twelve tipped-
in paper samples. Bookplate, otherwise fine in slipcase with small sticker shadow at lower
edge of one panel and a couple of small spots on one fore-edge.
First edition of this translation by Kyoko Mueke. Wood engravings by Rik Olson. One of
two hundred numbered copies, designed and printed by Robin Heyeck in Centaur and Arrighi
types on handmade Twinrocker paper. A text first set down in 1914 by the then sole remaining
master of this form of dying/marbling cloth and paper.                                $500.
209. [Hill Imprint]: Hammond, John Craig: FOUNDER OF THE BANDAR LOG CLUB AND
HIS METEORIC CAREER. Ysleta [TX]: Edwin B. Hill, 1936. Folded sheets, laid into printed
wrappers. Light creasing at overlap wrapper edges, otherwise near fine.
First edition in this format, printed in an unspecified but small edition by Hill. A tribute
to Frank Holme, reprinted from the Denver Post.                                         $50.

AND BELLES-LETTRES. Ysleta, TX: Edwin B. Hill, July 1942. Two copies. 12,[2]pp. Large
octavo. Printed wrappers. Near fine.
Two variant states of the sole appearance of this incarnation of The Stylus, printed by
Hill at his private press in commemoration of the original Amateur Press periodical published
in Detroit, 1888-1898. Hill’s appended essay, “In Retrospect,” indicates this number (VI:1)
was published in an edition of fifty copies. The two copies here present two different settings
of the wrapper title: the second state (differentiated by a cancel stub from the first state)
adds the denotation of “Summer Number,” a three line quotation from Launcelot Canning,
and the inclusion of the year in the imprint, with other modifications to the format. Uncommon
in either state.                                                                           $65.

211. Hirschman, Jack: THE R OF THE ARI’S RAZEL. Los Angeles: Press of the Pegacycle
Lady, 1972. Sewn printed wrappers. First edition. One of one hundred numbered copies,
signed by the poet/scholar/translator/activist. Bookplate, otherwise fine. Folding cloth case.
                                     Presentation Copy
212. Holmes, Oliver W.: JOHN LOTHROP MOTLEY A MEMOIR. Boston: Houghton, Osgood
and Co., 1879. Large octavo. Brown cloth, stamped in gilt, t.e.g. Small gilt morocco bookplate
on pastedown, minor wear at tips, but a very good copy.
First edition, the so-called “large-paper” issue of 516 copies, issued simultaneously with
the regular issue, but printed prior to it. Inscribed by the author: “Charles W. Eliot With
the kind regards of Oliver Wendell Holmes Dec. 25th 1878.” The earliest presentation copy
noted in the standard references is the copy inscribed to Thomas Motley on the 13th. After
that, Christmas Day is most often seen as the date attached to inscriptions (perhaps executed
in advance in anticipation of their receipt as gifts). The recipient, Charles W. Eliot (1834-
1926), assumed the presidency of Harvard in 1869, and enjoyed a long career as educational
BAL 8933. CURRIER & TILTON, pp.172-3.                                                   $750.

York: Privately Printed at Christmas, 1940. Large octavo. Cloth, t.e.g. Portraits. Bookplate,
some darkening at edges, but a good copy.
First edition. Prefatory essay by Vincent Starrett. One of one hundred copies only. Genial
essays (many first published via the AP in newspapers) on bookish and related matters,
several of particular concern to Sherlock Holmes studies, a subject close to Honce’s heart.
Somewhat less common than many of his other similar productions.                     $350.

214. [Horgan Paul]: PETER HURD THE PERMANENT COLLECTION. Roswell, NM: Roswell
Museum, [February 1949]. [8]pp. Octavo. Printed wrappers. Lightly creased, two small nicks
and an internally mended tear at wrapper edges, tiny split at toe of spine, but a near very
good copy of a fragile pamphlet. Folding cloth case (with bookplate).
First edition. One of one thousand copies printed. A very scarce catalogue, printing Horgan’s
two page tribute to his friend, a biographical summary, and a list of 33 paintings and lithographs.
OCLC/Worldcat locates only five copies. A more substantial, updated and illustrated catalogue
was published a number of years later.
KRAFT E17.                                                                              $125.

215. Horgan, Paul: THE RETURN OF THE WEED. Flagstaff: Northland Press, 1980. Cloth.
Serigraphed frontispiece by Mark Sanders. Bookplate of the James S. Copley collection,
otherwise fine in slipcase with small sticker shadow at corner of one panel.
First printing in this format (as “Southwestern Classics No. One”), deluxe issue. Foreword
by W. David Laird. One of fifty numbered copies, specially bound, and signed by the author.

216. Horgan, Paul: UNDER THE SANGRE DE CRISTO. Santa Fe: The Rydal Press, 1985.
Cloth and marbled boards. Illustrations by the author. Bookplate of the James S. Copley
collection, small bookseller’s label on rear pastedown, otherwise fine in slipcase (small
sticker shadow in lower corner of one panel).
First edition. One of 180 numbered copies, from a total edition of two hundred copies “Printed
& bound at Meriden-Stinehour Press, Lunenburg, Vermont, in Monotype Baskerville on Mohawk
Superfine Text & with Van Heek Textile Scholco cloth & handmade Marblesmith Papers,”
all signed by Horgan. The first publication of the revived (in name only) imprint. $125.

217. Howard, Robert E.: BLACK DAWN. [Glendale: Roy Squires], 1972. Large octavo. Printed
wrappers. First printing in this format. One of 234 numbered copies printed by Roy Squires.
Bookplate, faint offset marks to lower wrapper, otherwise near fine. Folding cloth case.

218. Howard, Robert E.: A SONG OF THE NAKED LANDS. [Glendale]: Roy Squires, 1973.
Large octavo. Printed wrappers. First printing in this format. One of 230 numbered copies
printed by Roy Squires. Bookplate, else fine. Folding cloth case.                    $75.

219. Howard, Robert E.: THE GOLD AND THE GREY. [Glendale]: Roy Squires, 1974. Large
octavo. Printed wrappers. First printing in this format. One of 218 numbered copies printed
by Roy Squires in Centaur, Arrighi, and Delphian types on Strathmore paper. Bookplate,
else fine. Folding cloth case.                                                         $75.

HANDBOOK OF DIANETIC THERAPY. New York: Hermitage House, [1950]. Gilt cloth.
Introduction by J.A. Winter. Large pencil name on verso of free endsheet, very slight cracking
at gutter between title and dedication leaf, otherwise a very good copy in lightly worn dust
jacket with a few small nicks and edge-tears, a 1 cm. deep chip at the crown of the spine,
and faint discoloration on verso at toe of spine.
First edition of the highly controversial primary text for what would three years later become
the Church of Scientology.                                                                $600.
                                         First Book
al], 1885. Two volumes. Gray-blue cloth, stamped in red and gilt. Some rubbing and modest
soiling and marking to the cloth, some shallow fraying to tips and spine ends, inner hinges
cracking slightly, spines a bit darkened, some old red smudges to endsheets, but generally
a good to near very good set of a book difficult in truly fine condition. Half morocco slipcase.
First edition of the author’s first book, in the primary binding (“both varieties are extremely
scarce” - Carter). The 32pp. catalogue in the second volume is dated October 1885. Although
the exact number of copies printed is not recorded, the edition was relatively small, and
sales slow, resulting in a likely slightly later, more economical publisher’s binding variant,
and a single volume remainder “Cheap edition” comprised of the original sheets issued in
1887. Hudson himself noted in 1902 that “A small edition was published, which did not
sell — except as waste paper, or as a remainder. Now it cannot be had.”
PAYNE A1a. CARTER, MORE BINDING VARIANTS, pp.10-11.                                    $2500.
             “One of the Most Horrible Ideal Cultures Ever Imagined”
222. [Hudson, W. H.]: A CRYSTAL AGE. London: T. Fisher Unwin, 1887. Black cloth, ruled
and lettered in red, spine lettered in gilt. Minor foxing to prelims and terminal leaves, minute
nicks at crown and toe of lower joint, lower fore-tips worn, yet still, an unusually nice copy,
very good or better. Half morocco clamshell box.
First edition of Hudson’s second book and first novel, published anonymously. This copy
is in Payne’s primary binding, and has the 32pp. catalogue. “One of the arts-and-crafts,
anti-mechanistic utopias of the late Victorian age; the primary analogy is to a beehive,
with egalitarianism that amounts to oppression, except for a tiny elite who are, in turn,
constrained in other ways...I find it beautifully written, but one of the most horrible ideal
cultures ever imagined” - Bleiler.
PAYNE A2a. BLEILER, SCIENCE FICTION THE EARLY YEARS, pp.376-7.                        $1500.
                                    Rare Triple Decker
223. [Hudson, W. H.]: FAN. THE STORY OF A YOUNG GIRL’S LIFE. By “Henry Harford”
[pseud]. London: Chapman & Hall, 1892. Three volumes. Original olive green cloth, covers
blocked in black, spines stamped in gilt. Some foxing offset from free endsheets to half-
titles and versos of terminal blanks, light rubbing at edges, faint early ink denotation “Office
Copy” stupidly but carefully eradicated from title leaves, otherwise an exceptional set in
half-morocco slipcase (the latter with faint dust-marking to the outer panels of the chemises
and top panel).
First edition of Hudson’s most elusive major work, and one of the best known, but rarely
seen, “black tulips” of 19th century fiction. For many years, Hudson’s connection with
this novel was unknown; in 1923, when G.F. Wilson, Hudson’s early bibliographer, publicized
his discovery of Hudson’s authorship in a letter to Bookman’s Journal, he quoted a now
unverifiable source asserting that the edition consisted of only 350 copies, of which 250
were bound and 100 sold off to an exporter in 1895. There is a variant binding which might
identify the remainder copies, or a second binding lot of the primary copies. Hudson did
not allow the text to be reprinted in this form; it was extensively revised for inclusion in
the 1923 collected edition. The Slater copy, and apart from the exceptional Bradley Martin
set, which we purchased and is now in a private collection, perhaps the finest set to appear
for sale in the last quarter century. Not in Wolff.
PAYNE A6a. SADLEIR 1232.                                                            $15,000.

224. Hudson, W. H.: BIRDS IN A VILLAGE. London: Chapman & Hall, 1893. Medium brown
polished buckram, upper board decorated in gilt, lower board stamped in blind. Cloth somewhat
worn and marked, usual modest tanning to text block, but a good copy.
First edition, Payne’s binding variant 1, with the publisher’s blindstamped logo on lower
board. A prepublication presentation copy, inscribed “To G. E. Fritche from W.H. Hudson
July 25. 1893.” Formal publication took place in August. Fritche and his wife turn up for
mention in the publications of the Royal Society for the Protection of Birds and various
publications of British horticultural societies.
PAYNE A8a.                                                                          $750.

225. Hudson, W. H.: BIRDS IN A VILLAGE. London: Chapman & Hall, 1893. Terra cotta
cloth, upper board decorated in brown, lower board stamped in brown. Spine a bit darkened,
modest tanning at edges, otherwise very good.
First edition, Payne’s binding variant 4. An attractive association copy, with the bookplate
of Hudson’s contemporary, W. Scawen Blunt.
PAYNE A8a.                                                                            $200.
                                Excellent Association Copy
226. Hudson, W. H.: IDLE DAYS IN PATAGONIA. London: Chapman & Hall, Ltd., 1893.
Large octavo. Gilt polished buckram. Illustrations by Alfred Hartley and J. Smit. Spine and
edges sunned, slight fraying at toe of spine, endsheets show usual tan offsetting, modest
foxing early and late, but a good copy.
First edition, in the second issue binding, with the imprint of J.M. Dent & Co at toe of spine.
Inscribed by the author on the front free endpaper to his good friend and patron of the Royal
Society for the Protection of Birds, Lady Margaret Brooke: “To the Ranee of Sarawak from
W.H. Hudson and [followed by two lines in what may be a Malaysian or similar script] February
1922.” Hudson and Brooke, wife of Sir Charles A.J. Brooke, Second Raja of Sarawak, were
extensive correspondents, and 184 letters from Hudson to her (1912-1921) are at the HRC.
Payne reports that the second binding appeared on 1550 copies distributed beginning October
PAYNE A7b.                                                                              $1000.

227. Hudson, W. H.: LOST BRITISH BIRDS. [London]: Society for the Protection of Birds
#14, [1894]. Pictorial wrappers. Illustrated with drawings by A.D. McCormick. Wrappers
a bit soiled and faintly spotted, spine chipped, lower portion of upper joint neatly split,
but a good copy of a fragile book.
First edition, the proper first printing, without the date and Chapman & Hall’s imprint. Inscribed
on the upper wrapper in the author’s hand: “With W.H. Hudson’s Compliments.” Laid in
is a page of notes in collector Paul Lemperley’s hand, signed and dated by him.
PAYNE A11a.                                                                                 $350.

228. Hudson, W. H.: THE NATURALIST IN LA PLATA. London: Chapman & Hall, 1895.
Large octavo. Blue-green cloth, with pictorial stamping in black and off-white, edges untrimmed.
Frontis, plates and illustrations by J. Smit. Extremities rubbed, slightly cocked, inner hinges
strained (but sound), scattered foxing, but a good copy.
Second “edition” (i.e. printing) of the first of Hudson’s books to achieve some popular success,
spurred on by an enthusiastic review by A. R. Wallace. One of 750 copies. Inscribed by
Hudson on the verso of the front free endsheet: “To G.E. Fritche from W.H. Hudson July
26, 1892.” The first printing appeared in February, the second in June. Fritche and his wife
turn up for mention in the publications of the Royal Society for the Protection of Birds and
various publications of British horticultural societies.
PAYNE A5a(n).                                                                             $750.

229. Hudson, W. H.: BIRDS IN LONDON. London, New York & Bombay: Longmans, Green
and Co., 1898. Large octavo. Bright green cloth, gilt extra, t.e.g. Frontis and plates by
Bryan Hook and A.D. McCormick, and photographs by R.B. Lodge. Tips faintly bumped,
a few minor rubs to cloth, otherwise an unusually nice copy, near fine.
First edition, Payne’s variant 3 without a terminal catalogue, and with the raised ‘o’ in the
imprint. Inscribed by the author on the verso of the free endsheet: “W. H. Jeffries [Jefferies?]
from W. H. Hudson June 9. 1904.”
PAYNE A16a.                                                                               $600.
                              Fine, Early Presentation Copy
London: Duckworth, 1904. Gilt green cloth. Very minor handsoiling to the cloth, otherwise
an unusually fine copy. Full morocco solander case (tips worn).
First edition, the binding variant (traditionally presumed primary) without the blindstamped
publisher’s logo on the rear cover. A fine association copy, inscribed by the author: “Paul
Fountain With best regards from W.H. Hudson. Feb. 3. 1904.” The recipient was the author
of The Great Deserts and Forests of North America (1901), to which Hudson contributed
an introduction. It has been claimed that the earliest presentation copy of this work is dated
February 2nd, and other presentation copies to intimates bear inscriptions on the 4th, 5th,
or are undated. The 1959 film adaptation, which hardly begins to do justice to the novel,
was directed by Mel Ferrer, and starred Audrey Hepburn, Anthony Hopkins, Sessue Hayakawa,
et al.
PAYNE A23a. SADLEIR 1233.                                                               $7500.
                             Significant Association Copy
London: Duckworth, 1904. Gilt green cloth. Lower board lightly sunned, minor hand-soiling
to cloth, small bookplate, otherwise a very good copy.
First edition, the binding variant (presumed secondary) with the blindstamped publisher’s
logo on the rear cover, as was their usual practice. A significant association copy, signed
in full on the front free endsheet by Hudson’s contemporary and friend, R.B. Cunninghame
Graham, and with his manuscript note: “This is a wonderful book to have been written by
a man who was never in the country he describes so well.” Tipped to the corner of the
free endsheet is a clipped signature by Hudson, dated March 1904 (the month following
publication, and just perhaps clipped by Cunninghame Graham from a letter of transmittal
that accompanied the book). The 1959 film adaptation, which hardly does justice to the
novel, was directed by Mel Ferrer, and starred Audrey Hepburn, Anthony Hopkins, Sessue
Hayakawa, et al.
PAYNE A23a. SADLEIR 1233.                                                             $750.

232. Hudson, W. H.: A LITTLE BOY LOST. London: Duckworth, 1905. Beige pictorial cloth,
t.e.g. Frontis, plates and illustrations by A.D. M’Cormick. Cloth a bit smudged and darkened,
endsheets tanned, spine extremities slightly frayed, otherwise about very god.
First edition of this children’s book little favored by its author. He did not agree to its
republication until the New York edition of 1918. This copy bears Hudson’s presentation
inscription (without recipient): “from W.H. Hudson.”
PAYNE A25a.                                                                          $650.
                                     Association Set
233. [Hudson, W. H.]: Thomas, Edward [ed]: BRITISH COUNTRY LIFE IN SPRING AND
Hodder and Stoughton, 1907 & [1908]. Two volumes. Large, thick quarto. Contemporary
polished buckram, with gilt labels. Illustrated with numerous tipped-in color plates from
paintings and photographs. Cloth and labels a bit rubbed, one gathering loose, but otherwise
a good or better set.
First edition in book form, preceded by the monthly issue in 24 parts under the title, The
Book of the Open Air. W. H. Hudson contributed to the first volume, but has here inscribed
the second volume: “Ethelind Gardiner From W.H. Hudson.” The recipient, a.k.a. Linda
Gardiner, served as Secretary of the Royal Society for the Protection of Birds, of which
Hudson was a founding member and officer. Their friendship was extended and close, and
she edited Hudson’s Rare, Vanishing & Lost British Birds for publication in 1923. Other
contributors include Thomas, Gordon Bottomley, et al.
ECKERT, p.266. PAYNE B2a.                                                            $650.

CORNWALL. London: Hutchinson, 1908. Large, thick octavo. Gilt decorated navy blue cloth,
t.e.g. Frontis, plates and illustrations by A.L. Collins. Light foxing early and late, and
at edges, otherwise a very good, or better, bright copy.
First edition, likely primary binding, with upper cover stamped in gilt rather than blind. A
decent association copy, inscribed by the author on the half-title to editor/critic “Roger
Ingpen from W.H. Hudson.”
PAYNE A26a.                                                                            $850.

DOWNS. London: Methuen, [1910]. Large, thick octavo. Green cloth, stamped in gilt and
blind. Frontis and illustrations by Bernard C. Gotch. Some slight tanning to endsheets and
light rubbing at edges, fore-corners a trifle bumped, but a very good, bright copy.
First edition. Inscribed by the author “To Harry Brooke & Dorothy [indecipherable] Wishing
them every happiness from W.H. Hudson. Nov. 28, 1910.” Formal publication took place
in September. The first recipient was likely Henry Keppel Brooke (1879 - 1926), son of
Hudson’s good friend and patron of the Royal Society for the Protection of Birds, Lady
Margaret Brooke, Ranee of Sarawak, and her husband, Sir Charles Anthony Brooke. This
copy is in Payne’s primary binding, with the 32pp. inserted catalogue dated April 1910.
The first printing consisted of 1500 copies for the British issue, and 1500 for distribution
in the U.S.
PAYNE A29a.                                                                            $750.

236. Hudson, W. H.: ON LIBERATING CAGED BIRDS. [London]: Royal Society for the
Protection of Birds #73, [1914]. Pictorial wrappers. First separate edition, not published
in book form until Dead Man’s Plack (1923). Faint foxing, else about fine. The Esher copy,
in folding cloth case, with bookplate.
PAYNE A32a.                                                                          $125.
                                     Association Copy
237. Hudson, W. H.: BIRDS AND MAN. London: Duckworth & Co., 1915. Large octavo.
Gilt cloth. Color frontis. Slight foxing to edges, usual slight offset to endsheets, otherwise
a very good, bright copy.
Second, extensively revised edition, considerably rewritten and with two added chapters.
This is also the first edition to appear under the Duckworth imprint. A fine association copy,
inscribed in the month of publication by the author on the front free endpaper to his good
friend and patron of the Royal Society for the Protection of Birds, Lady Margaret Brooke:
“To the Ranee of Sarawak from the Author 28/9/15.” Hudson and Brooke, wife of Sir Charles
A.J. Brooke, Second Raja of Sarawak, were extensive correspondents, and 184 letters from
Hudson to her (1912-1921) are at the HRC.
PAYNE A20b.                                                                              $850.

238. Hudson, W. H.: TALES OF THE PAMPAS. New York: Knopf, 1916. Green cloth, lettered
in pale red. Lightly worn at tips, small faint spot on upper board, otherwise a very good
First edition thus, being the text of El Ombú amplified by two additional pieces published
for the first time in book form. Inscribed presentation copy from the author: “Ethelind Gardiner
from W.H. Hudson Nov. 4. 1916.” The recipient, a.k.a. Linda Gardiner, served as Secretary
of the Royal Society for the Protection of Birds, of which Hudson was a founding member
and officer. Their friendship was extended and close, and she edited Hudson’s Rare, Vanishing
& Lost British Birds for publication in 1923. Formal publication took place on 13 October,
and because of geography, not a book commonly found inscribed by Hudson.
PAYNE A33a.                                                                               $850.
                                Inscribed to Blanche Knopf
239. Hudson, W. H.: TALES OF THE PAMPAS. New York: Knopf, 1916. Green cloth, lettered
in pale red. Bookplate shadow on pastedown, some rubbing to corners, light soiling to lower
board and front free endsheets, otherwise very good.
First edition thus, being the text of El Ombú amplified by two additional pieces published
for the first time in book form. An association copy of the first order, inscribed by Hudson:
“To Mrs. Knopf with greetings from W.H. Hudson Nov. 9, 1916.” Blanche Knopf served as
Vice-President of the then newly established publishing firm, and was particularly influential
in bringing to its list the large field of British, Continental and Latin American writers that
so distinguished the firm’s history. Formal publication took place on 13 October, and because
of geography, not a book commonly found inscribed by Hudson.
PAYNE A33a.                                                                             $1250.

240. Hudson, W. H.: BIRDS OF LA PLATA. London, Toronto & New York: Dent/Dutton,
1920. Two volumes. Quarto. Handsome unsigned three quarter dark brown crushed levant,
raised bands, spines gilt extra, t.e.g. Illustrated with twenty-two colored plates by H. Gronvold.
Minor, faint surface scratch to one corner piece, otherwise a fine set.
First edition, limited issue. One of two hundred sets, specially printed on large, handmade
paper, and signed by the author, in addition to three thousand sets for the U.K. and North
America of the trade issue. As often, this set lacks the separate suite of offset reprintings
of the plates that accompanied it upon publication.
PAYNE A38c.                                                                            $750.

241. Hudson, W. H.: A TRAVELLER IN LITTLE THINGS. London & Toronto: Dent, 1921.
Gilt forest green cloth. Light foxing, with minor rubbing at tips, otherwise very good or better.
First edition. Inscribed presentation copy from the author: “Ethelind Gardiner from W.H.
Hudson Sept. 24, 1921.” The recipient, a.k.a. Linda Gardiner, served as Secretary of the
Royal Society for the Protection of Birds, of which Hudson was a founding member and
officer. Their friendship was extended and close, and she edited Hudson’s Rare, Vanishing
& Lost British Birds for publication in 1923. The inscription predates formal publication
by two days.
PAYNE A40a.                                                                         $750.

Cockerel Press, 1941. Quarter morocco, t.e.g., by Sangorski & Sutcliffe. Frontis and portrait
by Rothenstein. Minor rubbing to tips, slight bubbling of cloth along seam with morocco,
otherwise very good or better.
First edition. Edited by Richard Curle. One of 250 numbered copies printed on Arnould’s
mould made paper.
PAYNE A57a.                                                                      $200.
                                      Association Copy
243. Hudson, W. H., and Keith Henderson [illustrator]: GREEN MANSIONS A ROMANCE
OF THE TROPICAL FOREST. London: Duckworth, 1926. Large octavo. Medium green cloth,
lettered in gilt, fore and bottom edges untrimmed. Fine in dust jacket (too short for the
book, as usual).
First illustrated edition, limited issue. Copy #157 of 165 numbered copies (150 for sale),
specially printed on large, handmade paper, and signed by the artist, Keith Henderson,
who contributed 58 original woodcuts, some in-text, others double-spread hors-texte. This
is one of the fifteen reserved for presentation, and bears the artist’s gift inscription to his
wife: “To Her with love from Him 8-11-26” on the front pastedown, below which has been
affixed another example of the front dust jacket panel illustration. Formal publication took
place on 4 November.
PAYNE A23h.                                                                            $400.
                                    To Witter Bynner
244. Hughes, Langston: TYPED LETTER, SIGNED. New York. 3 March 1959. One page,
on octavo sheet of personal letterhead. Folded for mailing, otherwise very good or better.
Enclosed in an oversize half-morocco clamshell case.
To fellow-poet and friend, Witter Bynner, in Santa Fe: “Dear Hal, Thank you so much for
sending me a carbon of the nominating note. We have both been laboring a long time in
the vineyards of poetry ... I trust Knopf sent you a copy of the Selected Poems ... You’ll
notice our “House in Taos” therein ... next time I come West by train, I’ll stop off to sign
the volume for you and to say Hello.” He mentions running into Carl Van Vechten at the
Russian Tea Room and at the opening of Requiem for a Nun: “...he still gets about, still
photographing. Fania’s on a North African cruise.” Signed “Langston.” Ca 125 words.

245. Hughes, Langston, and Milton Meltzer: A PICTORIAL HISTORY OF THE NEGRO IN
AMERICA. New York: Crown Publishers, [1956]. Quarto. Cloth and boards. Heavily illustrated.
Bookplate on front pastedown, endsheets and edges a bit dust marked, otherwise a very
good copy in shelfworn dust jacket with a few small chips and tears at edges.
First edition. Inscribed and signed by Hughes on the front endsheet: “Especially for Miriam
Glazer - Sincerely, Langston Hughes Nov. 20, 1956.”                                   $350.

246. Hurd, Peter: TYPED LETTER, SIGNED. Sentinel Ranch, San Patricio, NM. 12 February
1966. One half page, on quarto letterhead. Dictated, but signed in full by the artist. Fine,
with envelope. Folding cloth slipcase. From the James S. Copley Collection.
Hurd in part responds to a query about his controversial portrait of Lyndon Johnson: “...
I’m sorry I can’t give you any information as to the exhibition of my portrait of President
Johnson. It was commissioned by the Historical Society of Washington and it would be
up to them to make whatever use of it they saw fit.” Hurd’s portrait was to be LBJ’s official
White House portrait, but after Johnson somewhat colorfully and publicly expressed his
dissatisfaction, it was set aside from that use. It is now in the National Portrait Gallery.

247. [Ireland - Political Cartoons]: Fitzpatrick, Thomas, et al: WEEKLY FREEMAN
CARTOONS 1892 [cover title]. Dublin: The Weekly Freeman / Irish Printing Works, 1891
- 1892. Twenty-four folding color lithographed plates (both portrait and landscape format
(most approx. 58 x 48 cm), and twenty-one single sheet color lithographed plates (most
approx. 48 x 33cm). Folio. Full black period morocco presentation binding, heavily decorated
in gilt. Professionally rebacked and recornered in matching black morocco. A few stray
rubs and minor scratches to binding, a few short marginal tears and mild edge wear to
some of the plates, upper fore-corners bumped, otherwise an excellent assemblage, the
images bright and fresh.
An exceptional presentation volume of a substantial run of the color political cartoons and
other images issued as extras to the weekly edition of the Freeman’s Journal. Founded
in 1763 by Charles Lucas, the paper was by the time of these images Ireland’s longest
running nationalist newspaper. It continued until 1924, when it merged with the Irish
Independent. The cartoons collected here begin with that for 17 October 1891, depicting
Parnell’s grave, and conclude with that for 24 September 1892. The gilt presentation stamp
on the upper cover reads: “With the Compliments of the Manager, Irish Printing Works,
Dublin. C.F. Allen,” and the likely recipient’s name is stamped opposite: “E. Gilley.” The
plates are largely printed in multicolors, though one is a tinted portrait. The earliest images
in this sequences are unsigned, but a number late in the run are signed “Fitzpatrick,” identifying
them as the work of Thomas Fitzpatrick (1860-1912), one of Ireland’s most widely known
cartoonists, who later founded the satirical journal The Leprechaun. The subject matter
runs the gamut of nationalist concerns: home rule politics, the succession of John Redmond
after Parnell’s death, Tory anti-Catholic sentiment, Stephens’s return from exile in France,
political prisoners, the Irish exhibition at the Chicago World’s Fair, etc. While single examples
of these pictorial extras are encountered on occasion, a substantial gathering such as this,
particularly in light of its presentation packaging and provenance, is highly unusual. $7200.

248. Jackson, Helen Hunt: AUTOGRAPH LETTER, SIGNED. [Np]. “Sunday Noon” [n.y.
but prior to her remarriage in 1875]. One page, in pencil, on small octavo sheet of mourning
stationary. Near fine.
To “Dear Mr. Smith” [possibly Roswell Smith, editor and publisher]. Declining an invitation,
she writes: “You are very kind — but I sat up yesterday for the first time, and do not hope
to be able to drive for two or three days yet. And I am saving every particle of strength
for the purpose of getting off on Saturday, as the Doctor thinks now I shall be able to do.
Yours very truly Helen Hunt.”                                                         $175.

249. Jackson, Helen Hunt: AUTOGRAPH LETTER, SIGNED. Cambridge. 12 January 1881.
Three pages, in ink, on three panels of a folded quarto lettersheet. A bit creased for mailing,
receipt docketed by recipient in ink on back panel, else very good. Half morocco clamshell
To “Dear Mr. Laughlin” [likely then Harvard political economist James Laurence Laughlin]:
“It was no trouble, only a pleasure to write this little verse for you, but I am going to ‘play’
that it was a little, so as to have a shadow of excuse for asking you to do something for
me. I am very anxious to get the signatures of as many of the Harvard Professors as I
can to this petition. Would you kindly ask those of whom you meet today and tomorrow,
and send the paper to me on Sat. at Mr. Houghton’s? The movement has been under way
for a good many months, originated by good Quaker women ... [they] hope to send in a
petition so large that it will really make Congress see that the American people demand
justice for the Indians ... Yours truly Helen Jackson.” In a postscript, she comments, perhaps
in regard to the verse — which is not present — that “I am ashamed when I think about
what Miss Agatha Laughlin will say of my handwriting — but it is the fault of these stylographic
pens. They have annihilated individual chirography ....” J. L. Laughlin’s daughter, Agatha,
was perhaps a year old at the time, and he may have solicited a manuscript verse as a
future memento for her. Jackson’s A Century of Dishonor appeared in 1881, and this letter
is characteristic of her activities trying to secure support for the relief of Native Americans.

250. [Japanese Prints]: Ledoux, Louis V.: A DESCRIPTIVE CATALOGUE OF AN EXHIBITION
Club, 1924. xiv,89pp. plus frontis and 28 plates. Large octavo. Boards, paper spine label.
Extremities shelfworn, with some chipping to spine extremities, internally near fine.
First edition, board bound issue. One of three hundred copies printed at the Gilliss Press.
125 items were exhibited, with extensive annotations, including biographical information
on the artists.                                                                      $250.

251. [Johnson, Samuel]: THE IDLER. London: Printed for J. Newbery, 1761. Two volumes.
[2],294;[6],285,[3]pp. 12mo. Contemporary calf, neatly rebacked to style, raised bands,
gilt labels. Early ink ownership signature of one “Louisa Porter” on front pastedowns, usual
tan offsetting from calf turn-ins, otherwise a very good set.
First collected edition, reprinting all but one (#22 in the original sequence) of the 104 weekly
issues. Bound with the advert leaf in the first volume, and the catalogue in the second.
With the exception of twelve essays, the contents were composed by Johnson, and the
exceptions included work by Reynolds, Warton, Langton, Thornton, and W. Emerson.
COURTNEY & SMITH, p.83. CHAPMAN & HAZEN, p.142. ROTHSCHILD 1248.             $1250.

                          An Icon of the Taos Art Community
252. Johnson, W. Willard (“Spud”) [editor & printer]: THE HORSE FLY SMALLEST AND
10 June 1939. Volume one, numbers 14 through 48 (of 52 published in the primary series).
Thirty-five numbers (plus one duplicate). Folded leaflets (20.5 x 15.5 cm), on variously colored
pulp stock. Illustrations. Very slight tanning to the stock, a few pencil notes, a few occasional
small nicks, otherwise unusually nice copies, in folding half morocco case.
A very substantial representation of the first and primary year of this handprinted newsletter
of the Taos art community, undertaken by Willard “Spud” Johnson as a diversion after the
completion and publication of #20 of Laughing Horse. After regular publication on a weekly
basis for a year, The Horse Fly was largely suspended, with only a handful of irregular
appearances over 1940-41, eventually being absorbed into El Crepusculo, with Johnson
continuing to contribute news and columns. In this original, self-published and self-printed
sequence, the social and artistic goings on of the community are the prominent, and often
humorous, focus, with occasional poems, stories, illustrations and correspondence by locals
(both known and unknown outside the Taos circles, as well as unsigned items) thrown into
the mixture, alongside sensationalized (or fabricated) news accounts: “Mystery Canyon
Suggests Weird & Horrid Rites to Lone Rider,” “Nude Prowler Returns but Refuses to Prowl,”
“Violence in Two Bars Thursday Night Wrecks Property & Faces ...,” etc. Highly uncommon
in significant contiguous runs. One number is signed on the front panel (“Spud”).       $850.

253. Joyce, James: DUBLINERS. London: Grant Richards, [1914]. Octavo. Red cloth, lettered
in gilt. Very slight darkening to the spine, trace of usual slight tanning to the textblock,
a couple of very minor rubs along the lower joint, otherwise an unusually nice copy, very
good or better. Half morocco slipcase.
First published edition, British issue. One of 746 copies bound up for Richards, from a
total printing of 1250 sets of sheets. The remaining copies were exported to the U.S. for
distribution by B.W. Huebsch in 1916. Dubliners had famously been “almost published”
by Richards in 1906, and a small fragment of the page proof survives, but Richards eventually
backed out due to the printer’s objections to aspects of the text. Joyce them submitted
the book to Elkin Mathews and then to John Long, but got nowhere. Maunsel, in Dublin,
proceeded as far as printing one thousand copies in July of 1910, but again a skittish printer
objected to some passages and burned the edition, apart from some surviving proofs. After
further submissions and rejections, Dubliners was again accepted by Grant Richards and
this edition was published, to little success, on 15 January. Within its pages, one may
find certainly one, if not several, of the finest short stories in the English language. Copies
in agreeable condition and without efforts at restoration, such as the present copy, have
become scarce.
SLOCUM & CAHOON A8.                                                                    $20,000.

254. Joyce, James: A PORTRAIT OF THE ARTIST AS A YOUNG MAN. New York: B. W.
Huebsch, 1916. Medium blue cloth, lettered in gilt and blind. Trace of foxing to endsheets,
along with a light pencil 1917 ownership inscription, light rubbing to crown and toe of spine,
but a very good, bright copy, with no fading to the spine, but without the dust jacket. Half
morocco slipcase and chemise.
First edition. Although serialized in 25 installments in The Egoist from Feb. 1914 to Sept.
1915, British printers and publishers, then still reeling from the suppression of Lawrence’s
The Rainbow, were unreceptive in their responses to Joyce’s efforts toward publication
in book form. Based in part on Harriet Weaver’s guarantee of 750 sets of sheets for the
slightly later Egoist Press issue, Huebsch took on the novel for December publication.
The size of the first printing may have been reasonably conservative, and a second printing
was called for in April 1917. The original owner purchased this copy in March 1917 at
the famed Sunwise Turn Book Shop in New York. “... the Portrait can be read as either
an autobiography or a novel. A landmark in sensibility, the prose moves forward in complexity
from the child’s sensations at the beginning to the adolescent subtleties at the end” - Connolly.
SLOCUM & CAHOON A11. CONNOLLY MODERN MOVEMENT.                                            $8500.

255. Joyce, James: CHAMBER MUSIC. Boston: The Cornhill Company, [1918]. Gilt green
cloth. A lovely copy in glassine wrapper, fine or better.
First U.S. edition, unauthorized. This is one of the copies with laid endpapers, with the
gilt stamping sharp and distinct. Slocum & Cahoon suggest that one thousand copies may
have been printed.
SLOCUM & CAHOON A5.                                                                 $450.

256. Joyce, James: ULYSSES. Paris: Shakespeare & Company, 1922. Thick quarto. Original
blue and white wrappers. Although the horizontal sewing bands across the spine show
a bit of the inevitable rubbing, as do the other spine extremities, and there is some narrow
surface splitting along portions of the outer wrapper fold along the lower joint, this is a
very good copy, if not somewhat better than that, internally fresh and largely unopened,
the wrappers not significantly soiled or faded, and wholly unrestored. In a handsome folding
cloth slipcase.
First edition. One of 750 numbered copies on handmade paper from a total edition of 1000
copies. This is copy #992, and has laid in the front panel of the original prospectus with
the tipped-on reproduction of the 1918 photo of Joyce by C. Ruf. The front panel of the
prospectus has been amended, as often, to indicate the book “is now ready,” and the original
buyer must have jumped at the opportunity, as the order panel of the prospectus has been
neatly cut away. Sisley Huddleston’s 5 March 1922 review from The Observer is also laid
in (though both items are in prophylactic sleeves that have prevented any offsetting). Also
laid into the slipcase is some correspondence relating to the sale of this copy in 1972
by Duschnes in NYC. A quite agreeable copy of the cornerstone of 20th century prose
literature in English.
SLOCUM & CAHOON A17. MODERN MOVEMENT 42.                                           $55,000.

New York: Crosby Gaige, 1928. Gilt cloth, t.e.g. Trace of faint rubbing at toe of spine,
light, neat pencil acquisition note on free endsheet (dated 1929), otherwise a fine copy
in custom cloth-covered slipcase.
First edition in book form. One of 800 numbered copies, signed by the author, from a total
edition of 850. The first owner notes this copy was acquired when “tempted by this at Random
House - succumbed!” Random House distributed a portion of the edition.
SLOCUM & CAHOON A32.                                                                   $4500.

258. Joyce, James: ULYSSES. New York: Random House, 1934. White cloth, stamped
in red and black. Some light foxing to the cloth, small bookseller’s original price ticket
on rear pastedown, hence just about fine in an unusually fine example of the dust jacket.
Cloth slipcase and chemise.
First published printing of the authorized American edition, including the text of Judge
Woolsey’s decision, a foreword by Morris Ernest, and Joyce’s letter of authorization to
Bennett Cerf. Slocum & Cahoon record an initial printing of one hundred copies for copyright
purposes, and a second printing for publication consisting of 10,300 copies. For the record,
designer Reichl’s name appears in the lower corner of the front panel of the dust jacket.
SLOCUM & CAHOON A21.                                                                 $3750.
                                      Signed by Joyce
ILLUSTRATIONS BY HENRI MATISSE. New York: The Limited Editions Club, 1935. Quarto.
Cloth, decorated in gilt and blind. Illustrated with six original etchings, accompanied by
reproductions of the preliminary sketches. Trace of slight darkening along endsheet gutters,
otherwise a fine, bright copy, without foxing to the etchings, in somewhat darkened slipcase
with bruises at tips and cracks at joints of top panel. Modern half morocco and cloth folding
clamshell case.
First American printing of the corrected Odyssey Press text. From an edition of 1500 numbered
copies, signed by Matisse, this is one of only 250 copies signed as well by Joyce. A textually
significant edition, whatever the shortcomings of its design (by George Macy) and the
inappropriateness of the illustrations (Matisse illustrated Homer rather than Joyce, a factor
allegedly contributing to Joyce’s reluctance to sign the entire edition). “One of the very
few American livres de peintres issued before World War II. According to George Macy,
who undertook this only American publication of Matisse’s illustrations, he asked the artist
how many etchings the latter could provide for five thousand dollars. The artist chose to
take six subjects from Homer’s Odyssey. The preparatory drawings reproduced with the
soft-ground etchings (Matisse’s only use of this medium) record the evolution of the figures
from vigorous sketches to closely knit, if less spontaneous, compositions” - Artist & The
SLOCUM & CAHOON A22. ARTIST & THE BOOK 197.                                           $28,500.

260. Joyce, James: ULYSSES. London: John Lane The Bodley Head, [1936]. Large, thick
quarto. Polished green buckram, decorated in gilt with a Homeric bow designed by Eric
Gill, t.e.g. Very faint sunning at lower edges of boards, otherwise about fine, in an uncommonly
lovely example of the printed dust jacket with Gill’s bow replicated in red. Half morocco
slipcase and chemise.
First edition printed in the U.K., presenting the text based on the second impression of
the Odyssey Press edition. From a total edition of one thousand copies, this is copy #104
of nine hundred copies printed on Japon Vellum. In addition to the main text, three appendices
are included, reprinting documents relating to the Roth piracy and injunction, as well as
material pertinent to the Random House edition: Joyce’s letter to Cerf, Woolsey’s decision,
and Morris Ernst’s foreword. A third appendix consists of a preliminary bibliography of Joyce’s
work by Peter Pertzoff.
SLOCUM & CAHOON A23. MODERN MOVEMENT 42.                                                $6500.

261. Joyce, James: ULYSSES. London: John Lane The Bodley Head, [1936]. Large, thick
quarto. Full cream colored calf vellum decorated in gilt with a Homeric bow designed by
Eric Gill, t.e.g., others untrimmed. A fine copy, without the publisher’s card case, but enclosed
in a morocco-faced parchment over boards slipcase, with gilt lettered morocco backed chemise.
First edition printed in the U.K., presenting the text based on the second impression of
the Odyssey Press edition. From a total edition of one thousand copies, this is copy #27
of one hundred deluxe copies printed on mould-made paper, signed by the author. In addition
to the main text, three appendices are included, reprinting documents relating to the Roth
piracy and injunction, as well as material pertinent to the Random House edition: Joyce’s
letter to Cerf, Woolsey’s decision, and Morris Ernst’s foreword. A third appendix consists
of a preliminary bibliography of Joyce’s work by Peter Pertzoff. Regarded by many as the
most beautiful of the early editions of Ulysses.
SLOCUM & CAHOON A23. MODERN MOVEMENT 42.                                          $55,000.

262. Joyce, James: FINNEGANS WAKE. London: Faber and Faber, [1939]. Large octavo.
Gilt cloth. Usual tan offset from free endsheets to facing pages, otherwise a fine, bright
copy in dust jacket, and uncommon thus. Half morocco slipcase and chemise.
First British edition, trade issue, published on the same day as the U.S. trade edition from
Viking, and the limited edition bearing Faber and Viking’s joint imprint. One of a total first
printing of 3400 copies, of which 950 copies in sheets were destroyed. This copy was quite
possibly utilized for review, as the formal publication date (‘4 May 1939’) is stamped on
the front dust jacket flap. “If Finnegans Wake is a key book, it is a key which needs a
key. The Wake reminds me of the unfinished obelisk which lies on its side at Assuan,
yet it has passages of unearthly beauty (particularly the last page) and huge comic scenes”
- Connolly.
MODERN MOVEMENT 87. SLOCUM & CAHOON A47.                                              $6500.

263. Joyce, James: FINNEGANS WAKE. London & New York: Faber and Faber / The Viking
Press, 1939. Large octavo. Gilt polished buckram, t.e.g., fore and bottom edges untrimmed.
Minute bump to one lower fore-tip, otherwise fine and bright, in modestly soiled publisher’s
cloth over boards slipcase with bump to one corner. Later half morocco slipcase and chemise.
First British edition, limited issue, published on the same day as the British and U.S. trade
editions. Copy #87 of 425 numbered copies, specially printed and bound, and signed by
the author, of which 125 were for the U.K. and 300 for the U.S. Accompanied by the 1945
New York pamphlet printing of Corrections of Misprints in Finnegans Wake. “If Finnegans
Wake is a key book, it is a key which needs a key. The Wake reminds me of the unfinished
obelisk which lies on its side at Assuan, yet it has passages of unearthly beauty (particularly
the last page) and huge comic scenes” - Connolly.
MODERN MOVEMENT 87. SLOCUM & CAHOON A49 & A53.                                       $20,000.

264. Joyce, James: FINNEGANS WAKE. New York: Viking, 1939. Large octavo. Gilt cloth.
Distinctive, and somewhat large, pictorial bookplate on pastedown, light dust-soiling to
top edge, otherwise near fine, in very good, lightly smudged but unfaded dust jacket with
short closed creased tear at the top of the lower spine fold. Enclosed in a cloth slipcase
and chemise.
First U.S. printing, trade issue. One of 6000 copies printed offset from advance proofs of
the UK edition, and formally published on the same day as that edition, 4 May 1939. “If
Finnegans Wake is a key book, it is a key which needs a key. The Wake reminds me
of the unfinished obelisk which lies on its side at Assuan, yet it has passages of unearthly
beauty (particularly the last page) and huge comic scenes” - Connolly.
SLOCUM & CAHOON A48. MODERN MOVEMENT 87.                                             $1750.

265. [Joyce, James]: Barber, Samuel: THREE SONGS FOR VOICE AND PIANO SET TO
Schirmer, Inc., [1939]. Two volumes. Printed self wrappers. Fine.
Present are the settings for “Sleep Now” and “I Hear an Army,” each issued separately.
“Rain has Fallen” was the third piece. Possibly, if not probably, later printings, with three
dots in the upper left corners of the upper wrappers. Slocum & Cahoon make no distinctions
about printings of sheet music.
SLOCUM & CAHOON F21 & F22.                                                               $45.

266. [Joyce, James]: Flanagan, Fionnula [adaptation]: Original Studio Publicity Presskit
for JAMES JOYCE’S WOMEN. Universal City: Universal Studios, 16 August 1985. 14;3;2
leaves plus five stills. Quarto. Duplicated typescript, on studio letterhead. About fine, in
very good, lightly rubbed and edge-darkened studio folder.
A promotional presskit for the 1985 release of the adaptation to film of the Rejoycing Company
stage production, directed by Michel Pearce, and starring Flanagan in a reprise of her six
character role. The text includes production notes, credits and a bio of Flanagan. The five
8x10 stills capture three scenes of her as Nora, one as Molly Bloom and one as Gerty
McDowell. A useful documentation of a film which has not been readily accessible for public
viewing for a number of years.                                                           $125.
267. Kantor, MacKinlay: THE BOY IN THE DARK. Webster Grove, MO: International Mark
Twain Society, 1937. Printed wrappers. Slight darkening to wrappers toward edges, otherwise
a very good or better copy. Oversize folding cloth case.
First edition in book form. Foreword by Cyril Clemens. Signed on the title-page by Kantor
and by Clemens. Published as “Number One of the Society’s Fiction Series, Whole Number
Twelve.” Somewhat uncommon when signed by the author and not just Clemens.          $100.
                   Donated for the Cause of the Spanish Loyalists
OF BUGLE ANN,” WITH ACCOMPANIMENTS. Westfield, NJ; Sarasota, FL; New York,
and elsewhere. 1934 - 1938. Sixty-one leaves, plus cover-leaf, quarto, heavily worked over
in ink, colored pencil and pencil. On various paper stocks, some leaves with other typescript
fragments on versos, also corrected, from other work by Kantor. Some leaves on cheap
paper tanned and with modest chipping at edges; generally good to very good or better.
Enclosed in a custom binder and slipcase; with associated material outlined below.
The original working first draft typescript of one of Kantor’s most popular early works, donated
by him after its publication to an auction held by the League of American Writers in 1938
to raise funds for the Spanish Loyalist cause. To further that end, present here is a 4 page
typescript, signed at the end, of an essay Kantor wrote for the occasion, detailing the history
of the manuscript and identifying it as the first draft. He additionally signed the concluding
page of the main typescript and the cover leaf. Also present is a t.l.s. from booksellers
Retz & Storm to the collector for whom they acted as agents in the acquisition of the typescript
at the sale, their original invoice, and the retained carbons of several of the collector’s
letters to them about the sale and other matters. Finally, the lot also includes a t.l.s. from
Kantor, Sarasota, 23 April 1938, to the collector, Benjamin D. Hitz, responding to his letter
about his acquisition, reading in part: “I am glad that you have the manuscript ... and that
you got it without mortgaging your future, although the Spanish Loyalists do need all the
support they can get, and more too. You know, I feel rather as if I had had to give away
a well-loved dog - to strangers, sight unseen - and had suddenly become possessed of
the knowledge that the dog had a good home and green fields to run in....” Kantor’s novella
was published, both in periodical and in book form, in 1935, and in 1936 a film adaptation
by Samuel Hoffenstein and Harvey Gates, starring Lionel Barrymore, Maureen O’Sullivan
and Dudley Digges, enjoyed some popularity. Accompanied by a copy of the trade edition
of the published book.                                                                    $1850.

269. Kavanagh, Patrick: THE GREAT HUNGER. Dublin: The Cuala Press, 1942. Linen-backed
deep blue boards, paper spine label. Title pressmark (A.E.’s “Sword of Light”). Bookplate
on pastedown, boards a bit sunned toward edges, a couple minor corner bumps, else about
First edition. One of an unknown (but presumably small) number of copies denoted “out
of series,” in addition to two hundred and fifty numbered copies. On page 28, seven lines
are neatly crossed through in pencil in an unknown hand.
MILLER 70.                                                                        $1850.

270. Kent, Rockwell: FAREWELL [Original stone lithograph, signed]. [New York: The Artist,
1931]. Folio. Image 14.5 x 9.8 cm, on 40.5 x 29.5 cm sheet (watermarked ‘France’). Trace
of mounting tab removal at top edge of verso, otherwise fine.
One of one hundred copies of this lithograph printed for the artist, and signed by him in
pencil below the image, from a total edition of four hundred. Three hundred additional examples
were pulled, then substantially trimmed and bound up as the frontispiece for Selma Robinson’s
City Child, in which form they were unsigned. Burne Jones notes that the examples he
examined of this separate form were printed on paper watermarked either “Japan” or “Rives.”
BURNE JONES 61.                                                                           $850.
BOOKPLATE COMMISSION. Ausable Forks, NY. 20 April 1941 through 2 May 1942. Ten
pages, plus a fraction, on eleven quarto sheets of Kent’s letterhead. Accompanied by several
envelopes, and two associated items. Very good to fine, enclosed in a folding cloth case.
To Leonard L. Levinson, in Burbank, California - likely Hollywood writer, director and producer,
Leonard Lewis Levinson. An informative sequence of letters, documenting the process of
a bookplate commission by Levinson, starting from the initial discussion of terms, through
a significant mishap, to the final successful completion of the project. Kent informs Levinson
that “... I get $150 to $200 for a design - and that doesn’t include the printing - and that
while I have to earn my living by jobs of this sort, I am hampered in earning it by having
a fairly soft heart ....” Nine days later, Kent writes: “Your letter has set you back a bit
in this game of give-and-take that we are playing. You not only say you are a writer, but
prove it by the tears you wring from us. For just as I am about to wire you pre-paid, ‘Am
shipping two book-plates, free,’ I pull myself together and say, ‘Look here! A fellow who
can move me like this can move anybody else like I don’t know what. Bundles for Britain,
Food for Finns, Pop-corn for Greeks, or Lucre for Levinsons, he’s worth a dollar a word
to any cause. Let his daughter go without orange juice. She probably doesn’t like it anyhow.
Let his wife go without stockings. Bare legs are even more beautiful. Let his uniformed
chauffeur risk spilling gasoline on himself. It doesn’t stain. I’m not going to be soft-hearted
....’” Kent proposes sending him two or three “practically finished book-plate drawings.
I can do this because I happen to be making designs that are to be published and put
on sale ... on which I will get a royalty and become very rich. Needless to say, the design
that you pick will be yours and nobody else’s. I think I’ll be sending the designs within
a week. I would send them sooner but I have to go to New York to-morrow to parade on
May Day.” And the charge will only be $40. Matters proceed and the bookplate is printed,
but Kent has made an error, having Levinson’s middle initial printed as ‘R’ rather than ‘L’.
Kent suggests Levinson “beget a son and name him Leonard Rockwell Levinson ...” so
that the bookplates won’t be a complete waste, and sets about rectifying the problem and
ordering a new printing, at no charge to Levinson except for the preparation by Colish of
a new photoengraved plate ($2.89). The correspondence turns to other matters in the last
two letters in the sequence, Kent acknowledging a gift, and discussing matters of government
propaganda for the war effort, including criticism of it being largely left to private initiative,
and in part inept: “I suppose we’ll annihilate German tanks and planes by quoting the
Declaration of Independence to them.” The final letter to Levinson is addressed to him as
“Chief of Special Assignments, Radio Bureau” in Washington, D.C., in which Kent
congratulates Levinson, “I envy you having a real war job.” Kent advises Levinson that in
the field of international relations he is doing his bit by passing his “Christmas holiday
entertaining twelve of the fifteen Soviet students now at Columbia University.” Accompanied
by a letter from Kent’s secretary about the recovery of the original drawing and arrangements
for it being sent to Levinson, and by an example of the bookplate with the erroneous middle
initial. A coherent and personable sequence of letters, detailing the nuts-and-bolts of the
commission, as well as touching on shared interests and reflecting Kent’s humor and political
concerns.                                                                                $3500.

FRIEL. Boston: Boss Fine Books ..., 2002. Quarto. Sewn wrappers, pictorial onlay. Four
tipped-in facsimiles. Fine copy.
First edition. One of 200 copies in wrappers, from a total edition of 250 copies designed
by Jerry Kelly. An essay on Kent’s commission for the largest of his bookplate designs.

                   Written from the “blood-soaked soil” of France
273. Kilmer, Alfred Joyce: AUTOGRAPH LETTER, SIGNED. Headquarters Co., 165th Infantry,
AEF, France. 28 June 1918. Four pages, in ink, on folded quarto lettersheet. Light wear
at folds, a few pencil annotations, censor’s frank at lower corner of last page, otherwise
very good. Accompanied by the original envelope, addressed by Kilmer (roughly opened
at one end). Enclosed in an oversize half-morocco clamshell box.
An uncommonly substantial letter from Kilmer, written from the Front, to Howard William
Cook, of Moffat, Yard & Co., the publishers. Writing just slightly over a month prior to his
death, Kilmer responds to questions posed by Cook, although he realizes his answers “will
reach you too late to be of use.” In response to Cook’s request for biographical information,
he refers him to his entry in Who’s Who, but supplements that with a list of the names
of his four children. He continues: “Second, you ask for comments on myself and something
about my earlier efforts in poetry. That’s harder to answer. How can I make comments
about myself ... but I’m willing to write about my earlier efforts in poetry. They were utterly
worthless, that is all of them which preceded a poem called ‘Pennies’ which you will find
in my book ‘Trees and Other Poems.’ I want all of my poems written before that to be
forgotten - they were only the exercises of an amateur, imitations, useful only as technical
training. If what I nowadays write is considered poetry, then I became a poet in November,
1913.” In response to a request for comments on the purpose of poetry and its present
state in the U.S., Kilmer writes: “All that poetry can be expected to do is to give pleasure
of a noble sort to its readers, leading them to the contemplation of that beauty which neither
words nor sculpture nor pigments can do more than ... reflect, and to express the mental
and spiritual tendencies of the people of the lands and times in which it is written. I ...
have very little chance to read contemporary poetry out here, but I hope it is ... reflecting
the virtues which are blossoming on the blood-soaked soil of this land - courage and self-
abnegation, and love, and faith - ... France has turned to her ancient Faith with more
passionate devotion than she has shown for centuries. I believe that America is learning
the same lesson ... from the War, and is cleansing herself of cynicism and pessimism
and materialism, and the lust for novelty which has hampered our national development.
I hope that our poets already see this tendency and rejoice in it - if they do not they are
unworthy of their craft.” He continues with a condemnation of “the extravagances and
decadence of the so-called ‘renascence of poetry’ during the last five years - a renascence
distinguished by the celebration of the queer and the nasty instead of the beautiful ...,”
likening it to the English “aesthetic movement ... at its foolish height.” And in a concluding
comment on American poetry’s future, he writes: “...when we soldiers get back to our homes
and have the leisure to read poetry, we won’t read the works of Amy Lowell and Edgar
Lee Masters. We’ll read poetry, if there is any for us to read. And I hope there will be.
I believe there will be. Yours sincerely, Joyce Kilmer.” Approximately 600 words. Kilmer
enlisted within days of the US Declaration of War against Germany, and in April 1918
transferred to the Regimental Intelligence Division of the 165th (formerly the “Fighting” 69th).
On 30 July, during the Second Battle of the Marne, he volunteered to accompany “Wild
Bill” Donovan’s First Battalion during an attack. He was fatally shot while leading a scouting
party, and was posthumously awarded the Croix de Guerre. At the time, and for years after,
he was the most popularly recognized of the American Soldier Poets. While Kilmer’s letters
written from the Front are uncommon, those written from the Front with significant literary
content such as the present letter, are very, very scarce.                              $2750.
                         “But simple service simply given....”
Burwash, Sussex. 4 March 1924. One page quarto, plus one quarter sheet (7.4 x 20.5 cm).
Slight tanning and foxing to letter, with pencil erasures in lower margin, otherwise very
good. Enclosed in folding half morocco clamshell slipcase.
In response to a request for an autograph, in the letter Kipling writes to Commander Clarke
William, Pompton Lakes, New Jersey: “...In reply to your letter of the 19th February, I have
much pleasure in complying with your request, and trust that the enclosed will be satisfactory.
Yours very sincerely, Rudyard Kipling.” The accompanying quotation is four lines, in ink,
signed in full, corresponding to the final two lines of the penultimate stanza of Kipling’s
1907 poem, “The Sons of Martha,” reading: “Not as a ladder from Earth to Heaven — / Not
as a witness to any creed: / But simple service simply given / To his own kind in their
common need.” He has further inscribed the quotation: “For Service Post No. 10. American
Legion.”                                                                               $1250.
275. Kuzma, Greg: Typescript of OF CHINA AND OF GREECE. [Np: The Author, ca. 1982].
[94] leaves. Quarto. Largely photocopied typescript (with a few leaves reproduced from
periodical appearances). Punched and bound in acetate binder. Very good or better.
A typescript for the collection finally published in 1984 (though an explanatory prefatory
note by Kuzma indicates the publisher had the manuscript as early as 1979). Accompanied
by an autograph letter, signed, n.p., 13 October 1983, from Kuzma to fellow poet William
Meredith: “Here are two things I sent in with the Guggenheim application, and which you
have not had any way to see....”                                                    $100.

276. La Farge, Oliver: TYPED LETTER, SIGNED. Santa Fe. 7 September 1948. One page,
on quarto sheet of letterhead. Old folds for mailing, but very good. Half morocco clamshell
The Pulitzer Prize-winning novelist writes Mrs. Harvey Weeks: “...One can seldom obtain
any commercial market for Indian legends, except when they are simplified and distorted
for juvenile circulation. Your friend’s best hope of capitalizing on his lore is to make contact
with anthropological authorities ... if his tribe is one from which the recorded material is
incomplete, they might well want to take him on as an informant ....” Signed in full.     $150.

277. [Lamb, Lady Caroline]: GLENARVON. London: Printed for Henry Colburn, 1816. Three
volumes. [2],295,[1];[2],390;[2],322pp. Recent handsome three quarter red morocco, raised
bands, gilt labels. Bound without the half-titles and adverts, a few minor occasional smudges,
otherwise a quite handsome set, in cloth slipcase.
First edition of Caroline Lamb’s anonymously published first novel, deeply affected by her
recently derailed romantic relationship with Lord Byron, who is caricatured in its pages.
There are two plates of music in volume II, at pages 170 and 192.
WOLFF 3938.                                                                        $1000.

278. [Landacre, Paul]: Ritchie, Ward: SOME BOOKS WITH ILLUSTRATIONS BY PAUL
LANDACRE. [Northridge, CA]: Santa Susana Press, 1978. Gilt cloth. Illustrated throughout.
Addendum slip laid in. Fine, without dust jacket, as issued.
First edition. One of 199 numbered copies, printed by Grant Dahlstrom and signed by Ritchie.
An anecdotal annotated checklist of 35 titles, supplemented by the addendum. $150.

279. [Landacre, Paul]: Lehman, Anthony L.: PAUL LANDACRE: A LIFE AND LEGACY.
Los Angeles: Dawson’s Book Shop, 1983. Octavo. Cloth and decorated boards. Portrait,
photographs, woodcuts. Bookplate on pastedown, pencil erasure from corner of half-title,
otherwise fine.
First edition. The authoritative reference on the life and work of the eminent woodcut artist,
including as appendices a list of his separate prints, selective listings of his bookplate
work and greeting cards, and a bibliography. As often, the photograph of Landacre on page
102 is signed in pencil by the photographer, Sueo Serisawa.                            $300.

280. Lardner, Ring, Jr. [screenwriter]: “MASH” FIRST DRAFT SCREENPLAY BY ... FROM
THE NOVEL BY RICHARD HOOKER. [Beverly Hills]: Twentieth Century-Fox, 1 November
1968. [1],156 leaves. Quarto. Mimeographed typescript, bradbound in printed studio wrappers.
Title neatly lettered on spine, production number stamped on upper wrapper, a few faint
marks to wrappers, otherwise near fine.
A “first draft” of the screenplay for Lardner’s adaptation of Hooker’s novel, one of the seminal
films of its era, and though set in Korea, one of the handful of on-target critiques of the
Vietnam war released by a Hollywood studio. A cursory comparison with a “final” draft from
26 February 1969 (which itself differs substantially from the released film) reveals both subtle
and significant revisions took place between the two drafts. The January 1970 release was
directed by Robert Altman, and starred Donald Sutherland, Eliott Gould, Robert Duvall,
Sally Kellerman, Tom Skerritt, Gary Brughoff, et al. It was also one of Lardner’s post Blacklist
triumphs, for which he won an Academy Award.                                             $750.

281. LAUGHING HORSE. Santa Fe. December 1923. Whole number 9. Small quarto. Pictorial
wrappers. Wrappers neatly split along spine, with vestiges of old tape backing, ownership
signature of poet/editor/novelist Norman Macleod on the upper wrapper, otherwise very good.
Half morocco folding case.
Laughing Horse was inaugurated in Berkeley in 1922 as “A Magazine of Satire from the
Pacific Slope” by T. Van Rennselaer, Jr., Roy E. Chanslor, and Willard “Spud” Johnson.
The editors ran into legal difficulty in Berkeley for publishing “obscene matter,” precipitating
the move to New Mexico with issue eight, where Johnson gradually assumed full responsibility
and it flourished in tandem with the growing artists’ colonies in that state as “A Magazine
of the Southwest,” concluding with the 21st issue. Contributors to this “Southwest Number”
include Bynner, Luhan, Austin, Baumann, Dixon, Kabotie, Purnell, Riggs, et al. A good
association copy - Macleod graduated from the University of New Mexico in 1930, at a
point when he was editing or coediting his superb periodicals, Morada and Front, and
he contributed extensively to #19 of Laughing Horse.
HOFFMAN, et al, p.266                                                                     $250.

282. LAUGHING HORSE. Santa Fe. September 1924. Whole number 11. Small quarto.
Pictorial wrappers. Wrappers neatly split along spine, with vestiges of old tape backing,
ownership signature of poet/editor/novelist Norman Macleod on the upper wrapper, otherwise
very good. Half morocco folding case.
Contributors to this “Fiesta Number” include Bynner, Luhan, Lawrence (“Just Back from
the Snake Dance”), Haniel Long, Riggs, et al.
HOFFMAN, et al, p.266.                                                          $250.

283. LAUGHING HORSE. Santa Fe. May 1924. Whole number 10. Small quarto. Pictorial
wrappers. With vestiges of old tape backing along spine, ownership signature of poet/editor/
novelist Norman Macleod on the upper wrapper, otherwise very good. Half morocco folding
Contributors to this number include D.H. Lawrence (including the wrapper illustration),
Baumann, Riggs, Luhan, et al.
HOFFMAN, et al, p.266.                                                           $250.

284. LAUGHING HORSE. Santa Fe. April 1926. Whole number 13. Small quarto. Pictorial
wrappers. With vestiges of old tape backing along spine and old glue stains extending from
gutters of wrapper and prelims, ownership signature of poet/editor/novelist Norman Macleod
on the upper wrapper, otherwise very good. Half morocco folding case.
Contributors to this Special D.H. Lawrence Number include D.H. Lawrence (extensively),
Bynner, Rauh, Purnell et al.
HOFFMAN, et al, p.266.                                                          $200.

285. LAUGHING HORSE. Taos. September 1930. Whole number 18. Small quarto. Pictorial
wrappers. Slight darkening at wrapper edges, light tidemark to upper fore-corner of most
leaves, else very good or better.
This is a special number, turned over to a pictorial “Short History of New Mexico,” including
original blockprints by Dorothy Brett and others, drawings, reproductions of older images,
etc., as well as a woodblock cover by Gustave Baumann. An uncommon issue.
HOFFMAN, et al, p.266.                                                                  $300.
286. LAUGHING HORSE. Taos. August 1931. Whole number 19. Small quarto. Pictorial
wrappers. Laughing Horse return address clipped from envelope and affixed to first leaf,
slight tanning to wrapper edges, else a very good or better copy.
Contributors to this number include de Angulo, Norman Macleod (several contributions),
Luhan, et al.
HOFFMAN, et al, p.266.                                                          $250.

287. LAUGHING HOSS. Santa Fe: “Done by Writers’ Editions,” August 15th 1935. “The
Sign on the Dotted Line Number.” Small quarto. Pictorial wrappers. 8pp. plus wrapper text
and order slip. Fine.
A very uncommon out-of-sequence number of Laughing Horse, published coincident with,
and in an effort to promote, the publication of Spud Johnson’s new book, Horizontal Yellow,
by the Writers’ Editions and the Rydal Press. Many, though not all, of the contributions
to this number are likely by Johnson, and the puckish retitling of the periodical for this
number is characteristic Spud Johnson antics.
HOFFMAN, et al, p.266.                                                               $175.

288. LAUGHING HORSE. Taos. December 1939. Whole number 21. Small quarto. Pictorial
wrappers. Tipped-in bookplate, otherwise an unusually nice copy, near fine. Half morocco
folding case.
Contributors to this, the final number, include Frank Waters, Frieda Lawrence, Ramon Naya,
et al.
HOFFMAN, et al. p.266.                                                               $250.

289. Lawrence, D.H.: FIRE AND OTHER POEMS. [San Francisco]: Printed at the Grabhorn
Press for the Book Club of California, 1930. Full linen, gilt spine label. Usual tanning to
endsheets, barely perceptible evidence of careful bookplate removal, otherwise about fine.
First edition thus, with a Foreword by Robinson Jeffers and a note on the poems by Frieda
Lawrence. One of 300 copies printed on handmade paper at the Grabhorn Press. This copy
is signed by Robert and Edwin Grabhorn on the first blank.
ROBERTS A80. GRABHORN 336.                                                          $300.

                        First Book - One of Fifty on Large Paper
VERSES, WITH SOME OF GRAVER MOOD. [Liverpool]: Privately Printed [by W. & J. Arnold],
1887. Small quarto. Paper boards, paper spine label, untrimmed. Small loss at crown of
spine, light soiling to white portion of boards, lower fore-tips bumped, hair-line crack in
upper joint; still, for this fragile book, a very good copy, with the bookplate of Francis Kettanah.
First edition, large paper issue, of the author’s first book, handsomely printed on handmade
paper, with red initials. Copy #8 of fifty copies on large paper, with a limitation written out
and signed by the author. An important and uncommon precursor to the books of the ’90s.
Surprisingly, neither this issue, nor the ordinary issue, are present in Colbeck’s substantial
holdings of the author’s works.
LINGEL 4.                                                                               $1000.
              First Bodley Head Imprint - One of Fifty on Large Paper
291. Le Gallienne, Richard: VOLUMES IN FOLIO. London: C. Elkin Mathews at the Sign
of the Bodley Head, 1889. Small quarto. Paper boards, printed spine label. Some handsoiling
to white paper spine, lower foretips bumped, shallow chips at crown and toe of spine, front
free endsheet neatly excised (evidently long ago), otherwise a good or better copy of a
fragile book.
First edition of the author’s first trade publication, preceded by the privately issued My
Lady’s Sonnets (1887), and the first book to bear the Bodley Head imprint. Copy #10 of
fifty large paper copies on handmade paper, and signed by the author - there were an
additional 250 copies on small paper and three on Japan paper. This copy is additionally
facetiously inscribed by Le Gallienne on the half-title: “Unfortunately by Richard Le Gallienne.”
Scarce in this format. Whatever the reason for the front free endsheet’s excision, it took
place sufficiently long ago that the tan offsetting normally occurring to the free endsheets
of this book in this case is to the half-title.
NELSON 1. NCBEL III:1063. COLBECK I:479. LINGEL 5.                                         $650.

CONFESSIO AMANTIS A SONNET. London: Privately printed for Richard Le Gallienne,
Elkin Mathews, John Lane and Their Friends, Christmas 1893. 12mo. Cloth backed stiff
printed wrappers, untrimmed. First edition. A fine copy.
LINGEL 13. NELSON 75.                                                         $85.

293. Lee, James W. [general editor]: SOUTHWEST WRITERS SERIES [Numbers 1 - 15].
Austin, TX: Steck-Vaughan Company, [1967 - 1968]. Fifteen volumes. Printed wrappers.
Small sticker (or shadow thereof) in lower corner of each upper wrapper, otherwise fine
in custom-made half morocco slipcase and chemise.
First editions of these significant bio/critical treatments, often the first of any substance
devoted to their subjects: Dobie, Duval, Siringo, Andy Adams, K.A. Porter, Humphrey, Paul
Horgan, La Farge, Gipson, E.M. Rhodes, J. Mason Brewer, George S. Perry, Conrad Richter,
and A.B. Guthrie, Jr.                                                                   $250.

294. Lenin, Nicholas [i.e. Vladimir Ilyich]: A LETTER TO AMERICAN WORKINGMEN FROM
Publication Society, December 1918. 15,[1]pp. Printed self-wrappers. Wrappers lightly frayed,
with creased edge tear at top of lower wrapper and closed tear toward lower edge, otherwise
a very good copy of a fragile pamphlet.
First (American) edition of this appeal (written in August, sent to America, and printed
in the Dec. 1918 issue of The Class Struggle, then separately in this form). This text
is dated 20 August 1918 and encourages American workers to rise up and join the course
of world revolution. The first of two pamphlets written by Lenin specifically for distribution
among American workers. “The original manuscript is said to have been smuggled into this
country by a sailor who jumped overboard as his ship came up New York harbor, and swam
ashore” - Adams.
ADAMS, RADICAL LITERATURE IN AMERICA, p.61.                                              $275.

295. Lewis, Wyndham: THE RED PRIEST. London: Methuen, [1956]. Cloth. First edition.
Fine in faintly smudged white dust jacket.
MORROW & LAFOURCADE A41.                                                      $65.

296. Lindbergh, Charles A.: “WE”... THE FAMOUS FLIER’S OWN STORY OF HIS LIFE
OF AVIATION. New York: Putnam, 1927. Large octavo. Gilt parchment and boards, fore
and bottom edges untrimmed. Frontispiece etching by Robert James Malone. Illustrated
with photographs. An unusually fine, virtually untouched copy in glassine wrapper. Enclosed
in the original publisher’s numbered box (faint dust-soiling to bottom panel). Promotional
booklet laid in, along with publisher’s note leaf.
First edition, limited printing. Copy #596 of one thousand numbered copies for sale, from
a total of 1100 copies specially printed and bound, and signed by the author and franked
by the publishers.                                                                $3500.
297. [Lindbergh, Charles A.]: Miller, Francis Trevelyan: LINDBERGH HIS STORY IN
PICTURES. New York & London: G.P. Putnam’s Sons, 1929. Gilt parchment and boards.
Portrait and copiously illustrated with photographs. Bookplate of James S. Copley on verso
of pictorial endsheet, otherwise very near fine.
First edition, limited issue. The so-called “Collector’s Edition,” limited to 250 numbered
copies, specially bound, and signed by the author/compiler and the publisher. Affixed to
the front pastedown, as issued, is a commemorative cover, with stamps, carried by Lindbergh
on his first International Air Mail Flight from Miami to the Canal Zone.              $500.

298. Lindsay, Vachel: AUTOGRAPH LETTER, SIGNED. Springfield, IL 2 July 1930. One
page, in ink, on quarto sheet of letterhead. Folded for mailing, but very good.
To “My Dear Harriet Cordelia” - most likely Harriet Converse Moody, widow of William Vaughan
Moody, whose home became a celebrated meeting place for Chicago writers and artists:
“How about that book of ours? I have a lot of utterly irrelevant new pictures that might go
into it of beautiful ladies in party dresses, full page decorations of a sort. Is it too late?
I can forward them at once. Enclosed please find evidence I helped carry a local election!
Most devotedly Vachel -.” The enclosure is not present. The book Lindsay refers to is quite
possibly Mrs. William Vaughn Moody’s Cook-Book, originally planned to be illustrated,
with contributions by literary figures from her circle, but published in 1931 unadorned due
to the tighter economics of depression era publishing.                                  $275.
                                    Locke on Christianity
OF CHRISTIANITY, &C. London: Printed by Awnsham and John Churchill [and:] Printed
for A. and J. Churchill ... and Edward Case ..., 1696 & 1697. [4],307,[1]; [4],40,[4]; [24],480pp.
Three volumes bound in two, as often. Small octavo. First volume: modern paneled calf
to contemporary style, raised bands, gilt label. Occasional scattered minor dust marking,
first title faintly foxed, but a very good, crisp copy. Second volume: Contemporary paneled
calf, rebacked to style, with raised bands, gilt label. Some browning to first and last gatherings,
a few scattered small rust marks and one tiny rust/burn hole affecting a couple letters on
a 3 recto and verso, otherwise a very good copy.
Second edition of the first work, and first edition of the Vindication ..., which was separately
printed and offered for independent sale as well as conjoined with the first work. In this
copy of the Vindication, A 4 is in the corrected state, with B.P. Taylor identified as the
author of The Naked Truth in the marginal note. The terminal ad leaves are present for
both works in the first volume, as is the half-title for the second (the first title was issued
without half-title). Locke began work on the Reasonableness... in the winter of 1694/5,
and his authorship of it, as well as of the Vindication... and its successor, was confirmed
in a codicil to his will. The main work is an attempt to analyze the aspects of Christianity
apart from the “opinions and orthodoxies of sects and systems” in an attempt to overcome
the doctrinal divisiveness in England at the time. The Vindication... was written in response
to criticism by John Edwards. Accompanied by the first edition of Locke’s Second
Vindication…. This copy is Yolton’s second issue, with Case added to the imprint and
the errata on a 4 v. ESTC locates seven copies of the second issue in the U.S., and two
copies of the first.
YOLTON 230, 231 & 233b ESTC R25016, R18275, & R39074. WING L2752, L2769 & L2756.

300. Lomax, John, and Alan Lomax [compilers & annotators]: AMERICAN BALLADS AND
FOLK SONGS. New York: Macmillan, 1934. 625pp. Thick quarto. Gilt cloth. Bookplate,
spine darkened, with a few faint spots, front inner hinge cracking slightly, a couple finger
smudges to colophon leaf, otherwise a near very good copy, without the original slipcase.
First edition, limited issue. One of five hundred numbered copies, specially printed and
bound, and signed by the compilers. Foreword by George L. Kittredge. Bibliography. One
of the landmarks in the field of American ethnomusicology, printing the lyrics and often
the music for some 270 songs chosen from the mass of material the Lomaxes collected
during their travels, categorized variously as to type, subject, occupation, etc. Published
“... at a time when Americans were turning more to their native culture ... these songs
are mostly the expression of what average society considers its fringes, but which the Lomaxes
show to be the heart of native culture” - Horn.
HORN 457.                                                                                $175.

301. Longfellow, Henry W.: AUTOGRAPH QUOTATION, SIGNED. [Np]. 1853. Half page,
on folded quarto letter sheet, in ink. Folded for mailing, signs of previous mounting in corners
of rear panel, otherwise very good. Half morocco clamshell box.
A characteristic selection of four lines from “A Psalm of Life,” concluding “And, departing,
leave behind us [/] Footprints on the sands of Time.” Signed “Henry W. Longfellow” and
dated 1853.                                                                          $1250.

302. Lowell, Maria: THE POEMS OF .... Cambridge: The Riverside Press, 1907. Boards,
paper spine label. Portrait. Trace of foxing to fore-edge of portrait, otherwise fine in lightly
corner worn slipcase.
First printing in this format. One of 330 numbered copies printed on handmade paper after
a design by Bruce Rogers. A reprint of the uncommon 1855 privately printed memorial collection
edited by J.R. Lowell.
WARDE 78.                                                                                $75.

303. Lucas, Craig [screenwriter]: LONGTIME COMPANION SCREENPLAY BY .... [Np]:
William Morris Agency, 14 March 1989. [1],123 leaves. Quarto. Photoduplicated typescript,
bradbound in plain stiff wrappers. Ink note on title, title handlettered on spine, lower fore-
corners bumped, but very good.
Denoted a “shooting script” of this original screenplay by the Tony Award and Pulitzer Prize
nominated dramatist. The October 1989 release was directed by Norman René, and starred
Bruce Davison, Mark Lamos, Campbell Scott, et al, in one of the earliest dramatic films
to deal with the AIDS epidemic.                                                       $175.

304. Luhan, Mabel Dodge: WINTER IN TAOS New York: Harcourt, [1935]. Cloth. Ink name
and large bookplate on front pastedown, usual tanning to pastedowns, otherwise a very
good copy in chipped and shelfworn, price-clipped dust jacket which was backed with plain
paper by the previous owner.
First edition, first state with ‘Angel Adams’ in the list of illustrations and on the cutlines
for his photographs. Frontis and plates by Ansel Adams, Ernest Knee, Carl Van Vechten
and Edward Weston.                                                                        $85.

MEMORIES. New York: Harcourt, [1936]. Thick octavo. Cloth. Plates. 1936 gift and ownership
inscription on endsheet, bookplate on pastedown, usual tanning to endsheet gutters, otherwise
a very good copy, in edgeworn, frayed and spine faded dust jacket (neatly backed with
paper by a previous owner).
First edition. The most interesting of Ms. Luhan’s cycle of autobiographical volumes, here
concerned with her friends and associates who became ensnared in her New York Salon.
Prints letters from Stein, Stieglitz, et al., and reprints what appears to be the entirety of
the text of her unfortunate lover’s A Day in Bohemia, and her rather simpering account
of her experiments with peyote.                                                        $100.
                        Mabel Dodge Luhan on Psychoanalysis
306. Luhan, Mabel Dodge: Original Typescript of ON HUMAN RELATIONS A PERSONAL
INTERPRETATION. [Taos: The Author, ca. June 1936]. [3],110 leaves. Quarto. Original
typescript, in term paper binder, with typed label. About fine. Folding cloth clamshell slipcase.
A substantial essay by Luhan, dedicated to her long-time analyst and confidant, A. A. Brill,
attempting to popularize the methods and terminology of psychoanalysis. The essay is
signed in type at the end, and a preliminary leaf lists three potential titles for consideration,
implying rather strongly that Luhan intended this work for publication in book form. The
Luhan Collection at the Beinecke Library, Yale University, has a carbon typescript of this
work, made from a different typed draft, which bears her presentation inscription dated June
1936. Luhan first made contact with Brill in 1916, and his role as her therapist and friend
extended over a span of decades. While this essay is referenced in some of the biographical
material on Luhan (for example, see Rudnick, Mabel Dodge Luhan New Woman, New
Worlds, p. 138), it appears to be unpublished.                                           $1250.

DEATHS. London: Printed for I. Okes, 1640. [8],64,77-324,321-336,329-440,451-538pp.
(erratic pagination as noted by ESTC). Small quarto. Recent full chocolate brown calf, raised
bands, gilt label, side panels decorated in blind, a.e.g. Engraved title by G. Glover, and
45 engraved portraits in the text. 17th and 18th century ownership inscriptions on title,
three ink annotations to the table in an early hand, occasional pencil marginalia, a bit of
foxing toward the end, and some annotations to the binder’s endleaves, early restoration
to lower blank corner of B 4 , otherwise a very good copy.
First edition. Lupton (d. 1676) served during the early part of his life as chaplain to the
English forces in the Low Countries and Germany. In 1632 he settled in London, where
he subsisted as a hack author. Eventually, in March 1663, he was appointed vicar of Sunbury,
Middlesex, a post he held until his death. In addition to the portraits, biographical sketches
and glosses of their thought, Lupton includes a list of their works, with occasional
bibliographical references.
ESTC S108921. STC 16943.                                                                 $600.

308. Mabe, Joni: THE UNTOLD STORY ... [Cornelia, GA: The Artist, 1982]. Quarto. Ringbound
pictorial self-wrappers. Illustrated in color throughout. About fine.
First edition. Copy #8 of twenty-five copies produced by the author/artist via color Xerox
on all cotton paper, signed by her. Each pair of leaves is encapsulated in a plastic sleeve
for preservation, as issued. A highly characteristic production by the artist and curator
of the Panoramic Encyclopedia of Everything Elvis.                                    $175.

The Artist], 1992. Quarto. Ringbound pictorial self-wrappers. Illustrated throughout. About
First edition. Copy #2 of two copies produced by the author/artist via collage and photocopy,
signed by her. Each pair of leaves is encapsulated in a plastic sleeve for preservation,
as issued. A highly characteristic production by the artist and curator of the Panoramic
Encyclopedia of Everything Elvis.                                                       $175.

310. Machen, Arthur: Autograph Manuscript, Signed, of “THE WAY TO ATTAIN.” [Np,
but likely London]. 27 September 1922. Two and one-half pages, on three small quarto
sheets of lined notepaper, in pencil. With one deletion. Very good.
The original autograph manuscript for the new Introduction to the 1923 third edition, but
first American edition, of his translation of Fantastic Tales, or the Way to Attain, first
published in complete form in 1890, after an aborted partial printing by the Dryden Press
in 1889. The new edition was privately printed by Boni & Liveright, and according to Goldstone
& Sweetser, the Introduction was not reprinted.
GOLDSTONE & SWEETSER 57e (ref).                                                         $1450.

311. Malanga, Gerard: CRISTINAS WORLD IM(MEDIA)CY POEMWORKS. [New York: Poetry
on Films, 1970]. Quarto. Stapled pictorial wrappers. Very lightly rumpled, a couple minor
marginal marks, but a good copy.
First edition, ordinary issue. One of 474 copies (of five hundred). Signed by the author,
and with his fifteen line presentation inscription detailing the history of the book and derivation
of the title, the identity and personality of Cristina, etc (ca. 150 words).                 $150.

312. Malraux, Andre: THE METAMORPHOSIS OF THE GODS. Garden City: Doubleday,
1960. Large, thick octavo. Profusely illustrated in black and white and color. Full plum
morocco, raised bands, gilt labels, t.e.g., by Georges Gauché. Spine evenly sunned, minor
rubbing to joints, but a very good or better copy in slipcase.
First edition in English, deluxe U.S. issue, printed and bound in France. One of fifty numbered
copies (of 58), specially bound and signed by the author. By virtue of the limitation, uncommon.

313. Mamet, David [screenwriter]: GLENGARRY GLEN ROSS SCREENPLAY BY .... Los
Angeles: Zupnik Enterprises, [ca. March 1987]. [1],126 leaves. Quarto. Photoduplicated
typescript, printed on rectos only. Bradbound in agency wrappers, with agency card affixed
to corner of title-leaf. Title lettered on spine, minor use to wrapper edges, else near fine.
Denoted a “First Draft” of Mamet’s own screen adaptation of his 1984 Pulitzer Prize-winning
drama. We have handled another copy of this draft explicitly dating it to March of 1987,
and substantially revised drafts as late as May 1991. The film was released in 1992, featuring
an ensemble cast of considerable gravity under the direction of James Foley. Mamet was
nominated for a WGA Award for his script. An early, brief reader’s report is laid in, noting
that the property “would take top draw actors to overcome the lack of visual variety.”

314. Matthiessen, Peter: PARTISANS. New York: The Viking Press, 1955. Cloth. First
edition of the author’s second novel. A near fine copy in very good or better dust jacket
with characteristic sunning to the orange spine strip and light use at crown of spine. $250.

315. Maugham, W. Somerset: THE EXPLORER. New York: Baker & Taylor Co., 1909. Olive
green cloth, stamped in gilt, with gilt enameled lettering panel on upper board. Frontis and
plates. Two small straight pin holes in front free endpaper, portion of lower corner of front
pastedown torn away, otherwise a very good, bright copy, with the pencil ownership signature
of Ingalls Kimball.
First U.S. edition, and first illustrated edition, with plates by J. Graham Coates. A decent
association copy, although none of Maugham’s books appeared in the U.S. under the Stone
& Kimball imprint.
STOTT A10c. ROTHSCHILD 43.                                                             $275.

316. Maurer, Sascha [illustrator]: WINTER SPORTS NEW ENGLAND THE NEW HAVEN
R.R. [wrapper title]. [Long Island City: Latham Litho Co., Inc., nd. but ca. 1938]. [16]pp.
Small quarto. Color lithographed pictorial self-wrappers. Heavily illustrated. Near fine.
A superb example of Maurer’s famous graphic work for New England railroads, including
wrapper replications of two of his most popular posters. The rear wrapper features the “Let’s
Go Skiing!” image.                                                                     $150.

1984]. Folio. Decorated boards, paper label. Bookplate, otherwise about fine, with publisher’s
letter laid in.
First edition. Foreword by Harrison Salisbury. One of 250 numbered copies (of 275), printed
by Kenneth Weir in Baskerville type on Frankfurt Laid paper, and signed by McClure, Salisbury
and Weir.                                                                              $300.

LIFE. London: John Murray, 1846. xvi,[2],285,[1],16pp. plus map. Original red cloth, decorated
in blind, spine lettered in gilt. Small English bookseller’s ticket in corner of front pastedown,
very minor handsoiling to cloth, otherwise an unusually tight, bright copy, near fine.
First edition of the author’s first book, preceding U.S. publication under the title Typee.
This copy conforms to BAL’s second issue of p. 19 (now regarded as a prepublication
correction having no relevance to priority of actual issue), cloth binder’s variant ‘B’, and
contains the 16pp. catalogue dated March 1846. Published as No. XV of the clothbound
issue of Murray’s Home and Colonial Library Series, as well as in wrappers, in two
BAL 13652.                                                                           $5000.
                                    In The Original Cloth
CHANT SERVICE. London: Richard Bentley, 1849. Two volumes. Original publisher’s dark
blue cloth, decorated in blind, spines lettered in gilt, printed endleaves (BAL’s A). 15mm.
snag at crown of first spine toward lower joint, with some surface loss, foretips a bit bruised,
old faded ink signature in top margin of each title, some occasional mild smudging and
a few old spots to first title, otherwise a very good set.
The rare first issue of the first edition, being one of 335 sets in the primary binding of Bentley’s
first printing of 750 copies. The remaining sets of sheets were bound up two volumes in
one with cancel title leaves for each volume, and with a new date, when Bentley remaindered
this title in 1853, along with White-Jacket and The Whale, due to continuing poor sales.
This London edition preceded the New York edition by over a month, and like all of Melville’s
multi-volume London publications, is very scarce, particularly when in original cloth. The
half-title is present in the second volume, but the first was published without a half-title.
BAL 13659. SADLEIR EXCURSIONS, p.226.                                                       $40,000

320. Melville, Herman: ISRAEL POTTER: HIS FIFTY YEARS OF EXILE. New York: G.P.
Putnam & Co., 1855. Original slate-green cloth, decorated in blind, lettered in gilt. Head
and toe of spine a bit frayed, endsheets slightly tanned; a very good, sound copy.
First edition, first printing, with the requisite readings on pp. 141 and 237-9, in the first
binding, with ornamented pendants in the spine lettering.
BAL 13667. WRIGHT II:1700.                                                           $2000.

METZGER (1887 - 1944). [Trappist, KY]. [ca 1962]. [2],6pp. Quarto. Mimeographed typescript,
text on rectos and versos, stapled at upper corner. Folded for mailing, slight tanning at
edges, else about fine.
First (private) printing of this essay, first publicly published, according to Burton, in the
March 1962 issue of Jubilee under the title “Testament to Peace: Fr. Metzger’s Thoughts
About the Duty of the Christian.”
BURTON & ROMKEMA, p.136.                                                               $175.

322. Merton, Thomas: EIGHTEEN POEMS. [New York]: New Directions, [1985]. Large octavo.
Cloth, paper label. Bookplate, otherwise fine in slipcase.
First edition. One of 250 numbered copies, printed at the Yolla Bolly Press in Spectrum
types on Arches paper. A suite of poems written by Merton for a close woman friend that
he stipulated only be published after his death. Publication took place with virtually no
publicity, with distribution undertaken quietly by this firm, among others, at the request
of the publisher. Now somewhat uncommon.                                             $350.

Parker, Son, and Bourne, 1861. viii,340pp. Large octavo. Contemporary three quarter tan
calf and marbled boards, gilt label, spine gilt extra, half-title bound in. Extremities a bit
worn, with crack at top of upper joint, endsheets and half-title a bit foxed, bound without
terminal catalogue, but a good copy. Three bookplates on front endsheets, including that
of Henry Austin Bruce, first Lord Aberdare.
First edition, wherein Mill considers the mechanics of practical government, calls for various
reforms of Parliament and voting (especially proportional representation), for the Single
Transferable Vote, and for the extension of suffrage.
NCBEL III:1552.                                                                         $350.
324. [Miller, Joaquin]: Russell, Edmund [compiler]: READINGS FROM CALIFORNIA POETS.
San Francisco: William Doxey, September 1893. 124pp. Octavo. Original pictorial wrappers.
A bit dusty and darkened, lower forecorner of upper wrapper chipped, with corner creases
of first several leaves at that corner, but a good copy of a fragile book. Cloth chemise and
rather funky half morocco slipcase.
First edition, published as Doxey’s “Sunset Series” No. 2. Ten of Joaquin Miller’s poems
are collected herein, and he has boldly inscribed this copy across the title: “My dear, dear
Mrs. Hitchcock with all my best Joaquin S. Miller 9-6-93. S.F.” Other authors represented
include Harte, Sill, Menken, Stoddard, O’Connell, et al.                              $275.

[Chelsea, SW3. August 1929]. 13.8 x 9 cm, on postcard mount. Fine. With secretarial
letter. Folding cloth case.
A charming photograph, with printed caption in the lower margin “Winnie the Pooh with
A.A. Milne and Christopher Robin,” and signed in ink by Milne to the right of the caption.
Accompanied by an a.l.s. from Celia Brice, Milne’s secretary, forwarding the photograph,
extending Milne’s best wishes, and thanking the recipient for his letter and “nice things
you say about his work.” With the original envelope.                               $1750.
                                 Milne on War and Pacifism

326. Milne, A.A.: SUPERB AUTOGRAPH LETTER, SIGNED. Cotchford Farm, Hartfield,
Sussex. 10 May 1943. Two pages, very densely written, in ink, on recto and verso of octavo
sheet of letterhead. Folded for mailing, a few light spots not affecting legibility, else very
To an unnamed “Dear Madam,” in reasoned response to her letter about Milne’s stance
on the war. He writes, in part: “1. I believe as I said in Peace with Honour that war
is wrong, and I hope to see it abolished. 2. I also believe that torturing and murdering millions
of people (without ‘justification’ of war) and prostituting the minds of children, is wrong;
and that is what Germany has been doing, is doing, and will do in every country she conquers.
3. I also believe that to sit by comfortably and watch this wholesale murder and corruption
is wrong. Being offered the choice of (1) and (2) I unhesitatingly choose (1). 4. In addition
to this: I am a practical pacifist. It gives me no satisfaction whatever to say ‘I am not fighting’
in the middle of a war in which my country is engaged. I want to stop everybody fighting,
not just in this war, but in all possible wars of the future. I know that if Germany won
this war, or was allowed to make a compromise peace, war would not end. Therefore, as
the only hope of lasting Peace, Germany must be fought and defeated. The whole of my
book was valid for the sort of war I was then writing about: 19th century war, the war of
convention, the only war we knew. This war is something utterly different ... This is barbaric
invasion, when the losers are sold to slavery, shot, or (if young enough) sent to schools
where they are taught Hitler is good ... I am more convinced than ever ... that no price
is too high to pay for freedom, and for the preservation of children from the corruption of
the Hitler cult ... It was my opinion, when I made it, that there was nothing more horrible
than war. Now I know that there is another thing much more horrible: Peace under Hitler.
My boy (an only child) is in the M.E.F. I hope yours are somewhere safer. Yours sincerely
A.A. Milne.” Milne had served with the Royal Warwickshire Regiment in the Great War,
and in 1934, published his eloquent statement against war, Peace with Honour. In the
face of Hitler’s onslaught, he published War with Honour, and served as Captain in the
Home Guard.                                                                                $2250.

Northridge: Santa Susana Press, 1983. Miniature (5 x 7.5 cm, oblong). Printed boards.
Decorations by Irving Block. Bookplate, otherwise fine in custom-made calf-backed cloth
clamshell box with insert.
First letterpress edition publication of these documents from the Heart Mountain Camp
under the authority of the WRA. Introduction by David Perkins. One of 300 numbered copies
(of 326) designed and printed by Patrick Reagh, and signed by the artist.           $100.

328. Moore, George: A Sheaf of Corrected Proofs for AVOWALS. [London: Privately
printed for Subscribers Only by Cumann Sean-Eolais na H-Eireann [i.e. T. Werner Laurie],
1919]. Loose sheets and signatures, as below, with manuscript corrections and revisions.
Very good, in worn and cracked half morocco slipcase.
A group of proof pages for the first, private edition of this work, with Moore’s occasionally
extensive revisions and corrections. The proofs are not complete, but include the following
pages: 145/6, 161-224, and another, revised setting of pp. 209-224. Moore’s ink revisions
and corrections appear on some twenty pages, and a number of additional pages bear pencil
corrections, some in his hand, others of a nature as to be not readily identifiable.
GILCHER A38a.                                                                          $600.

329. Moore, Henry: TYPED LETTER, SIGNED. Hoglands, Perry Green, Much Hadham, Herts.
15 May 1948. Two pages, closely typed on two octavo sheets of letterhead. Folded for
mailing, otherwise very good or better, with the original typed envelope. Enclosed in a folding
half morocco clamshell case.

A fine letter from the artist, addressed “Dear Miss [Irene] Rosen,” in response to her
enthusiastic letter written after a viewing of his sculptures at the Art Institute of Chicago
(a carbon of her letter is present). In a substantially better than ordinary response by the
sculptor to his public, and after apologizing for the delay in his response, Moore writes:
“...As to your touching the pieces of sculpture at Chicago, you were right and the guards
were wrong. If you can get a better idea of the volume of the mass, of the depth of the
space and of the hardness of the material by touching a sculpture as well as looking at
it, you must do so. I much enjoyed seeing a work of mine which had been in a museum
in a mining town in England for many years and which had become dirtied in places where
the miners, dropping into the museum on the way home for work, had run their hands over
it.” In response to her query about the possibility of reproductions of his sculptures, he
writes “As to reproductions, I don’t think they are worth making unless they’re good; it’s
the same thing with pictures ... reproductions of sculptures ... can’t be any good unless
each cast is worked on by the artist — and no artist has time to do that to a large edition
of reproductions ....” He details how his editions of bronzes are produced, comments on
their availability and price (“....which is, I imagine, more than you can afford to pay...”),
and responds to her complaints about the inadequacy of the reproductions of photographs
in J. J. Sweeney’s book: “In feeling the limitations of photographs you are certainly on
the right lines ... a reproduction in a book can never have the same beauty or fidelity as
an actual photographic print ....” He concludes in appreciation of her “genuine and intelligent
interest” and notes that he his sending her separately a photograph (not present) of his
latest carving. Signed in ink, “Henry Moore.”                                            $850.

330. [Moore, Marianne]: Sargeant, Winthrop: HUMILITY CONCENTRATION & GUSTO A
PROFILE OF MARIANNE MOORE.... Brooklyn: Pratt Adlib Press, 1960. Quarto. Sewn
wrappers. Illustrated with original woodcuts by Richard Bennett. First edition. One of three
hundred numbered copies. This copy has been signed by the artist. Very near fine $60.

London: Printed for Richard Chiswell, 1684. [22],206pp. Octavo. Early diced calf, blocked
in gilt, recently rebacked to style in brown calf, with gilt label. Early ink name on old binder’s
blank, some marginal pencil highlights in text as well as an extensive pencil list of page
references on terminal binder’s blanks, bound without original blanks A 1 and P 4 , some
occasional foxing and light spotting, tiny snags in upper margins of three leaves, otherwise
a very good copy.
First edition of Gilbert Burnet’s translation, regarded by most as superior to that by Ralph
Robinson first published in 1551. Thomas More’s Utopia ... marks the creation of a genre
that was to have a far-reaching effect on the world of letters and of the imagination. The
notion of an ideal society had been canvassed before, notably in Plato’s Republic, but
it was More who fully developed the concept of an imagined ideal world, and who also gave
the familiar name to the concept, with his famous pun on “good place” (eutopos) and “nowhere”
& THE MIND OF MAN 47.                                                                  $1850.

332. [Morris, William]: Colebrook, Frank: WILLIAM MORRIS: MASTER-PRINTER A
IA: Yellow Barn Press, [1989]. Quarto. Linen over boards, decorated labels. Two-color woodcut
portrait and two black & white woodcut illustrations by John De Pol. Bookplate shadow
on front pastedown, otherwise fine, with prospectus laid in.
First printing in this format, with an introduction by William S. Peterson. One of 155 numbered
copies printed in Poliphilus and Blado types on dampened Rives. A more modest printing
was prepared from the proofs of this letterpress printing for distribution by Blackwell North
America (1400 copies), with two hundred copies retained for distribution by the Yellow Barn
Press.                                                                                    $250.

333. Mosher, Thomas Bird [publisher]: A LIST OF BOOKS ISSUED IN LIMITED EDITIONS
... MDCCCXCV. Portland, ME: Thomas B. Mosher, 1895. [32]pp. Small, narrow octavo.
Printed wrappers. Slightly dusty along lower wrapper edges, sewing absent, otherwise near
fine, unopened. Mosher’s trade list for the year, and his third such publication.
BISHOP 200.                                                                          $50.

334. Mosher, Thomas Bird [publisher]: A LIST OF BOOKS ISSUED IN LIMITED EDITIONS
... MDCCCXCVI. Portland, ME: Thomas B. Mosher, 1896. [40]pp. Small, narrow octavo.
Printed wrappers. Wrappers neatly loose from sewing and a bit dust soiled, otherwise near
fine, unopened. Mosher’s trade list for the year, and his fourth such publication.
BISHOP 201.                                                                          $50.

335. Mosher, Thomas Bird [publisher]: A LIST OF BOOKS ISSUED IN LIMITED EDITIONS
... MDCCCXCVII. Portland, ME: Thomas B. Mosher, 1897. [48]pp. Small, narrow octavo.
Printed wrappers. Shallow losses along overlap wrapper edges, else near fine, unopened.
Mosher’s trade list for the year, and his fifth such publication.
BISHOP 202.                                                                        Sold

336. Muir, John: TYPED LETTER, SIGNED. Garrisons, NY. 14 July 1911. One and one
half pages, on two panels of a folded oblong quarto lettersheet. Old folds for mailing, otherwise
very good, with the original envelope. Enclosed in a half morocco clamshell box.
To “Mrs. Harriet M. Ashley, Middleton, NY.” Muir, America’s most prominent conservationist
of his era, expresses pleasure that the recipient has gotten his most recent book, noting
“I will write my name in it some day for you,” but declines to visit her: “You have no idea
how all my time is taken up. I am simply working from morning to night, trying to finish
a book and it makes it utterly impossible for me to make a hundredth part of the visits
that I should heartily like to make. I am trying very hard to finish my Yosemite Book before
I sail for the Amazon. Besides this I have been reviewing the manuscript of the first volume
of my autobiography, and all these things take time. Many thanks to you for the pair of
Gingko leaves you sent. The tree is a favorite of mine ....” Signed in full, in ink, with one
ink insertion. Muir letters are somewhat uncommon in commerce.                         $2500.
337. Murfin, Jane [screenwriter]: FREE, WHITE AND TWENTY-ONE ORIGINAL STORY
RKO Studios, Inc., 5 July 1932. 152 leaves. Quarto. Mimeographed typescript, printed on
rectos only, bradbound in mimeographed studio wrappers. Upper wrapper pulled at one
brad, light use, else very good.
A “Second Draft Continuity” of this adaptation of St. Johns’s original story, via the intermediate
screenplay by Murfin. A review of both writers’ many screen credits within a range of possible
years suggests that this project may have never reached production, and possibly arose
out of their involvement as cowriters for What Price Hollywood (1932).                      $250.

338. Murphy, Dennis [screenwriter]: “THE SERGEANT” SCREENPLAY BY ... FROM HIS
NOVEL. [Np]: Robert Wise Productions, 8 May 1967. [1],122 leaves. Quarto. Mimeographed
typescript, printed on rectos only. Bradbound in printed production company wrappers. Light
sunning to medium blue wrappers, a few corner creases, a few tiny drops of mimeo artifacting
in the upper margin of the title leaf, title lettered on spine, but a very good copy.
An “estimating script” of Murphy’s adaptation to the screen of his own 1958 novel, a pioneering
consideration of sexual identity in the context of the post WWII U.S. military presence
in Europe. John Flynn directed the December 1968 release, which starred Rod Steiger in
the lead.                                                                                $250.

339. Murrow, Edward R.: TYPED DICTATED LETTER, SIGNED. Flat 71, 49 Hallam St.,
London, W.1. 25 November 1944. One-half page on oblong quarto lettersheet of CBS stationary.
Signed in ink, with one correction.
To American writer and commentator, Lewis Mumford: “Some day I shall hope to tell you
in person just how much your letter of September 24th meant to me. It arrived at a time
when encouragement was more than usually welcome. Already I was in your debt for your
books. Thank you for writing. Sincerely yours, Ed Murrow.” Murrow was then, after a brief
visit to the US earlier that month, back in wartime London as European Director for CBS.
His comment about September being “a time when encouragement was more than usually
welcome” may refer to the fact that in September his wife, Janet, had left London and returned
to the US due to strains in their relationship.                                          $275.

340. Neruda, Pablo: NUEVO CANTO DE AMOR A STALINGRADO. Mexico City: Comité
de Ayuda a Rusia en Guerra, 1943. Small quarto. Original tan wrappers, printed in black
and red, with small pictorial vignette. Wrappers faintly soiled and dust smudged, otherwise
a very good copy.
First edition, ordinary issue. One of 5000 copies, in addition to the deluxe issue of one
hundred numbered and signed copies.                                                 $300.

341. Nugent, Frank [screenwriter]: “THE BOILERMAKERS.” [Los Angeles: The Author],
4 December 1964. Two volumes. 3,[3],80 leaves (plus lettered inserts); [6],88 leaves. Quarto.
Mechanically reproduced typescript, printed on rectos only. Bradbound in mimeographed
wrappers (one is missing the top wrapper). Light soiling and use, but very good.
Two consecutive drafts of this original teleplay, written by Nugent for Creator-Producer Merian
C. Cooper. Though both are denoted “uncut revised” drafts, the first is shot through with
revises on colored papers, dated from mid-November to early December. The second is
a fresh draft incorporating the revisions and fixing pagination disruptions caused by lettered
inserts in the first. The second bears the name, in an unknown hand, of Jean Nugent, Frank
Nugent’s wife. Accompanied by another copy, in photocopy, of the second draft. Nugent
and Cooper had worked together frequently, particularly in harness with John Ford, but
this proposed project for television would appear not to have come to fruition. Set at Fort
Teton on the western frontier, it highlights the service of those soldiers in the Cavalry Band
in the context of a potential clash between ranchers and resident tribes during a drought.
“The Boilermakers,” as the Cavalry Band was derisively labeled, are generally portrayed
as a lot of misfits, and as a preliminary note on format indicates, the series would be “uniquely
told through the eyes of the continuing characters of a rag-tag singing-fighting Cavalry band
with their varied racial backgrounds, instruments and music ... stories to be in the vein
of the Merian C. Cooper - John Ford features ‘She Wore a Yellow Ribbon’ - ‘Fort Apache’
- ‘Rio Grande’, etc.” Whether Ford was intended to sign on to direct this series is not indicated
in the present material, but it would not be beyond the realm of possibility.              $400.

342. [O’Casey, Sean]: Four Original Publicity Stills from THE PLOUGH AND THE STARS.
[Los Angeles]: RKO Radio Pictures Inc., 1936. Four original 8x10 glossy publicity stills.
Short closed tear in bottom margin of one still, a few smudges to versos, otherwise very
near fine.
Dudley Nichols adapted O’Casey’s controversial play about the 1916 Uprising for John Ford’s
film, and it starred Barbara Stanwyck, Barry Fitzgerald, and Preston Foster.         $125.

343. O’Casey, Sean: AUTOGRAPH LETTER, SIGNED. Tingrith, Totnes, Devon. 5 February
1953. One and one-half pages, on recto and verso of octavo lettersheet. Folded for mailing,
otherwise about fine. Half morocco folding case.
A cordial letter to H.A. Rappaport, Brooklyn, NY, reading in part: “In your wish for my writing,
I hope all may come true, & that it may be as good as I hoped it would be - a wish the
gods rarely grant. As for freedom from pain and uneasiness, well, that mightn’t be a too
good thing, for it would separate me a lot from the life of humanity. I shall have my share
of them with all others. The main thing is not to let them get us down.” While such a letter
would suggest a response written merely to an admirer, he sends “My love to Mrs. Rappaport
& to you,” suggesting more than a passing acquaintance. Signed in full.                  $650.

344. [O’Neill, Eugene]: Original Souvenir Book for STRANGE INTERLUDE. [New York:
Al Greenstone / Metro-Goldwyn-Mayer, 1932]. [16]pp. Quarto (28 x 22 cm). Highly pictorial
wrappers. Heavily illustrated. Trivial use, with minor dust-smudging to lower wrapper, otherwise
very good to near fine.
A beautiful, deco-influenced souvenir book for the 1932 MGM film adaptation of O’Neill’s
1928 Pulitzer Prize-winning drama. Bess Meredyth and C. Gardner Sullivan are credited
with the adaptation, and Robert Z. Leonard directed Clark Gable and Norma Shearer in
the leads. Of course, the burgeoning star-attraction of the leads is capitalized upon in
the text and illustrative matter; nonetheless, the source-play, its author and its adaptation
are hardly neglected in the text. Unfortunately, the film was emasculated by censorship
concerns and the need for condensation, and was only marginally successful, rendering
paper associated with it rather uncommon.                                              $250.

345. O’Neill, Eugene: DYNAMO. New York: Horace Liveright, 1929. Gilt cloth. First edition,
first printing, preceding the limited edition. A very good copy in lightly nicked dust jacket
with some dust-smudging to upper panel.
ATKINSON A31-I-I.a.                                                                      $85.

346. O’Sullivan, Seamus [pseud. of James Sullivan Starkey]: COMMON ADVENTURES:
THE FRENCH OF GÉRARD NERVAL .... Dublin: The Orwell Press, 1926. Large octavo.
First edition. One of two hundred numbered copies, signed by the author. Bound in recent
gilt half vellum and marbled boards, without wrappers, bookplate, otherwise near fine,
NCBEL IV:324.                                                                      $125.

347. Oldenburg, Claes: N. Y. C. PRETZEL. [Np: The Artist], 1994. Screenprint in two colors
on laser-cut three ply cardboard. Approximately 17.5 x 16 x 1.5 cm. Fine.
A multiple produced by Oldenburg for sale at an exhibition at the Diechtorhallen in Hamburg,
and inspired by street vendors selling pretzels outside Oldenburg’s NYC studio window.
Signed by Oldenburg (with initials) on the verso, and with an edition rubber-stamp.    $500.

348. [Orozco, José Clemente]: Reed, Alma [ed & intro]: JOSÉ CLEMENTE OROZCO. New
York: Delphic Studios, 1932. Quarto. Black cloth, printed cover label. Portrait and over
one hundred photographs. Spine and extremities sunned, bookplate, otherwise a very good
First edition. Signed in ink by the artist on the first blank. The most substantive English
language overview to its date of Orozco’s frescoes, lithographs, paintings and drawings.
In a special prefatory note, Reed acknowledges the special roles played by Tina Modotti,
Edward Weston and Jose Maria Lupercio in photographing Orozco’s frescoes for this book.

349. [Pear Tree Press]: Waller, Pickford: BOOK-PLATES BY PICKFORD WALLER. Flansham,
Bognor [Sussex]: At the Pear Tree Press, [Spring 1916]. Small folio. Linen backed boards,
paper label. Engraved plates in colors, silver and gold. Endsheet and first four leaves show
an old tide-mark at lower gutter, typical scattered foxing and old browning, but otherwise
a very good or better, unworn copy.
Copy #7 of thirty copies only, printed from intaglio plates on Van Gelder Zonen, with colors
varying from copy to copy. With the bookplate on the front endsheet of Sybil Waller, Pickford’s
daughter, designed by Austin Spare. An unknown number of the thirty copies were issued
in wrappers.
TOMKINSON 9.                                                                             $750.

[London: Socialist Labour League, August 1966]. Small octavo. Printed wrappers. Old crease
to upper wrapper, otherwise very good.
First (?) separate printing, first published in two numbers of the Labour Review. Inscribed
by Pearce, the late pre-eminent historian of the British CP, to Julian Symons on the upper
wrapper. A nice association.                                                           $55.

351. Peckinpah, Sam, et al: KLONDIKE 10B (WORKING TITLE: ‘SWOGER’S MULES’)
[caption title]. [Los Angeles: ZIV Productions], 10/9/ 1960. [2],34 leaves. Quarto. Mimeographed
typescript, on blue stock, printed on rectos only. Stapled at upper corner. Light use at
margins of outer leaves, but very good.
A revised draft of this teleplay by Peckinpah, Jack Gariss and Elliott Lewis. Peckinpah
served as director for many of the episodes of this short-lived series that ran for 17 episodes
1960-61. This particular script conforms to the sixth episode, which aired on 21 November
1960.                                                                                     $125.
352. [Peyote]: La Barre, Weston: THE PEYOTE CULT. New Haven & London: Yale University
Press / Humphrey Milford, Oxford University Press, 1938. 188,[2]pp. plus plate. Large octavo.
Stiff printed wrappers. Bookplate inside upper wrapper, trace of foxing to plate, otherwise
unusually fine. Folding cloth case.
First edition. Published as #19 of the Yale University Publications in Anthropology.
First edition of one of the seminal, relatively early works in the field, offering an in-depth
analysis of the botanical, pharmaceutical, social, anthropological, theological and legal
dimensions of peyote and its use, both historically and in modern times under the auspices
of the Native American Church. Includes an extensive bibliography.                       $125.

353. Phillips, J.J.: NIGGA IN THE WOODPILE. Berkeley: Serendipity Books, 2008. [16]pp.
Small octavo. Sewn blindstamped wrappers with diecut holes. Woodcut frontis. Gatefold
center sheet. Folded facsimile typescript letter laid in back, as issued. Fine.
First edition in book form. One of ten numbered copies, signed by the author, from a total
edition of 150 copies printed by Alastair Johnston at the Poltroon Press. A corrective
presentation of the author’s poem, first published online, in Ishmael Reed’s magazine, Konch,
in a format not her intention due to the vicissitudes of its conversion to html (“I had composed
a rant that was, with premeditation, left-locked and loaded, and this rigid, left-defined form
was integral to the poem”), accompanied by an explanatory essay and notes by the author
providing context, as well as a supplementary facsimile of a letter, also contributing to
context.                                                                                   $100.

354. [Pickering Press]: Anderson, John [printer]: A PICKERING POTPOURRI. [Maple Shade,
NJ]: The Pickering Press, 1983. Small folio. Stiff wrapper folder, printed label, containing
loose sheets, leaflets, broadsides and booklets. Faint smudge on upper wrapper, a few
edge creases to individual constituent items, otherwise fine.
A rich assemblage of largely ephemeral examples of Anderson’s work at the Pickering Press,
as designer and printer, including items illustrated by John DePol, Claire Van Vliet, and
others. Included in this copy are sixty items (plus one duplicate), including the explanatory
coversheet. There seems to be some variation of contents between copies.               $150.

355. [Plain Wrapper Press]: Smyth, Elaine: PLAIN WRAPPER PRESS 1966 - 1988 AN
Austin: W. Thomas Taylor, 1993. 74,[1]pp. Quarto. Quarter vellum and silk over boards.
8 pages of color plates. Fine.
First edition, deluxe issue. Foreword by Decherd Turner. One of forty copies specially printed
on Magnani mould made paper and specially bound, from a total edition of 340 copies,
all designed and printed by Bradley Hutchinson. Annotated descriptions of 42 publications
from this distinguished press.                                                          $400.
356. [Plantin Press]: Robinson, W.W.: MAPS OF LOS ANGELES FROM ORD’S SURVEY
OF 1849 TO THE END OF THE BOOK OF THE EIGHTIES. Los Angeles: Dawson’s Bookshop,
1966. viii,[8],87,[3]pp. Small folio. Cloth, gilt leather spine label. Plates and folding facsimiles.
Large, folded facsimile inserted in pocket in rear. Bookplate. Trace of rubbing to spine label,
otherwise near fine.
First edition of the authoritative work on the subject to its time, elegantly printed in an
edition of 380 numbered copies by Saul and Lillian Marks at the Plantin Press. Signed
by the author.                                                                       $350.

357. [Plantin Press]: Lingenfelter, Richard E.: PRESSES OF THE PACIFIC ISLANDS 1817
ISLANDS. Los Angeles: The Plantin Press, 1967. Gilt decorated cloth and spine label.
Folding map, facsimiles and portrait. Illustrated with five original woodcuts on tissue by
Edgar Dorsey Taylor. Bookplate on front pastedown, otherwise about fine.
First edition. One of five hundred copies designed and printed by Saul and Lillian Marks
at the Plantin Press. Considerations of the pioneer presses on Tahiti, Hawaii and twelve
other locations.                                                                   $150.

358. [Plantin Press]: Shakespeare, William: THE SONNETS OF WILLIAM SHAKESPEARE.
[Los Angeles: Saul & Lillian Marks at the Plantin Press, 1974]. Octavo. Half medium brown
morocco, raised bands, gilt label, and decorated boards, by Max J. Adjarian (with his small
binder’s ticket). Large bookplate of James S. Copley on front pastedown, minute rub at
crown of spine, otherwise fine.
One of 120 numbered copies printed on handmade paper in Fairbanks Narrow Bembo types,
with wood engravings by Mary Kuper. The entire edition was subscribed for by Jacob and
Josephine Zeitlin, and it is uncommon in commerce. “William Shakespeare’s Sonnets are
among the greatest and therefore most often-printed poems in the language. They have
been done grandly and meanly, in large format and small, yet few if any editions have conveyed
the eloquence of these poems as well as Saul Marks’. He dedicated the book to Alfred
Fairbanks, whose Narrow Bembo italic types he uses here to such advantage” - Printers’
Fine, Matheson & Taylor, PRINTERS’ CHOICE 73.                                           $1500.
                  Signed by Yeats, with A.L.S. from Elizabeth Yeats
Churchtown, Dundrum: The Cuala Press, 1912. Linen-backed boards. Title-page woodcut
pressmark “Lady Emer and tree” by Elinor Monsell. A few minor smudges to boards, else
about fine.
First edition. One of two hundred and fifty copies. Edited, with an introduction, by William
B. Yeats. Signed by Yeats, and with a 2pp. a.l.s. (recto and verso of a half lettersheet)
from Elizabeth Yeats, 22 Oct. 1912, about the book, to Mr. [Darrell ?] Figgis, on Cuala
Industries stationary: “...we can’t spare many for review as the edition is small (250). I
will be very glad indeed if you can get in a notice of it somewhere — we are sending it
out today to the subscribers....” She further comments on impending travels, etc.
WADE 247. MILLER 17.                                                                 $3250.

MALLARMÉ. Paris: Léon Vanier, 1889. xii,167pp. Large octavo. 19th century three-quarter
red morocco and marbled boards, t.e.g., original printed parchment wrappers bound in.
Portrait and eight plates. Wrappers a bit foxed, as usual, faint foxing to margins of portrait,
extremities a bit rubbed, with small ink smudge on spine, otherwise a very good copy.
Bookplate of James S. Copley, and with earlier gilt ownership initials “R.A.” at toe of spine.
First French edition (in part) of these translations, preceded by a limited edition published
in Belgium the previous year, and the 1875 separate appearance of Le Corbeau. Apart
from the engraved plate of Poe’s tomb, the plates are printings of Édouard Manet’s black
& white lithographs, including the four images from the celebrated folio edition of Le Corbeau.
Mallarmé dedicated the collection: “A la mémoire de Baudelaire, que la Mort empécha
d’achever, en traduisant l’ensemble de ces poèmes, le monument magnifique et fraternel
dédié par son génie à Edgar Poé.”
MONOD 9178. TALVART & PLACE XIII, p.130.                                                  $850.

London: Printed for J. Dodsley, 1769. vi,7-87,[1]pp. Small octavo. Bound by Philip Dusel
to contemporary style in full black Niger morocco, heavily gilt, with the half-title bound in.
About fine.
First collected edition, published posthumously. Though a common enough book, here elegantly
clothed in a binding by one of the foremost American binders of our day.
ROTHSCHILD 1648. ESTC T5520. ASHLEY LIBRARY IV:62.                                    $850.

and one-half pages, on recto and verso of quarto sheet. Folded for mailing, otherwise fine.
Folding cloth slipcase. From the James S. Copley collection.
A responsive, characteristic letter to an appreciative reader - who has taken the extra step
and written to the Nobel prize Committee to nominate Porter - chiefly about Ship of Fools,
“which has run a long gamut from being called a great book to a serious disaster to American
literature ... whatever the book may be, I wrote it on purpose ... It is really a simple book
written about immensely complicated human beings, and this appears to confuse certain
people who seem to think that the complications of that book are in my misunderstandings
of human nature. I still have to insist that I know how complicated and diverse human nature
is and I have done my best to be faithful to this idea in my book.” She continues to write,
gratefully, but realistically, about the recipient’s Nobel recommendation, noting that “It is
a kind of lottery, you know, it has very little to do with merit ... but now and then someone
gets it who has done serious work ... The only good thing about it now is that extremely
useful money ... I rather hope it will be given to somebody who needs it and whose gift
deserves that prize.” She continues, hoping that the autograph postscript (yet to come)
and the enclosed photo will be a token of thanks, and signs the letter in full. Her seven-
line postscript (signed with initials), refers to the enclosed photograph, one of the few of
which she has more than one print. She confuses the vintage of the photo, writing that
it was taken thirty-five years ago. In fact, she has inscribed the photo to the recipient
in the upper portion of the image, dated 1976, and in the lower margin has signed it in
full, and written the far more likely date “1950.”                                       $375.
                              Important Association Copy

SELECTED BY.... Churchtown, Dundrum: The Cuala Press, 1917. Linen-backed boards,
paper spine label. Title-page woodcut pressmark “Lady Emer and tree” by Elinor Monsell.
Label chipped, with loss of several letters, but very good.
First edition. Editor’s note by Ezra Pound. One of four hundred copies printed. Inscribed
on the front free endsheet by John Butler Yeats: “To Oliver Elton With the author’s love.
Sept 3. 1917.” The recipient contributed a Preface to the 1944 collection of the senior Yeats’s
letters to his son, W.B. Yeats. With the small booklabel of Herbert Boyce Satcher.
MILLER 25. GALLUP B15.                                                                  $1850.

ESSAY.... New York & Krippelbrush: Nadja, 1994. Small octavo. Printed wrapper over stiff
wrappers. Fine.
First edition in book form. Prefatory note by Robert Wilson. One of 74 numbered copies
for sale, from a total edition of 126.                                           $150.

365. Pound, Ezra: CANTO CXVII. [Norwich, NY]: Wushan, 2010. Folio broadside (44.5
x 30.5 cm). Two illustrations. As new.
First printing in this format, the text accompanied by two images by Path Soong. One of
79 numbered copies, printed on Rives, signed by the artist, and with the atelier chop. There
were also an unspecified number of artist’s proofs. An authorized publication, new, at
publication price:                                                                     $450.

366. Powell, Lawrence Clark: MY NEW MEXICO LITERARY FRIENDS. Santa Fe: Press
of the Palace of Governors, 1986, Decorated cloth, paper label. Illustrated with woodcuts
by Willard F. Clark. Bookplate on pastedown, otherwise fine.
First edition in this format, clothbound issue. Introduction by Marc Simmons. One of 175
numbered copies bound thus, from an edition of three hundred copies, designed and printed
by Pamela Smith, and signed by the author, the artist, the printer, the binder and the author
of the introduction.                                                                   $125.
                         With Translations by Henry Vaughan
OF HUMANE WIT. London: Printed for Henry Herringman, 1661. [16],188pp. (lacking the
final two blanks). Small octavo. Modern three quarter calf and marbled boards, raised bands,
gilt label. Rather browned at edges, with occasional spots, upper margins of first two leaves
strengthened, touching a few letters, a bit tight at gutters, some page numbers cut into
in top margin; still a reasonably good copy of a work commonly subject to such detractions.
First edition, published the year following the author’s death. Wholly apart from the work’s
significance as a collection of accounts of processes and trade crafts, it should be noted
that Henry Vaughan, the poet, was among Powell’s neighbors and acquaintances, and
scattered throughout the text are his translations of various classical source texts, identified
by a sidenote or his initials.
ESTC R8532. WING P3072.                                                                 $1650.

368. Powys, Theodore: THE WHITE PATERNOSTER AND OTHER STORIES. London: Chatto
& Windus, 1930. Gilt cloth. First edition, first binding. Signed by the author on the front
free endsheet. Trace of tanning to endsheet gutters, else fine and bright, in near very good,
spine-tanned white dust jacket with a few short tears and snags at edges. Includes several
supernatural stories.
BLEILER, p. 160. RILEY A21.                                                             $125.

369. [Press of the Good Mountain]: Bullen, Henry Lewis: NICOLAS JENSON PRINTER
OF VENICE AN EXCERPT FROM AN ESSAY. Rochester: Press of the Good Mountain,
[1960]. Quarto. Half calf and boards. Folding frontispiece facsimiles. First printing in this
format. One of 75 numbered copies, printed by Robert Wheaton and signed by him. Bookplate
of the James S. Copley collection, trace of sunning to boards, else near fine.          $75.

BY HIS SON, JOSEPH PRIESTLEY. London: Reprinted from the American Edition, by the
Several Unitarian Societies in England, and Sold by Joseph Johnson, 1809. iv,202,[8]pp.
12mo. Original paper boards, untrimmed. 19th century ownership inscriptions on front endsheets,
some pencil marginalia and page references on rear pastedown, spine extremities a bit
nicked and worn, boards a bit smudged and soiled, but a good copy. Half morocco slipcase.
Third (?) London edition, preceded by printings in 1805 and 1806, the former accompanied
by the “Observations” by Cooper and Christie. Priestley’s own narrative concludes with
his account of the events surrounding the Birmingham ugliness and his departure for America
(through p. 114), where the first edition was published. His son’s contribution includes a
substantial list of his father’s reading, and the appended checklist of Priestley’s writings
lists over one hundred of the polymath’s publications, scientific, secular and theological.
Though not an uncommon edition in ordinary condition, copies in boards are not the rule.

371. [Printing Office at High Loft]: Stevenson, Robert L.: PROVIDENCE & THE GUITAR.
High Loft [ME]: The Printing Office at High Loft, [1985]. Small quarto. Cloth, gilt labels.
Illustrated. Bookplate on front pastedown, otherwise about fine in card slipcase with small
stick shadow at one corner.
First printing in this format. Illustrations in color by Nancy McCormick. One of 125 numbered
copies (100 for sale), printed on Arches by Karen MacDonald, and signed by the artist.$150.

372. Rackham, Arthur: AUTOGRAPH LETTER, SIGNED. London. 18 January 1922. 1 and
2/3 pages, on folded octavo sheet of Arts Club letterhead. Folded for mailing, very good.
Half morocco folding case.
To “My dear Benjamin,” a letter of thanks: “They’ve just given me the delightful little Christmas
present you make [sic] me. It is most charming & kind of you & the book will be treasured
& will be most stimulating & inspiring to me. A little reminder of the power of design comes
most helpfully in these days when one is so encompassed by ‘actuality’ in art ....” Signed
in full.                                                                                    $500.

373. Rahmani, Aviva: FLOATING WORLDS. Del Mar, CA: InterNetwork Press, May 1982.
Quarto. Pictorial wrappers. Profusely illustrated throughout. Bookplate, otherwise about
fine in handmade paper wrapper. Half morocco folding clamshell case.
First edition, deluxe issue. Copy #2 of one hundred numbered copies with the illustrations
extensively handcolored, highlighted and embellished by the artist. “A book of essays, images
and letters about how artists feel about having children,” associated with the performance
art production by Rahmani. Contributors include Michael Bell, Alison Knowles, et al. Errata,
prospectus and announcement laid in.                                                    $150.

374. [Rampant Lions Press]: Milton, John: AREOPAGITICA A SPEECH OF ... FOR THE
Deighton, Bell & Company, 1973]. Large quarto. Cloth, gilt morocco spine label, t.e.g.,
others untrimmed. Bookplate, corner crease to front endsheets incurred in binding, otherwise
near fine.
One of four hundred numbered copies bound in cloth, from a total edition of five hundred
copies designed by Sebastian Carter, and printed by him and Will Carter at the Rampant
Lions Press. The text was edited, with introduction and notes, by Isabel Rivers.   $150.

375. Rawlings, Marjorie Kinnan: THE YEARLING. New York: Charles Scribner’s Sons, 1938.
Large octavo. Full doe-tan crushed levant, raised bands, t.e.g. Bookplate. Darkening at
joints and some patches of darkening toward edges of boards, but a good copy.
First edition. Illustrated by Edward Shenton. The binding was executed by Randeynes &
Fils, and features an attractive inset (5.5 x 7.8cm) of the yearling leaping over a stack
of rustic fence rails, composed of inlays of dark brown and black morocco. The endsheets
feature a recurring pattern of faintly metallic leaping deer against a background of browns
and mustard yellow. The Pulitzer Prize novel of its year, and the source for the screen
adaptation by Paul Osborn. An attractive and appropriate binding.                      $600.
376. Rawlings, Marjorie Kinnan: TYPED LETTER, SIGNED. Hawthorn, FL. 1 June 1943.
One full page, on quarto sheet of letterhead, signed in full. Old fold from having been mailed,
with slight offset from signature to upper blank margin as a consequence, otherwise fine.
Folding cloth slipcase. From the James S. Copley collection.
To “Dear Mr. Wilson,” in response to a note and request for autograph. She apologizes
for her delay due to illness and surgery, and notes “You are probably far from Fort Meade
by now, but I see your envelop[sic] uses your home address. It is difficult to say which
is my own favorite among my books. I suppose ‘The Yearling’ is the most unified artistically,
and stands the best chance of survival ... I have a private affection for the least successful
of my books, ‘Golden Apples’. It is not artistically successful, because I combined too-
alien elements, yet I said things in it that I wanted very much to say ....”            $750.

377. Rawlings, Marjorie Kinnan: TYPED LETTER, SIGNED. Hawthorn, FL. 9 August 1946.
Half page, on quarto sheet of letterhead, signed in full. Old fold from having been mailed,
otherwise about fine.
To editor William Targ, about her contribution to an anthology in preparation: “Mr. Van Doren
objected to my speaking of ‘the ten-cent weeklies’, as he said this identified three or four
such weeklies too definitely, and many others were equally culpable. You will see that
I have changed this in the proofs to read ‘popular’ weeklies, and if this is not satisfactory,
let me know. Will you send me a copy of the collection when published? Sincerely, Marjorie
Kinnan Rawlings.”                                                                       $600.

378. Ray, Gordon: THE ART OF THE FRENCH ILLUSTRATED BOOK 1700 TO 1914. [New
York & Ithaca]: Pierpont Morgan Library / Cornell University Press, [1982]. Two volumes.
Quarto. Cloth. Extensively illustrated. Bookplate on each front pastedown, otherwise about
fine in dust jackets.
First edition, clothbound issue. An indispensable reference, published coincident with the
exhibition at the Morgan, describing some four hundred examples of French illustrated books
demonstrative of developments in style, technique, and taste over the span, including useful
information about notable publishers, printers and artists, as well as bibliographic descriptions
of the specific copies exhibited.                                                          $250.

379. Read, Sir Herbert: ORIGINALITY [wrapper title]. [Sewanee]: Reprinted from the October
Number of The Sewanee Review, 1953. Large octavo. Printed wrappers. Wrapper unevenly
darkened, otherwise a very good copy. First separate edition, inscribed and signed by the
author in February 1954 to American poet and Melville heir, Eleanor Metcalf.          $85.

Manchester & London: Abel Heywood / Simpkin, Marshall, 1883. vii,[2],10-206,[2],20pp.
Octavo. Fairly recent half morocco and marbled boards, gilt label. Some scattered foxing,
a bit more pronounced early and late, bookplate, but otherwise a very good copy.
First edition. Includes letters and testimony by Charles Darwin, Thomas Hardy, Wilkie Collins,
Samuel Clemens, W.D. Howells, John Ruskin, Charles Kingsley, and many others, some
appearing for the first time in book form.
BAL 3409, etc.                                                                         $750.

381. Richardson, Dorothy: HONEY COMB. London: Duckworth, [1917]. Cloth. Text block
browned, half-title cracked at gutter and chipped at fore-edge, spine dull; a poor copy, but
see below.
First edition. An appealing association copy, with the small emblematic bookplate of Perdita
(Aldington) Macpherson, with a note in ink: “From Bryher: 1935.” The 3rd book of the Pilgrimage
Series. Bryher and Kenneth Macpherson adopted H.D.’s daughter Perdita shortly after their
marriage in 1927.                                                                           $85.

382. Richardson, Dorothy: INTERIM. London: Duckworth & Co., [1919]. Cloth. A very nice,
near fine copy in lightly nicked and tanned dust jacket with a few small edge tears. Cloth
slipcase and chemise.
First edition, in the binding reputed by some to constitute the earliest state (with device
on the rear board). An interesting copy, bearing a nine-line (ca 60 words) appraisal of
the book, in ink, in W.H. Hudson’s hand, occupying a portion of the front jacket panel.

383. Richardson, Dorothy: THE TRAP. London: Duckworth, [1925]. Cloth. Usual foxing,
cloth a bit marked with shallow chipping at crown of spine. A good, sound copy, only.
First edition. An appealing association copy, with the small emblematic bookplate of Perdita
(Aldington) Macpherson, with a note in ink: “From Bryher: 1935.” Bryher is also the dedicatee
of this, the 8th book of the Pilgrimage Series. Bryher and Kenneth Macpherson adopted
H.D.’s daughter Perdita shortly after their marriage in 1927.                           $175.

384. Richardson, Dorothy: DAWN’S LEFT HAND. London: Duckworth, [1931]. Cloth. Usual
foxing, cloth a bit marked, with shallow chipping at crown of spine. A good, sound copy,
First edition. An appealing association copy, with the small emblematic bookplate of Perdita
(Aldington) Macpherson, with a note in ink: “From Bryher: 1935.” The 10th book of the
Pilgrimage Series. Bryher and Kenneth Macpherson adopted H.D.’s daughter Perdita shortly
after their marriage in 1927.                                                          $85.

385. [Ritchie, Ward]: Amanda Blanco [photographer]: TYPE-FACES: A PHOTOGRAPHIC
STUDY OF WARD RITCHIE. Northridge, CA: Santa Susana Press, 1988. v,12,[3] leaves,
text on rectos only. Quarto (30.5 x 23 cm). Loose sheets, laid into folding cloth portfolio.
Photographs. Fine in folding cloth portfolio with diecut aperture and inset panel.
First edition of this tribute to printer/poet/publisher Ward Ritchie, comprised of a foreword
by Lawrence Clark Powell, twelve original mounted photographs by Amanda Blanco (each
numbered and signed on the mount by her), and a note about the photographer by Norman
Tanis. One of sixty-five numbered copies, printed in Della Robbia type by D’Ambrosio, signed
on the colophon by Powell and the printer, in addition to an unknown number of artist’s
proofs.                                                                                 $750.
                                      One of Thirty-Six
386. Ritchie, Ward, and Amanda Blanco [photographer]: THE MANY FACES OF JAKE ZEITLIN
A PHOTOGRAPHIC ESSAY .... Northridge, CA: Santa Susana Press, 1978. [2],x,[1],12,[1],[1]
leaves, text on rectos only. Quarto (28 x 21.5 cm). Loose sheets, laid into folding cloth
portfolio, lettered in gilt. Photographs. Original blockprint by Hans Burkhardt. One margin
of blockprint curled (a bit too large for the portfolio), otherwise fine; the tips of the portfolio
are rubbed.
First edition of this tribute to antiquarian bookman and scholar, Jake Zeitlin, comprised
of an introductory text by Ward Ritchie, a foreword by Norman Tanis, twelve original mounted
photographs by Amanda Blanco (each numbered and signed on the mount by her), and
the print by Burkhardt (numbered and signed). One of thirty-six numbered copies, signed
again on the colophon by the photographer, in addition to an unknown number of artist’s
proofs.                                                                               $1250.
DEMONSTRATE AND PICKET ... [caption title]. [New York. prior to:] 17 May [1933]. Quarto
broadside (30 x 19.7 cm). Upper and lower blank margins chipped (not approaching text),
some bleed-through from old tape repair on verso affecting three letters; somewhat ragged,
but intact.

A handbill calling for a demonstration at Columbus Circle on Wednesday, 17 May, to protest
the termination of Diego Rivera’s commission for the Rockefeller Center murals earlier that
week and the draping of the murals in progress, and including a call to move on from the
mass meeting to picket Rockefeller Center. The protest was sponsored by the John Reed
Club, Rebel Arts Workers School, the IWW, the CPLA, and a number of other groups, and
featured a roster of speakers that includes Robert Minor, A. J. Muste, Bertram Wolfe, et
al. This handbill records one of many such organized and spontaneous protests immediately
after the murals were draped, and prior to their destruction in February of 1934. A striking
memento of this ignoble episode.                                                     $125.

388. [Rivers, Larry]: Singer, Isaac Bashevis: THE MAGICIAN OF LUBLIN. New York: Limited
Editions Club, 1984. Large quarto. Quarter morocco and Irish linen by Gray Parrot. Illustrated
with three original color lithographs by Larry Rivers. Bookplate of the James S. Copley
collection on front pastedown, trace of faint sunning to spine, tiny bump to fore-edge, but
a very good copy in slipcase with short snag at bottom fore-edge and tiny sticker shadow
on side panel.
First edition in this format, with a new Author’s Note by Singer, and three original lithographs
by Rivers. One of 1500 numbered copies, signed by Singer and Rivers.                       $350.
389. [Roberts, George Edwin, and Henry M.D. Porter]: CUPS AND THEIR CUSTOMS. London:
John van Vorst, 1869. vi,[2],62,[2]pp. Octavo. Green cloth, stamped in black. Color lithographed
frontis. Rear endsheets browned from now absent clippings (a bit of residue from where
they were tipped in), a bit of wear at edges, otherwise a very good copy.
Second edition, with additions. Formerly Arthur Upson’s copy, with his bookplate and a
1906 gift inscription from him to another party. “A collection of recipes for the brewing of
compound drinks, technically termed ‘cups’” - Preface. The first edition appeared in 1863,
and Porter served to edit Roberts’ notes for this edition after Roberts’ death.
GABLER 36290.                                                                         $150.

ON THE MARCH TO QUEBEC. By John Pierce. New York: Doubleday, Doran & Co., 1940.
Stiff printed green wrappers. Wrappers detached at staples, with split toward toe of spine
fold, half-dollar size smear on upper wrapper, else a good copy, in oversize folding cloth
First separate printing, reprinted from the third edition of Roberts’s March to Quebec.
Roberts owned the original of Pierce’s journal, and contributes notes and an introduction.
Inscribed by Roberts on the front wrapper: “For Lucia and Steamer Nason Other Christmases
have been tougher. Kenneth Roberts 1948.” U.S. Army Col. Leonard Hastings “Steamer”
Nason (1895 - 1970) served in the Mexican Border Service and both World Wars, and published
a long sequence of very popular, occasionally light-hearted fictional accounts of the A.E.F.,
including Chevrons.                                                                    $225.

ANGELES. [Los Angeles: Ward Ritchie Press, 1964]. 16mo. Cloth. Frontis, photograph,
facsimiles. Bookplate on pastedown, otherwise near fine, in very good dust jacket (the latter
with some old tape abrasions on flaps). Half morocco slipcase (spine a bit stained) and
chemise with inset.
First edition, clothbound issue. One of an unknown number of copies printed for presentation
to the members of the Zamorano and Roxburghe Clubs. A facsimile of the southern California
equivalent of a Blue Book from 1897, with an introductory history of prostitution in Los
Angeles up to the 1909 suppression.                                                   $125.

392. Rogers, Bruce: SELECTED LETTERS 1915 - 1918. [Montclair, NJ]: Caliban Press,
1988. Large octavo. Calf-backed printed limp boards. Facsimile. Errata slip. Tiny bump
at lower edge of rear board, otherwise fine in custom morocco backed cloth clamshell box.
First edition. The texts of fifteen letters from Rogers to H.W. Kent, Emery Walker, Sydney
Cockerell and others, and one from Walter Gilliss, edited by Patrick McGuire. One of 190
numbered copies printed by Mark McMurray in Goudy’s Garamont types on Frankfurt Cream
paper.                                                                               $185.
                              One of Fifty on Japan Paper
EN VERSE .... Paris: Librairie Charpentier et Fasquelle, 1898. 225,[1]pp. Octavo. In a
handsome exhibition binding of full olive brown crushed levant, raised bands, silk moiré
endsheets, gilt inner doublures, a.e.g., with the original wrappers bound in, by Emile Carayon
(1843 - 1909). The upper board features a pictorial inset (16 x 9 cm) on medium brown
calf with a raised and colored vignette of a full figure of Cyrano rampant, with sword raised
in his right hand and a text in his left. The vignette is signed “L.R.” A fine copy, with the
bookplate of Jean Meyer, enclosed in a matching half-morocco chemise and morocco faced
marbled board slipcase.
First edition, deluxe issue. Copy #41 of fifty numbered copies printed on Japan paper,
with special textured green wrappers printed in red. The author’s most widely known work,
first presented at the Théâtre de la Porte Sainte-Martin on 28 December 1897, with Constant
Coquelin in the lead. The extended verse comedy, featuring a protagonist with little
resemblance to the historical Cyrano, was immensely popular on the continent and on tour
in North America, and served as the source work or inspiration for dozens of later adaptations
on the stage, on the screen, and on radio and television. The copies printed on Japan paper
are scarce.                                                                           $8500.

394. Rothenberg, Jerome, and Ian Tyson [illustrator]: SIX GEMATRIA. [London: Tetrad Press,
November 1992]. Small folio. Printed wrapper. Bookplate inside front wrapper, otherwise
fine in parchment wrapper and morocco-backed folding cloth slipcase.
First edition. Illustrated with six original screenprints by Ian Tyson as accompaniments
to the text. One of one hundred numbered copies, signed by the author and the artist, to
coincide with the exhibition, “Three British Book Artists: Finlay, Phillips, Tyson” at the
Mandeville Gallery.                                                                 $300.
                             A United Irishman in America
IN AMERICA. New York: Printed for the Author, by George Forman, 1807. xii,448pp. Large
octavo. Contemporary mottled calf, spine ruled in gilt. Some scattered foxing and occasional
light spotting, chip from crown of spine, otherwise a very good copy.
First edition of this memoir by the United Irishman and associate of John Curran. Sampson’s
associations, legal activities and publications led to his facing charges and periods of arrest,
flight and exile following the events of 1798. After several eventful years on the continent,
he was arrested again when he traveled to London, and deported to New York in May of
1806. He rose to great prominence in the U.S., primarily because of his active support
and legal defense of the resident Irish. Wolfe Tone’s son worked in his law office and married
his daughter. In spite of concerted effort in his later years to seek permission from the
British government to revisit Ireland, he was never able to do so, and prior to his death
in 1836, his Memoir was republished in London, bearing the subtitle, “An Irish Exile.” The
substantial appendix prints many primary documents relating to matters he witnessed or
was associated with in Ireland. While the 1817 Leesburg, VA reprint turns up with some
regularity, this first edition is rather scarce, OCLC locating a total of seven copies. Not
in Bradshaw.
AMERICAN IMPRINTS 13544.                                                                  $750.

396. Sandburg, Carl: TYPED LETTER, SIGNED. Connemara Farms, Flat Rock, NC. 4 January
1949. One page, on small octavo sheet of letterhead. Large ink dated receipt stamp in
upper margin, otherwise very good.
To “Dear Ben” (in Cleveland, according to the receipt stamp): “... It is good to have such
friends in time of need. Probably no other book of this period has met such extremist divided
opinion, lavish parise [sic] without limit as against complete dismissal and utter condemnation.
Shall hope for another lighted evening at the homelike Levin shebang ....” Signed in full,
in ink. The reference, may, just perhaps, be to the reception of Sandburg’s 1948 book,
Remembrance Rock.                                                                         $150.

Knopf, 1942. Large, thick octavo. Decorated cloth. Folding map. Two bookplates on pastedown
(one a gilt leather bookplate that has offset slightly to free endsheet), otherwise a very
good or better copy in lightly worn and frayed dust jacket with inner tape mend at the crown
of the spine and some smudges to the rear panel. Half morocco slipcase and chemise.
First edition of the novelist/historian’s most acclaimed work of historical biography, praised
for its unconventional and sympathetic approach to its subject.                          $450.

RICHER BEAVER HARVEST OF NORTH AMERICA .... New York: Hastings House / James
F. Carr, [1964]. xv[1],335pp. Two volumes. Half morocco and cloth; and cloth, leather spine
label. Fine in slipcase.
First edition, limited issue, of the prize winning novelist/historian’s account of the fur traders’
role in westward expansion. One of 185 numbered copies, specially bound, signed by Sandoz,
and with two pages of the typescript, each signed by her, bound in. Accompanied by a signed
copy of the map and a separate key.                                                         $1250.

House & James F. Carr, 1965. Octavo. Half green morocco and cloth, raised bands, lettered
in gilt. Portrait and illustrations by Bryan Forsyth. Folding map. Spine a shade sunned,
otherwise fine.
The limited issue of this expanded anniversary edition, being one of 250 numbered copies,
specially bound, signed by the author, and including the extra illustrative matter not present
in the trade edition.                                                                    $375.

400. Sandoz, Mari: THE BATTLE OF THE LITTLE BIG HORN. New York: James F. Carr,
1966. Half navy-blue morocco and cloth, raised bands. Maps (one folding). Fine.
First edition, limited issue. One of 249 numbered copies, specially printed and bound, signed
by the author on the colophon, and with a leaf of the corrected typescript, signed by the
author, bound in. The last of the novelist/historian’s lifetime works, published shortly after
her death on 10 March 1966.                                                             $850.

401. Sassoon, Siegfried: AUTOGRAPH LETTER, SIGNED. Wilsford Manor. 12 October
1930. One page, in ink, on octavo sheet of letterhead. Near fine. Folding cloth slipcase.
To “Dear Mr. [Gilbert?] Fabes,” noting he will be happy to inscribe a book “for anyone
who is a friend of Lady Ottoline Morrell ... I am very much oppressed by my correspondence
at present. In fact I am longing for the day when I am no longer a success & can get on
with my writing in peace! At the age of 44 the wine of popularity does not cause the same
intoxication as it might have done ten years earlier.” Signed “Siegfried Sassoon (a very
much overworked signature. I shall buy a rubber stamp & a typewriter soon).”         $350.

402. Schwartzott, Carol [compiler/designer]: A BRIEF HISTORY OF PAPER. [Freeville,
NY: Lilliput Press, January 2001]. 47 panels, accordion fold. Small octavo. Decorated boards,
paper spine label. Light offset from edges of boards to endsheets, otherwise about fine,
in very good slipcase with small sticker abrasion in corner of one panel.
Third edition in this format of this selection from Hunter’s Papermaking, History and
Techniques. One of thirty numbered copies designed, illustrated and bound by Carol
Schwartzott, and signed by her. Illustrated with fourteen original paper samples of various
types.                                                                               $150.

403. Selznick, David O.: TYPED LETTER, SIGNED. Culver City, CA. 26 November 1935.
Half-page, on quarto sheet of Selznick International Pictures letterhead. Old folds from
mailing, otherwise about fine. Folding cloth slipcase.
To Leonard Levinson, about the 1935 film adaptation of Dickens’s A Tale of Two Cities.
“...There is no doubt that you are right about the anesthetic that Carton administers to
Darney. We faced the problem of this anachronism when we worked on the script, but we
decided to go ahead with it relying on the source of Dickens as our alibi ... Dickens wrote
about a mysterious mixture of herbs Carton secured and used in the scene. The only answer
I can give you or anyone who picks up on this is: ‘blame Dickens’ ....” Dictated, but signed
in ink.                                                                                $375.

404. Seuss, Dr. [pseud. of Theodore S. Geisel]: THE LORAX. New York: Random House,
[1971]. Quarto. Pictorial cloth boards. Bookplate, spine slightly tanned, tips a bit rubbed,
small surface scrape to lower edge of front board, otherwise a very good copy.
First edition, first printing, with 3 line copyright statement, reference to Lake Erie (removed
from later printings), 32 titles listed on rear board, and quote by Rudolf Flesch imprinted
in yellow box. Inscribed on the blank page opposite the title: “For Helen and Jim with Best
wishes from Dr. Seuss.”
YOUNGER & HIRSCH 49.                                                                       $900.

405. Seuss, Dr. [pseud. of Theodore S. Geisel]: THE BUTTER BATTLE BOOK. New York:
Random House, [1984]. Quarto. Light blue cloth. Illustrated throughout in color by the author.
Cloth faded at edges, with some faint dust-spotting to upper board, otherwise a very good
copy in similarly sunned and dust-smudged slipcase. Small bookseller’s ticket on rear
First edition, limited issue. One of five hundred numbered copies, specially bound, and
signed by the author. The first Dr. Seuss signed limited edition.                 $750.

406. Seuss, Dr. [pseud. of Theodore S. Geisel]: YOU’RE ONLY OLD ONCE. New York:
Random House, [1986]. Quarto. Light blue green cloth. Illustrated throughout in color by
the author. Bookplate on front pastedown, otherwise about fine in cloth slipcase.
First edition, limited issue. One of five hundred numbered copies, specially bound, and
signed by the author.                                                             $600.

THE ZOHAR .... New York: Printed at the Spiral Press and Published by Pantheon, [1954].
Small quarto. Rough-woven cloth, stamped in red, lettered in gilt. A fine copy in slipcase,
the latter with a bit of wear to corners.
First edition. Illustrations and lettering by Ben Shahn. One of five hundred numbered copies
(of 550), printed on Rives at the Spiral Press and signed by Shahn. The text is the translation
by Maurice Samuel.                                                                       $550.

408. Shaw, George Bernard: LOVE AMONG THE ARTISTS. Chicago: Herbert S. Stone
and Company, 1900. Light green cloth, lettered and decorated in dark green, t.e.g., others
untrimmed. Early ink ownership initials on front free endsheet, otherwise a very good or
better copy.
First edition in book form, unauthorized in a legal sense, but published with Shaw’s knowledge
and approval. The text was first published serially in Our Corner, November 1887 - December
LAURENCE A45a. KRAMER 260.                                                               $250.
                “Our own squalid ventures in Persia have led us
                           in the same direction ...
        Our diplomacy has reduced itself to absurdity in Armageddon ...”
ECONOMIC AND POLITICAL MATTERS. [London?]. [nd. but possibly ca 1914]. Two pages,
closely written in pencil, with deletions and insertions, on two quarto sheets of pale blue
T.H. Saunders letterstock (watermarked ‘1913’). Horizontal fold, with minor creases and
smudges, but very good.
An intriguing manuscript in which Shaw embarks on a characteristically discursive
consideration of war, politics, economics and matters of civilization, with the tone of possibly
having been written in response to a request for views on same: “Pardon the abruptness
of the suggestion; but suppose we blow the German fleet out of the water, or under it, and
the consequence is that Russia profits by our victory to the extent of carving a Baltic province
out of Germany and condemning Sweden to live in the bear’s mouth, will that be a result
for western civilization to rejoice over? The French seem to think that because Russia
has drained away from France so much of the capital that is needed at home for making
French towns and French children healthier and happier, Russia is her dearest friend. That
is already not good sense. Of all tests of prosperity, financial balance sheets are the most
delusive. Capital rushes downhill towards backward countries and cheap labor: civilization
struggles uphill toward highly cultivated countries. It is by following the flow of capital
that France has fallen into that alliance with Russia which is at the root of the whole present
mischief. Our own squalid adventures in Persia have led us in the same direction ... Had
England, instead of wavering between fear of Germany, patronage of France, and love of
dividends, used her immense make-weight to consolidate France, Germany, England into
a western nucleus ... we should not have been in our present mess; and we could have
taken the criminal case of Servia [sic] out of the hands of the Austrian prosecutor into
an international court ... even if the three great western powers must now fall on and hammer
one another to exhaustion, they will still have to stop somewhere and mend their relations
as best they can with a treaty. All the bloodshed and powder burning in the world will
not alter the real problem one jot; and it seems a pity that we cannot tackle it at once,
acknowledging frankly that our diplomacy has reduced itself to absurdity in Armageddon,
and try to solve it as ‘good Europeans’.”                                                 $4000.
26 August 1941. One page, on small octavo sheet of letterhead, with one paragraph postscript,
in pencil. Accompanied by four 8 x 10 sheets of cyclostyled or hectographed costume drawings,
incorporating manuscript captions, by Shaw. Letter fine, the drawings share a uniform patch
of damp deterioration at one edge, with some associated brittleness and tears in that area.
Shaw writes to his secretary: “My dear Blanche If you are anywhere in the direction of
Whitehall Court look in and and [sic] search the Arms & The Man compartment for a bundle
of sketches for the costumes, two of which are the original colored drawings and the rest
copied outlines. Two sets of these outlines will be enough to bring to Ayot with the colored
ones. We shall have to color them for Pascal. I am working at the new script now ....”
The letter continues with details of arrangements for going to Ayot, and concludes: “No
news. All serene here. GBS.” The accompanying costume drawings are printed in blue ink
on cream stock, and three of them reproduce Shaw’s manuscript captions in the printing.
Two are rather elaborate, incorporating multiple inset details in addition to the main drawing.
The Sidney P. Albert Shaw collection at Brown includes four such cyclostyled costume
drawings for Arms & The Man, with indications that Shaw produced a total of six ca. 1894
for a production of the play. The undertaking here most likely is indicative of their reuse
associated with work on a prospective film adaptation of the play. Gabriel Pascal’s film
of Major Barbara was released earlier that month, and his version of Pygmalion appeared
in 1939. And although Pascal went on to produce Caesar and Cleopatra in 1945, and
Androcles and the Lion in 1952, this film adaptation appears not to have come to fruition.
                     “...the distribution of leisure is as important
                         and as primary in the duty of the state
                            as the distribution of income ...”
PROSPECTS.” [Np]. [nd. but ca. 1949]. 3 2/3 pages, in ink, on versos of printed quarto
sheets (reuse of printed statements of terms for performances of Shaw’s plays). With two
typed onlays, one bearing substantive deletions and insertions in Shaw’s hand. Accompanied
by an early (contemporary?) typed transcription, 2 1/3 pp., quarto. Some isolated marginal
paperclip rust stains affecting each leaf, old mend to verso of 1 1/2" clean tear in final
leaf of manuscript, typist’s vertical completion rule in pencil through middle of each leaf
of the manuscript, but generally very good.

A fine example of Shaw’s characteristic shorthand, and vintage (though somewhat diffuse)
political Shaw in terms of content, possibly the basis for the essay, “Election Prospects
as I See Them,” published in the Daily Mail, 5 November 1949. In it, Shaw comments
on the significance of Soviet Communism in the post-war years: “Mr. Churchill, who, to
his great credit, was the first to recognize the eminence of Lenin, might well now warn
our politicians of all parties, who seldom speak without naming Stalin, and never without
insulting him, that Stalin is neither a would-be Napoleon nor a Hitleresque ‘bloodthirsty
guttersnipe,’ but the mainstay of peace in Europe. None of your Statesmen seemed to
have observed that ... civilization, from its beginning ... is founded on a broad basis of
Communism ... They have not even read their Bibles (if they have any) far enough to know
that Christianity began with a communism so stark that Saint Peter struck a man and his
wife for holding back a few coins from the common stock for themselves ....” He expounds
on the “slavery of Necessity,” and the importance of leisure: “...the distribution of leisure
is as important and as primary in the duty of the state as the distribution of income ...,”
and suggests the “final ruin of the Commonwealth” might be the consequence of the
confrontation of the “small and miserably idle rich” with the “large and miserable overworked
poor ....”
LAURENCE C3879.                                                                        $4750.
412. Shaw, George Bernard: Corrected Page Proof from WHAT I REALLY WROTE ABOUT
THE WAR. [London]. [ca. 1932]. One leaf, octavo, printed on recto only. Rust stain in lower
margin, a bit frayed at edges, very good.
A single page proof from the trade edition in book form of the essays constituting What
I Really Wrote About the War, published in the Constable standard edition in 1932. Shaw
has corrected this page proof (corresponding to page 85), altering the reading “...I regard
the Tsar as a monarch whose views differ deeply from President Wilson’s ...” to “... I regard
the Tsar as a gentleman whose views are not those of President Wilson ....” He has made
the revision both in-place in the text, and as a rewritten line in the lower margin. The printer’s
initialed pencil acknowledgement of the correction is dated “28/11/32”.                    $225.

413. Shepard, Sam: FAR NORTH (SCREENPLAY) .... [Np]: Alive Films, [1987]. [1],85 leaves
plus lettered inserts. Quarto. Photographically reproduced typescript, printed on rectos
only of white, rose and blue paper. Bradbound in studio wrappers with diecut window. Title
lettered on spine, wrappers a bit used along overlap edges, but very good.
An unspecified, but revised draft of this original screenplay, with substantial sections of
dated revises on colored paper from 18 September and 1 October. Shepard also debuted
as a director of the November 1988 release, starring Jessica Lange, Charles Durning, Tess
Harper, Patricia Arquette, et al. The final screenplay was published in 1993 in a collective
volume with other works by Shepard, but preproduction scripts are uncommon indeed.

414. [Sheridan, Richard Brinsley]: THE SCHOOL FOR SCANDAL. A COMEDY, AS IT IS
the Booksellers, [nd. but ca. 1785]. [2],[3]-72pp. 12mo. Extracted from bound pamphlet
volume, resewn and laid into somewhat worn marbled paper over limp boards folder. Pencil
notes on detached preliminary blank, small marginal cellotape mend to last leaf; a sound
copy. Morocco backed folding cloth case with ribbon ties.
With the bookplate of A. Edward Newton inside the front wrapper (lot III:267 in his sale).
One of the over twenty-five pirated Dublin printings of this play that appeared in the 18th
century, beginning with the celebrated printing of 1780 based on the prompt script Sheridan
gave to his sister, and following through various corrupt texts, or texts adapted from
performances. Sheridan’s final revised text was eventually published in 1821. ESTC assigns
the above date to this printing, and locates copies at Princeton, Kansas, Texas, Yale and
the State Library of South Australia. Laid in is an earlier bookseller’s description, describing
the present outer dress of the pamphlet erroneously as “Original marbled paper boards.”
ESTC N21581. NCBEL II:818.                                                                $225.

415. [Shilts, Randy]: Schulman, Arnold [screenwriter]: “AND THE BAND PLAY ON”
SCREENPLAY BY .... [New York]: HBO Pictures, 12 March 1992. [1],139 leaves. Quarto.
Photoduplicated typescript, printed on rectos only. Bradbound in studio wrappers. Minor
use at wrapper edges, else very good or better. Title and date handlettered on spine, with
denotation: “With changes.”
Denoted the 11th draft” of this adaptation for cable of Shilts’s 1987 account of the early
days of the AIDS epidemic in America. The September 1993 release, directed by Roger
Spottiswoode, starred Matthew Modine, Alan Alda, Ian McKellan et al, and was nominated
for, and received, a number of technical and acting awards. Several revisions, deletions
and queries on the master were reproduced in production of this studio-generated copy.

416. Shipman, Louis Evan: D’ARCY OF THE GUARDS OR THE FORTUNES OF WAR. Chicago
& New York: Herbert S. Stone and Co., 1899. Small octavo. Gray cloth, decorated in black
and green, t.e.g., others untrimmed. Near fine.
First edition of this historical novel of Philadelphia during the Revolution, first conceived
as a play, then novelized, then readapted to the stage, consequently enjoying a moderate
success. It was the source novel for a 1913 film adaptation by Augustus Thomas’s production
KRAMER 190. WRIGHT III:4922                                                              $75.

417. Siddons, Sarah (British actress 1755 - 1831): AUTOGRAPH LETTER, SIGNED. [Np.,
but London]. 30 April 1821. Two and one-third pages, on three panels of a folded quarto
lettersheet. Old folds for mailing, small piece detached from blank margin from wax seal
having been opened, otherwise very good.
To “Robert Cockerell Esq. Old Burlington Street” (almost certainly Charles Robert Cockerell,
architect and artist, who assisted in the rebuilding of the Covent Garden Theatre in 1809,
and established his offices on Old Burlington Street in 1820). A characteristic social letter
from the famed actress: “My dear Roberto / I have just now arranged a little stag party
for to-morrow evening, 9 o’clock, consisting of only Dr. Holland and my old friend Mr. Harrap;
will you come also, and hear a little reading? and pray let your Drawings accompany you!
I long to see them and my two friends are not unworthy of them, or of yourself. Herewith
you will find my Bust of Adam, which I desire you to accept, not as a specimen of Art,
but as an humble testimony of my true esteem and affection. I have supposed him listening
to the angel Raphael’s glorious account of the works of the Creation: ... [8 lines of verse]
... Unworthy as is now, this feeble attempt to be presented to you my dear Robert, yet
the time is possibly not far distant, when you will (I flatter myself) not be sorry to be possessed
of something Wrought by her own hand, that may remind you of Your very affectionate and
faithful friend, Sarah Siddons.” Of her, the DNB asserts that Siddons “was probably the
greatest actress this country has known, and it is indeed doubtful whether in any country
she has had her superior or even her equal in tragedy.” Her greatest parts were Isabella
in Garrick’s version of Southerne’s ‘Fatal Marriage,’ Lady Macbeth, Zara in ‘Mourning Bride,’
Elvira, Constance, Queen Katharine, Belvidera, and Lady Randolph, and she numbered among
her partisans Hazlitt, Byron, Lord Erskine, and (after some hesitancy) Horace Walpole.

418. Silko, Leslie Marmon, with Lee Marmon: RAIN. [New York]: Library Fellows of the
Whitney Museum of American Art, 1996. Quarto. Open-sewn handmade paper wrappers,
lettered in silver. Photographs. Fine in slipcase, with original prospectus laid in.
First edition. The fourth title in the “American Journal Series.” One of 130 numbered copies,
designed by Leslie Miller and printed at the Grenfell Press in Monotype Centaur set by
Michael and Winifred Bixler, and signed by the author and photographer. Silko’s essays
are accompanied by laserprints of her own photographs, and a duotone reproduction of
a photograph by Lee Marmon serves as a frontispiece. Signed by Silko and Marmon, and
with an original print of a photograph by Marmon, signed by him, laid in.              $500.

419. Sinclair, Upton: TYPED LETTER SIGNED. Monrovia, CA. March 1953. One half page,
with manuscript postscript in ink, on oblong octavo sheet of printed letterhead. Folded for
mailing, otherwise very good.
To his old friend, author Lewis Mumford: “My dear Lewis: I have sent you an advance copy
of my new novel. You will find it timely, and I shall be deeply interested in your opinion
of it. Sincerely, Upton. I am so glad you liked the Jesus book. It has been cruelly ignored.”

420. Smith, Clark Ashton: NERO AN EARLY POEM. [Glendale: Roy Squires, 1964]. Large
octavo. Printed wrappers. Fine. Folding cloth case.
First printing in this format. One of 400 ordinary copies (of 450) handset and printed by
Roy Squires on Warren’s Old-Style. With Squires’ gift inscription on the colophon.$50.
                               First U.S. Poetical Miscellany
421. [Smith, Elihu Hubbard (ed)]: AMERICAN POEMS, SELECTED AND ORIGINAL. VOL
I. Litchfield, CT. Printed by Collier and Buel, [1793]. viii,[2 blank leaves],304pp. plus [6]pp.
subscribers list and [1]p errata. Octavo. Original mottled sheep, with gilt red morocco label.
Usual tanning and occasional mild discolorations, clean tears from outer margin in 3 leaves
(with no loss), tiny paper flaws to three leaves costing a few letters, but overall, for this
book an attractive, near very good copy in the original sheep binding.
First edition, and the only volume published. The first American poetry miscellany, reprinting
verse by Trumbull, Freneau, Dwight, Barlow, C.B. Brown (anonymously), and others. Smith,
a Yale educated physician and student of Timothy Dwight, undertook this editorial task
at the age of 22; in 1796 he founded the Medical Repository, the first American medical
journal, but died in 1798 after contracting Yellow Fever while caring for patients in the epidemic.
WEGELIN 489. BAL 5046. ESTC W4444. EVANS 25104. SABIN 1186.                                 $1250.

TERRITORY, AND CLIMATE OF NICE .... London: Printed for R. Baldwin, 1766. Two volumes.
[4],372;[2],296pp. Contemporary calf, neatly rebacked to style, raised bands, gilt labels.
Some marginal darkening early and late, half-title to first volume present, but not the second,
two early bookplates, else a good set.
First edition. The ill-temper Smollett evidenced in this narrative earned for him the nickname
“Smelfungus” from Laurence Sterne. “Smollett was probably the most embittered and
cantankerous Englishman that ever traveled abroad. Everything and everybody conspired
to excite his irascibility. The food and the inns were bad, the accommodations were damp,
dirty, and dark; the postillions, innkeepers, and the whole crew of caterers to travelers
combined to irritate him with their sharp practices and outrageous extortions. Nevertheless,
being an acute observer, he saw much more than he was given credit for” - Cox.
ROTHSCHILD 1921. COX I:137. ESTC T55395.                                                  $950.

OF THE UNITED STATES GOVERNMENT 1940 - 1945 [wrapper title]. Washington: For
Sale by the Superintendent of Documents, 1945. [8],182pp. Printed stiff wrappers. Some
soft creases and a tiny rust spot to wrappers, otherwise about fine. Folding cloth case,
lettered in gilt.
First printing of the first Government Printing Office edition, published six days after the
bombing of Hiroshima. This is “... the remarkably full and candid account of the development
work carried out between 1940 and 1945 by the American-directed but internationally recruited
team of physicists which culminated in the production of the first atomic bomb” - PMM.
Smyth was chairman of the Department of Physics at Princeton, and his account of the
Manhattan Project is the first officially published description of the history of atomic research
following Hahn and Strassman’s 1939 papers on discovery of nuclear fission. For reasons
of security during the war, no papers relating to the project were allowed to be published.
Preceded by the formerly uncommon lithoprint edition, and published within days of the
Princeton edition.
PRINTING AND THE MIND OF MAN 422e. Coleman, “The ‘Smyth Report’: A descriptive
checklist,” Princeton University Library Chronicle 37 (1976), pp. 204-218.                  $350.

424. [Spanish Civil War]: North, Joseph: FOR VALOR IN BATTLE [wrapper title]. [New
York: Published by the Veterans of the Abraham Lincoln Brigade for Committee to Defend
Lincoln Veterans, April 1952]. 24mo. Pictorial self-wrappers (10.5 x 7.7 cm). Trace of dust
at lower edge of upper wrapper, otherwise very good or better.
First edition of this argument on behalf of the Veterans in the face of prosecution under
the Smith Act.                                                                       $75.

THE AUTHOR’S OWN COLLECTION. Los Angeles: Jonathan A. Hill, 1978. Marbled wrappers,
paper label. Fine. Later folding cloth case.
First edition. One of two hundred numbered copies printed at the Bird & Bull Press on handmade
paper, signed by the author. Among other notable items in his collection, Sparrow here
writes affectionately of his copy of Yeats’ Responsibilities (Cuala Press 1914) inscribed
to Maud Gonne; he does not mention the copy of Discoveries (Cuala Press 1907) inscribed
to her he also (instead?) owned.                                                         $200.

426. Steadman, Ralph: SIGMUND FREUD. [Np]: White Ink Limited, 1979. [title-page and
colophon], plus seven original screenprints. Oblong folio. Enclosed in cloth folding portfolio,
with pictorial label. A few marginal offset smudges to title leaf margins from folder, otherwise
From the publisher’s blurb: “A favorite of collectors, this portfolio of 7 hand silkscreened
prints plus title and colophon pages was published in an edition of only 98 sets, and presented
within a black cloth portfolio. Each print is numbered and signed by Ralph Steadman ...
[it was printed on] Somerset Waterleaf hand made paper, 300 gsm. measuring 22 x 30
in. The seven images in the edition were selected from illustrated symbolic passages of
Steadman’s celebrated book, Sigmund Freud, published by Paddington Press Ltd. in 1979.”

427. [Steichen, Edward]: Sandburg, Carl: STEICHEN THE PHOTOGRAPHER. New York:
Harcourt, Brace and Co., [1929]. Small folio. Gilt cloth. Frontis portrait and 49 plates.
Bookplate on front pastedown, a few stray marks and rubs to cloth, but very good or better,
without slipcase.
First edition of the first substantial monograph on Steichen, with Sandburg’s 60+ page prefatory
essay on his life and work. One of 925 numbered copies, signed by Steichen and Sandburg.
The plates are high quality half-tone reproductions produced via the Knudsen Process, closely
approximating photogravures in terms of quality.                                        $3250.

Publishing Corp., [1945]. Quarto. Cloth. Photographs. Bookplate, cloth a bit dull, a few
smudges to one blank margin, paperclip mark at top edge of endleaves; a good, sound
copy in heavily worn pictorial dust jacket with paper backing neatly applied by a previous
First U.S. Camera edition, clothbound issue, quite possibly preceded by the Museum of
Modern Art printing of the same year. Warmly inscribed and signed by Steichen in 1945
“For long time friends ....” Based on the MOMA exhibition of selections from the work of
the combat photographers of the USMC, US Navy and the US Coast Guard in the Pacific
theater.                                                                          $550.
                   “A Piece of America’s Unfinished Business ....”
429. Steichen, Edward: TYPED LETTER, SIGNED. West Redding, CT. 21 November 1963.
One page, on quarto sheet of letterhead. Signed in full in coarse pencil. Old folds for mailing,
return address duplicated in ink in bottom margin (presumably by the recipient), otherwise
very good or better. Half morocco clamshell box.
To Dallas Sherman, of the Protestant Council of the City of New York, thanking him for
hosting an event: “... I was somewhat dubious about the use of the title of the Family of
Man in connection with a single religious organization but when I read the scroll at each
guests [sic] place, I understood the scope as well as the importance of the idea ... during
the course of the speeches, my understanding became clearer and more positive ... [the
President’s speech] made me realize that this could be the beginning of one of the most
constructive and important developments of our time ... we are today faced with a piece
of America’s unfinished business that calls for an all out effort to eliminate the evil engendered
by the deep-rooted prejudices against our negro people. I am at present conducting a research
with a view to ascertaining whether there are enough photographs with which to create a
large scale exhibition on this subject. I know there is plenty of material on the negative
side that emphasizes the record of bigotry but a statement that only presents the negative
is meaningless unless the positive dominates as it did in the Family of Man exhibit at the
Museum in 1955 ....” He closes indicating that he is sending on to the recipient a copy
of the “rare first edition of the Family of Man book.” Steichen had retired in 1962 from
his post as Director of the Department of Photography at the MOMA, and the event he
refers to in the letter took place on 8 November. President Kennedy addressed the meeting
upon his receipt of the Council’s “Family of Man Award.” Ironically, Kennedy was assassinated
the day after this letter was written, and a little over two weeks later, on 6 December, President
Lyndon Johnson presented Steichen with the Presidential Medal of Freedom.                    $850.

PROGRESS. [Paris: Contact Editions / Three Mountains Press, 1925]. Thick large octavo.
Original printed wrappers. Rebacked at an early date, with much of the original backstrip
laid down (somewhat creased and with large chip at toe), and with few smudges and a
small spot to upper wrapper; externally, maybe very good, but internally near fine. Enclosed
in a handsome cloth slipcase with chemise and morocco label. Bookplate on inner panel
of chemise.
First edition of the author’s magnum opus. A total of 500 copies were printed (including
5 deluxe copies on Japon vellum), of which one hundred sets of sheets were sent to the
U.S. and distributed by Albert & Charles Boni with a cancel title leaf and American binding.
Some copies of this Paris issue were sold by advance subscription and some through
bookstores. However, a substantial number of copies remained with the publisher as his
relations with Stein deteriorated. “What became of the remainder of the edition neither Bird
nor McAlmon remembers, but it is certain that a relatively small number of copies actually
reached the hands of readers” - “The Making of The Making of Americans,” by D. Gallup.
Stein’s most recent bibliographer, in fact, suggests that the 100 copies sent to America
constituted “the majority of copies.” Whatever the case, this issue is much less common
than one would find had 400 copies actually seen the light of day, although its enormous
bulk and fragility have certainly contributed to a higher than normal attrition rate.
COLOPHON, pp. 54-74.                                                                 $2000.

THORNTON WILDER. Chicago: Univ. of Chicago Press, [1935]. Small quarto. Orange cloth,
decorated in black. First edition, trade issue (one of 872 copies thus). Large bookplate
on front pastedown, pastedowns a bit darkened at edges, cloth slightly dust marked at
edges and on lower board, otherwise a very good copy in darkened, slightly edgeworn,
price-clipped dust jacket.
WILSON A25a.                                                                       $125.

432. Stein, Gertrude: ...TWO (HITHERTO UNPUBLISHED) POEMS [wrapper title]. [Pawlet,
VT: Designed and Printed at the Banyan Press...for the friends of F.M. & C.V.V., Christmas,
1948]. Sewn printed wrappers. About fine.
First edition, private issue. One of 205 numbered copies for distribution by Fania Marinoff
& Carl Van Vechten, incorporating their holiday greeting into the wrapper title. An additional
two hundred copies appeared with the GBM imprint, along with perhaps ten more for the
WILSON A46b.                                                                           $250.
433. [Steinbeck, John]: Allen, Fred: TYPED LETTER, SIGNED, TO JOHN STEINBECK.
Old Orchard Beach, ME. 27 July, ny, but [1945]. Two pages (plus seven lines), closely
typed, on two quarto sheets featuring a large header of Hirschfeld’s drawing of Allen. Folded
for mailing, but near fine. Half morocco folding case.
A warm and chatty letter, typed without capitalization, from Allen to “dear john,” touching
on a variety of things, including Steinbeck’s working at the Viking offices because of his
difficulty writing with children at home — a reference to Gwyn’s recovery after childbirth
accurately dates the letter to the month after the birth of Steinbeck’s second son, John,
in 1945. He thanks Steinbeck for sending a copy of Sea of Cortez: “... i hope to wade
into the sea no later than tomorrow. with the atomic age around the corner, we may all
find ourselves at the bottom of the sea and it will help to know the geograpsus lividus from
the clypeaster rotundus ...,” and comments extensively about the humorous goings on at
the Maine seaside where he is staying. In response to a query about his own writing, he
reflects: “re the book. i have thought about it many times. the trouble i have is that after
a season of radio my mind is a mulligan. i cannot sit down and concentrate on anything
... the only way i could hope to start a book would be to abandon radio for a season and
see if i could do anything that would be worthwhile. you are conditioned to writing and
can attack your problems in stride. after fourteen years of radio my mind jumps around
and mentally i can’t sit still for twenty minutes. i expect to quit after this coming season
and then perhaps i can organize my mental equipment. ....” Signed in full, in ink, with a
typed postscript enclosing something for Gwyn. Ca. 700 words.                           $450.

434. Steinbeck, John: A LETTER FROM JOHN STEINBECK. [San Francisco]: Roxburghe
& Zamorano Clubs, 1964. Quarto. Sewn printed wrappers. Wrappers slightly darkened and
slightly bumped at forecorners, very good.
First edition. Prefatory note by Katharine Carruth Grover. One of 150 copies printed at the
Grace Hoper Press. The letter was written while Steinbeck was a student at Stanford.
GOLDSTONE & PAYNE A42.                                                               $300.

435. [Steinbeck, John]: Hart, James D.: JOHN STEINBECK HIS LANGUAGE AN INTRO-
DUCTION. Aptos, CA: [Grace Hoper Press], 1970. Quarto. Printed wrappers. Facsimiles.
Minor use at overlap edges, two tiny spots inherent in paper stock of final blank, but about
First edition. One of 150 copies printed at the Grace Hoper Press for a joint meeting of
the Roxburghe and Zamorano Clubs. Includes a facsimile of an a.l.s. by Steinbeck, and
of an annotated typescript of his translation of a Ukrainian poem into a completely imaginary
language. The present copy is the variant in white wrappers with the last leaf of the Introduction
GOLDSTONE & PAYNE A45a.                                                                     $350.

STEINBECK TO ELIZABETH OTIS. San Francisco: Book Club of California, 1978. Cloth
and boards, paper spine label. Facsimile. Two bookplates on pastedown, otherwise fine
in plain wrapper. Prospectus laid in.
First edition. Introduction by Carlton Sheffield. Edited by Florian Shasky and Susan Riggs.
One of five hundred copies printed at the Plantin Press. Selections from Steinbeck’s letters
to his agent.                                                                         $175.

437. Stephens, James: THE DEMI-GODS. London: Macmillan and Co., 1914. Gilt cloth.
A near fine, bright copy, in a chipped, but substantially complete example of the uncommon
dust jacket.
First edition, first printing, with the half-title. One of the author’s copies, with his small
orange chopmark initials on the title-page.                                              $225.
438. Stevens, Wallace, and José Rodríguez Feo: SECRETARIES OF THE MOON THE
Press, 1986. Cloth. Near fine in lightly spine-sunned dust jacket.
First edition. Edited by Beverly Coyle and Alan Filreis. Pencil ownership inscription of Stevens
editor/collector Daniel Woodward. Inscription on half-title page from editor Alan Filreis “For
Dan, with thanks for ‘Putting together a world’ here at the Huntington [Library]. Al Filreis
1/18/90". Some additional correspondence between Woodward and Filreis is laid in. $60.

DONAT. San Francisco: [Privately Printed for Herbert L. Rothschild], 1925. Large octavo.
Parchment and boards, stamped in gilt. Tipped-in facsimiles. Bookplate on front pastedown,
otherwise about fine in very good dust jacket (small snag in spine panel), and lightly rubbed
First edition. One of only fifty copies printed at the Grabhorn Press on unbleached Arnold
handmade paper. Printed transcripts and facsimiles of the manuscripts of a letter and a
poem, with an appreciation by Robert Keable.
GRABHORN 78. BEINECKE 728.                                                           $225.

440. Still, William Grant: TYPED LETTER, SIGNED, TO EFREM KURTZ. Los Angeles. 27
October 1947. One page, closely typed, on recto of quarto lettersheet. A bit of haloing
of the ink signature, old folds for mailing, very good. Folding cloth slipcase.
An important letter from the pioneering African American composer, to Russian-born conductor
Efrem Kurtz, then in residence in Kansas City. Still responds with enthusiasm to an enquiry
from Kurtz about what he might have available for performance: “... I am so glad that you
are interested in my work, and I believe I have expressed ... how much a performance by
you means to me ... I do have a work such as you describe. That is ‘Out of the Silence,’
for strings, flute and piano ... [it] is a poetic piece, suggesting sounds coming from another
world ... Along other lines, I have written some orchestral works ... One that I like especially
is the ‘Poem for Orchestra,’ which speaks of the spiritual re-birth of a war-torn world ....”
He passes on to Kurtz the details of an error in the printed score for the former piece,
and continues describing other possible works for Kurtz to consider, including “Old California”
and “In Memoriam: the Colored Soldiers Who Died for Democracy.” The letter is signed
in full. After a decade as conductor of the Ballet Russe de Monte Carlo, Kurtz moved to
the U.S. and became a citizen in 1944. At the time of this letter, he was music director
of the Kansas City Philharmonic, a post he retained until the following year, when he moved
to the Houston Symphony. Still’s Symphony No. 1 “Afro-American” had been performed
by the Kansas City Philharmonic in 1938. An excellent letter from an important period in
the ascendant decades of Still’s career.                                                 $950.

the Supervision of Herbert S. Stone & Co., 1898]. Small octavo. Green cloth, paper label.
Portrait, photographs and floor-plan. Bookplate, otherwise about fine.
First edition. A private printing commission undertaken by Stone and the Lakeside Press
that is not recorded in Kramer.                                                   $125.

MDCCCXCIV-V. Chicago: Stone & Kimball, 1894. 29pp. Sewn printed self-wrappers. Wrappers
tanned, with offset from old clipping to two pages, a couple fore-edges roughly opened,
else very good.
An uncommon and informative catalogue of the imprint’s publications, both published and
forthcoming.                                                                      $100.
443. Stone, Robert: DAMASCUS GATE. Boston & New York: Houghton Mifflin, 1998. Decorated
pictorial wrappers. Advance reading copy from uncorrected page proofs. Inscribed by the
author on the occasion of an interview at the time of publication. About fine.   $175.

LIVRE D’ARTISTE. New York: Wittenborn, [1969]. Gilt cloth. Quarto. Illustrations and plates
in color and black and white. Fine and bright in very good dust jacket marred by several
short creased edge-tears.
First edition, American issue, printed in Britain. An authoritative and substantial introduction
to English-reading audiences of the history and tradition of the French livres d’artiste. Includes
a bibliography on the subject, as well as a catalogue of the representative examples discussed
in the text.                                                                                 $150.

445. Strand, Paul: THE MEXICAN PORTFOLIO. [New York]: Da Capo Press, [1967]. [8]pp.
plus twenty photogravures. Folio (40 x 31.5cm). Folded signatures and loose sheets, laid
into stiff wrapper, enclosed in folding cloth covered chemise and board slipcase. Bookplate
and thin strip of tape residue on pastedown of chemise, otherwise fine in bit scuffed and
corner worn printed slipcase.
Second edition. Prefatory note by Leo Hurwitz, new note for this edition by Strand, and
a statement of homage by David Alfaro Siqueiros. One of 1000 numbered copies, signed
by Strand. A masterful reworking of the 1940 original, prepared under the photographer’s
supervision, with the photogravures hand printed from the original plates on BFK Rives by
Albert Delong. Strand took the original photographs in 1932-33, as a prelude to his work
on the film Los Redes, and the 1940 edition, under the title Photographs of Mexico, was
limited to 250 copies.                                                            $3000.

446. Tarkington, Booth: AUTOGRAPH LETTER, SIGNED. Indianapolis. 12 March 1935.
One page, a bit hastily written in ink, on quarto sheet of letterhead. Folded for mailing,
else about fine, accompanied by the original envelope.
To Arthur Zinken, of the Meridian Bookshop, Indianapolis, reading in part: “... Charles Dickens
was the literary life blood of the youths of my generation whose families were at all bookish.
Sermons were likely to refer to Uriah Heap ... or to Sam Weller; everyone in the congregation
knew those people. There are signs today of a renewing great interest in that stupendous
writer and I think librarians will confirm this. Three books about Dickens have been published
within the last year, I believe. More have been printed, in the same time, about Hitler, I
suppose, but they aren’t what’s called ‘good reading’ ....” Signed in full.               $350.

447. Tennyson, Alfred: AUTOGRAPH LETTER, SIGNED. Aldworth, Blackdown, Haslemere.
24 July 1872. One page, in ink, on small octavo sheet of embossed Aldworth letterhead.
Light use and tanning at edges, single spindle hole in blank upper left quadrant, otherwise
very good.
An emphatic letter, wanting any equivocation: “Sir, I thank you but I have no intention of
coming to the United States. I have the honour to be your obedient servant A Tennyson.”
Accompanied by an example of the Elliott & Fry carte de visite of Tennyson in left profile.
                            “I never was much of a rake ... “
448. Thackeray, William M.: AUTOGRAPH LETTER, SIGNED. [Clarendon Hotel, New York].
“Friday, 19 Novr” [1852]. Four pages, on four panels of folded quarto lettersheet, in ink.
Small adhesion marks on lower panel from once having been mounted, otherwise about
fine. Enclosed in an oversize half morocco clamshell case.
An excellent letter, written during his first tour of America (November 1852 - April 1853),
addressed “Dear Sir,” but possibly to Parke Godwin or a close associate thereof. On the
day of his first lecture in a series presented to the Mercantile Library Association of New
York, Thackeray writes: “I thank you for the paper, and the critical and biographical sketch
w. you have drawn of me. There are some errors in the biographical department w. it is
scarce worth while to correct or to particularize; though I must put in my little protest against
them, lest I should be supposed to acquiesce with the historian. I never was very much
of a rake nor a spendthrift; nor so poor in my reverses but that there was plenty of dinner
lawfully paid for ... but as the death of nobody I know is likely to bring me such a treasure
I must try my best in my own living person to leave my wife and young ones provided for
& trust that a number of lecture and word-loving persons in America will be found to contribute
to the success of that harmless scheme. I wrote a note 2 days since and burned it as
being too full of personal history - on wh. I must perforce enter however, in acknowledging
your article. I need not say that this is private and between me and my friendly critic. I
write just before going to the first lecture, and will dress myself with more care than usual
(knowing what eyes are on the look out) and will try and lay the proper emphasis upon
the words. Very faithfully yours W.M. Thackeray.” He adds a note: “I have not had time
to deliver any of my letters of introduction, and among them is the enclosed for Mr. Parke
Godwin.” On the last panel, Thackeray adds a belated note: “Thursday 25. I am much
obliged for the papers, and reopen the letter written a week since and kept back on account
of the egotism ... It will give me great pleasure to call on Mr. Godwin and Mr. Bryant and
to make Mr. Godwin’s acquaintance. I wish I could propose an evening but my evenings
are all engaged at present for a week: & afterwards I am not my own master.” Wilson, in
Thackeray in the United States, reports that W.C. Bryant was in attendance at the lecture
in the 19th, but there is no record there of an eventual meeting with Godwin.             $2250.

449. Thomas, Dylan: AUTOGRAPH LETTER, SIGNED. Magoda, New Quay, Cardiganshire,
Wales. 19 February 1945. One half page, on octavo sheet. Horizontal fold for mailing, marginal
tear (with signs of old repair, but no loss) touching one word, otherwise very good. Folding
cloth case.
To G.F. Hench (?), Esq., addressed as “Dear Sir.” Thomas grants publication permissions
for one of his great war poems, as well as a notable poem about the lead up to war: “Yes,
you certainly have my permission to use to [sic] my two poems - ‘Among Those Killed
in the Dawn Raid’ and ‘The Hand That Signed’ - for your anthology ‘Poems for Europe.’
The first poem was first printed in Life & Letters Today, but will be included in a new book
of poems of mine Dent are to publish this year some time: so I don’t know which you give
acknowledgement to - Dent or L&L. Yours sincerely, Dylan Thomas.” The forthcoming
collection he alludes to would be published as Deaths & Entrances, but it appears that
the anthology to which this relates did not come to fruition, at least under the title given.

450. Thomas, Edward: CLOUD CASTLE AND OTHER PAPERS. London: Duckworth & Co.,
[1922]. Large octavo. Gilt navy blue cloth. Offset to endsheets from jacket flaps, otherwise
a fine, bright copy, in somewhat edge darkened dust jacket with shallow loss at crown
of spine and a clean, partial split up the upper spine fold.
First edition, primary binding. A posthumously published collection, assembled by Thomas
just prior to his final return to the Front. With a Foreword by W.H. Hudson, left unfinished
because of his own death. Uncommon in dust jacket,
ECKERT, pp.250-1. PAYNE B6a.                                                           $150.
                                Inspired Bog House Verse
451. “Thrumbo, Hurlo” [pseud]: THE MERRY-THOUGHT: OR, THE GLASS-WINDOW AND
THOUGHT ... PART II. London: Printed for J. Roberts in Warwick-Lane ..., [nd. but ca.
1731]. [8],24;[2],28pp. Octavo. 19th century pebbled morocco. Identical engraved frontis
to each part, signed “H. Burgh Sculpt.” Binding worn at extremities and joints (but sound),
internally quite nice, very good or better. Bookplate.

First edition of each part. A fascinating collection, in two independent parts, of jests, graffiti
and doggerel, represented as collected from public houses, bog houses and store fronts
about Britain and Ireland. Some of the examples are barbs aimed at public or private figures,
others are coarse or sexual, many relate to the writers’ state of drunkenness, and yet others
are simply the exercises of amateurs with a thought to express (sometimes while occupied
otherwise). Third and fourth parts also appeared, conjecturally dated by ESTC the following
year, as did subsequent editions or reissues. All are uncommon, and the first edition of
the first part is rare. Case records the first editions of the first and second parts only from
notices/adverts in the Gentleman’s Magazine (October and November 1731) and Fog’s
Weekly Journal, but did locate copies and collates the later parts and editions. ESTC
locates three copies of the first part (Advocates Library, BL and the Bodleian - none in
North America), and nine copies of the second (Huntington, McMaster, Princeton and Illinois
in North America).
CASE 369(I)(a) and 369(2)(b) note. ESTC T141567 and T141568.                             $2750.

452. Tinker, Edward Larocque: LIFE AND LITERATURE OF THE PAMPAS. Gainesville:
Univ. of Florida Press, [1961]. Printed wrappers. Frontis. First revised edition, with an added
bibliography of Gaucho literature. Bookplate, otherwise fine in half morocco folding case.
Published as #13 in the Latin American Monograph series edited by A.C. Wilgus. $30.
453. Toklas, Alice B.: AUTOGRAPH LETTER, SIGNED. 5, rue Christine, Paris. 8 January
1952. One and one-half pages, on recto and verso of octavo sheet of airmail flimsy letterhead.
Closely written, in ink, in her characteristic minuscule hand. About fine. Folding cloth case.
To “Mr. [Bruno] Adriani, thanking him for his recent letter and extending her wishes for
the rapid recovery of his wife, Mrs. [Sadie] Adriani: “Please tell her that I think of you both
often - that our brief meeting is indeed a very warm memory.” She continues expressing
her thanks for “The gift of her portrait of Harriet [likely Stein and Toklas intimate Harriet
Lane Levy] touches me deeply. You will both agree I hope with my decision to send it to
Yale University Library with other drawings and paintings to become part with her manuscripts
letters etcetera of the Gertrude Stein collection. I like it in every way better than the drawing
by Matisse....” She continues asking Adriani’s assistance in reestablishing her communications
with “Dr. Boeringer” after she was unable to see him during his recent impromptu visit,
and notes further that “Doctor Rosenthal is going to translate Gertrude’s play that he saw
in San Francisco ... The winter has commenced - it is dark and dismal but not yet as cold
as it must soon become. The poor poodle suffers dreadfully from arthritis and is no longer
gay.” She concludes, noting a recent visit from “Doctor Morley of the San Francisco Museum
- the one that received the bequest of Harriet’s pictures. I am trying to interest her in the
work of Francis Rose ....” Signed, “Affectionate remembrances always, Alice Toklas.” Harriet
Lane Levy (1867 - 1950), the prominent San Francisco writer, feminist and major benefactor
of the arts, had been Alice Toklas’s friend from childhood and lived with her in Paris beginning
in 1907, until her return to San Francisco in 1910. Sadie Adriani was herself an accomplished
painter, and with her husband Bruno, an avid art collector.                                 $550.

454. [Trade Catalogue]: Peck, Stow & Wilcox Co.: ILLUSTRATED CATALOGUE AND PRICE
.... New York: Peck, Stow & Wilcox Co., 1885. 651,[1]pp. Large, thick quarto. Original
cloth, lettered and decorated in gilt. Illustrated throughout. Major portion of front free endsheet
neatly clipped away, inner hinges cracking at toes, lower foretips shelfworn, otherwise a
very good, bright, clean copy.
A good, early example of the substantial and copiously illustrated trade catalogue published
by one of the preeminent U.S. manufacturers of tools and hardware for the industry. The
Peck, Stow, & Wilcox Company was organized in 1870 by a three-way merger of the Peck,
Smith Manufacturing Company, the S. Stow Manufacturing Company, and the Roys & Wilcox
Company. In 1880 the company was chartered by an act of the Connecticut legislature.
Romain describes their 1880 catalogue as “one of the best tool catalogues located,” and
in 1993, their much abbreviated 1900 catalogue (144pp.) was reprinted. OCLC/Worldcat
locates one copy of this edition (NYPL), and only two of its 1880 predecessor.
ROMAIN, p.190 (1880 edition).                                                         $500.

455. [Trade Catalogue]: Becken Co.: 1934 ANNUAL CATALOG ... A.C. BECKEN CO.
Chicago: A.C. Becken Co., [1934]. 748pp. Thick quarto. Gray cloth, decorated in orange
and black. Heavily illustrated, with occasional color work. Edges rubbed, pencil page references
on free endsheet, otherwise very good.
A lavish trade catalogue for this distributor of watches, jewelry, home furnishings, tableware,
etc, ranging from Mickey Mouse watches, through art deco cigarette cases, dinnerware,
jewelry boxes, and jeweler’s tools and equipment.                                         $125.

456. [Tragara Press]: Hume, David: [EXTRACT FROM “THE SCEPTIC”]. Edinburgh: The
Tragara Press, 1973. Folio broadside (41 x 24cm). Fine.
One of an unknown (but small) number of copies printed on Saunders handmade paper
by Alan Anderson at the Tragara Press for private distribution. Very faint soft crease else
fine.                                                                                  $50.
PERSONS. London: Printed by H. Meere, for A. Bettesworth [et al], 1716. Two volumes.
[6],330;[4],320pp. 12mo. Contemporary paneled calf and paneled sheep (not uniform). Early
ink initials in corner of each title margin, spine extremities worn, with slight cracking to
a couple joints, one label wanting; internally slightly tanned but crisp and very good.
First and only edition, it would appear, of this compilation for popular reading, as evidenced
by the emphasis placed on the accounts of final words and executions (and modes for
same) rather than on legal subtleties. The imprint advertises copies in both sheep and calf,
available at different prices, and it would appear the early owner opted for the cheaper route
for the second volume.
ESTC N6760.                                                                              $500.

New York, Los Angeles & Culver City. 14 November, “Wednesday,” “Sunday,” and “Wednesday,”
no year, but [ca. 1930-31]. Five pages, in ink, on quarto and octavo sheets of letterhead.
Very good. Enclosed in cloth folding case.
Four letters from the Anglo-American dramatist/screenwriter to California woodcut artist,
Paul Landacre, about commissioning one or more greeting cards. One of the letters is written
from the Hotel Elysée in New York, two on letterhead of the Beverley Wilshire, and one
on MGM letterhead. Van Druten writes Landacre in the 14 November letter (addressed
incorrectly as ‘Lindacre’) from New York: “You may perhaps remember designing a Christmas
card for me last year in Hollywood - and I should like it so much if you could do the same
again ...,” and proposes a meeting with him once he returns to work at MGM. The other
three letters relate to his receipt of cards, and payment for them, including two different
transactions for two different commissions - one of them perhaps the previous card alluded
to in the New York letter. Van Druten first came to Hollywood in 1930 to work on the screen
adaptation of his play, Young Woodley, and Anthony Lehman, in Paul Landacre A Life
and Legacy, records only Van Druten’s 1930 commission in his checklist of Landacre’s
Christmas cards. The implication of this correspondence is that another, for 1931, followed.
LEHMAN, p. 172.                                                                        $200.

459. Viva [pseud. of Janet Sue Hoffman]: SUPERSTAR. New York: Putnam, [1970]. Narrow
quarto. Plastic comb-bound printed wrappers. Uncorrected proofs of the first edition. Residue
of filing label across lower edges, otherwise very good or better. Uncommon format for this
title.                                                                                   $60.

LINE MANNER.... London: Etchells & Macdonald, 1926. Quarto. Cream linen spine and
orange cloth over boards, stamped in gilt. Faint dust soiling to spine, trace of normal offsetting
to endsheet gutters, otherwise a fine copy in lightly worn slipcase.
First edition. Introduction and captions to the illustrations by Bernard Windeler. Illustrated
with twenty-three original copper engravings by Wadsworth, printed from the plates, both
full-page and vignette, and some delicately handcolored. One of four hundred and fifty copies.
Wadsworth was, of course, one of the original signators to the Vorticist manifesto and
regrettably that tradition shows through only occasionally and briefly in these draftsman-
like renderings. Of particular interest to this cataloguer is the probability that the author
of the captions is the same B.C. Windeler whose Elimus, with illustrations by Dorothy
Shakespear, was published in Pound’s Inquest series three years earlier.                $900.
461. Wakoski, Diane, and Hans Burkhardt [illustrator]: HUSKS OF WHEAT TWO POEMS
.... Northridge: Santa Susana Press, 1987. Quarto (29 x 19 cm). Folded sheets, enclosed
in stiff paper sleeve. Illustrated with three original linoleum blockprints. Bookplate inside
sleeve, sleeve lightly used, otherwise fine in slightly rubbed cloth slipcase with printed
First edition. One of sixty-five numbered copies printed by Patrick Reagh on Arches
Heavyweight, signed by the poet and the illustrator. Each of the three separate prints is
also numbered, dated and signed by the artist in the margin.                       $450.

462. Wall, Bernhardt: FOLLOWING THOMAS JEFFERSON 1734 - 1826. Lime Rock, CT:
Etched and Published by Bernhardt Wall, 1932 [ie. 1933]. Thirteen volumes. Small quarto.
Original cloth-tape backed boards, with etched imprints on upper boards. Some foxing to
edges of boards of second volume, final four numbers in original plain dust wrappers, late
bookplate in each volume, very good to fine.

First edition of this characteristic work by Wall, consisting entirely of original copper plate
etchings of both the text and the illustrative material, printed in colors, and with each part,
and many of the constituent etchings, signed by Wall. This is an interesting, though mixed,
set. Formally published by subscription in an edition limited to 100 numbered copies of
each part, this set includes ten volumes denoted as “Personal” rather than being numbered,
and six of those volumes bear unusually warm presentation inscriptions on the occasions
of publication from Wall to Theodore Fred Kuper, the dedicatee of the 8th part (which is
marked “Personal” but is not inscribed). The first part is enhanced by the inclusion of a
variant state (marked “1st state”) of the first plate, as well as the original pencil and ink
mock-up for the plate printing Claude G. Bowers’ “Thomas Jefferson A Tribute.” The actual
etched plate bears Bowers’ ink inscription to Kuper. According to inserted slips and Wall’s
inscriptions, some of the production work on this title took place in Coral Gables, FL, as
well as in Wall’s usual haunts.
WEBER, pp. 42-3.                                                                        $2000.
                           Association Copy of His First Book
CONQUEST OF MEXICO. Boston: James R. Osgood and Company, 1873. xiv,586pp.
Contemporary three quarter forest green calf and marbled boards, raised bands, spine gilt
extra, by MacDonald & Son, Cambridge. A bit of rubbing to spine extremities and fore-
edges of corner pieces, modern bookplate, otherwise a very good copy.
First edition, first printing, of the first book by the future Governor of New Mexico and author
of Ben-Hur, with the sheets bulking 1" rather than 1 1/4". An interesting association copy,
inscribed in pencil on the first binder’s blank by Wallace’s wife, Susan Arnold Elston Wallace:
“Tayde Bancroft — ‘for remembrance’ S.E.W.” Accompanied by a fine 3 3/4 page autograph
letter, signed with initials, from Susan Wallace, n.p., “November” [but corrected ‘I should
have written October’] 30th, 1873, on four panels of a folded octavo lettersheet, to “My
dear friend,” just possibly the recipient of the book: “I long have wished for something fit
to offer as a keepsake to the ‘Rose of the Alhambra’ and now have found it in my husband’s
book. When a dreaming boy, scarcely nineteen years old, he was lieutenant in our army
in Mexico, and there when his tent was pitched among the sand hills of the Rio Grande,
the wish possessed him to write a romance whose scenes should be laid in that delightful
region ....” She details the span of time over which Wallace worked on the manuscript,
noting “the last third was written after the rebellion, and plainly shows the difference between
theoretical and practical soldiery. Such as it is, I beg you to accept this copy, and since
‘the gift without the giver is bare’, I have marked certain passages that pleased me” [NB:
there are no annotations in the text of this copy]. She refers to her own book, possibly
enclosed in manuscript form in the parcel with the book in hand: “Had my own little darling
found favor in the eyes of those cruel-hearted publishers, I should have sent her to you
in red morocco shoes; as it is, she must live (if at all) in a state of nature ... The drawings
are with another copy which I hold in reserve for my grandchildren ....” Signed: “I am, faithfully,
as ever, Your friend, S.E.W.” Attached at the top of the rear panel is a clipping of a review
of The Fair God ..., as a New Publication, identified in ink as from the New York Times.
Susan Wallace’s first book, The Storied Sea, was not published until 1883. Copies of
The Fair God in presentation bindings of full green pebbled morocco, gilt extra, by MacDonald,
are known; this may be an example of a less elaborate, but nonetheless contemporary
binding for presentation.
BAL 20795. WRIGHT II:2614. RUSSO & SULLIVAN pp. 311-313.                                     Sold

464. Warde, Frederic Barkham (actor, 1851 - 1935): INSCRIBED PHOTOGRAPH IN THE
1920. Original silver print photograph, 23 x 18 cm, by Witzel, accompanied by a manuscript
quotation, signed, eight lines, in ink, on octavo sheet of Hotel Alvarado stationary. Upper
margins of photograph oxidized, light mounting offset on verso of top edge of manuscript,
otherwise very good. Folding cloth case.
Two mementos associated with the eminent actor’s appearance in a California production
of John S. McGroarty’s pageant, The Mission Play, in the role of Junipero Serra. The
photograph is a strong character study of Warde as Serra praying at the foot of a Cross,
and is inscribed by him and signed in white ink: “The Padre’s Prayer. Frederick Warde
1920.” The quotation is from the play, is signed by Warde and dated April 1920, and reads,
in part: “Bring to the foot of thy cross, all these wild gentiles of the plains and hills; Bless
the dear land of California, and all its peoples ....” British-born Warde came to the U.S.
in the 1870s, and entered into a theatrical touring partnership with Maurice Barrymore.
He is best remembered now as a very early pioneer in the production of film versions of
stage plays — the recently rediscovered 1912 film version of Richard III, with Warde playing
the lead, is considered a candidate for being the earliest surviving American feature film.
AGAIN). New York & London: Harcourt, [1975]. Cloth and boards. Edges a bit dust darkened,
but a very good copy in shelfworn dust jacket with creased tear at corner of front panel.
First edition. In addition to being signed with initials on the half-title (as is common), this
copy bears Warhol’s inscription: “To ... love Andy Warhol” (‘Warhol’ being something of
a scrawl).                                                                             $1250.

466. Washington, Booker T.: EDUCATION OF THE NEGRO. [Albany, New York]: Department
of Education for the United States Commission to the Paris Exposition of 1900, [copyright
1899]. 44pp. Large octavo. Original printed wrappers. Toe of spine gnawed away at an angle,
affecting text block but nowhere even remotely affecting (or approaching) text, thin strip
of erosion to spine covering, lower wrapper has soft crease and light dust-soiling, two small
corner chips to wrappers, but otherwise a good, sound copy.
First edition of Washington’s fourth book, albeit a monograph, published in the series edited
by Nicholas M. Butler, “Monographs on Education in the United States,” intended for
distribution at the Paris Exposition which began in April 1900. However, copyright was taken
in 1899 by J.B. Lyon and Company, the Albany printers who produced the work, and it
was reprinted at least once, again by Lyon and Company in 1904, for distribution at the
St. Louis Universal Exposition. This earlier printing for distribution in France tends to be
uncommon.                                                                              $650.

467. Washington, Booker T.: THE FUTURE OF THE AMERICAN NEGRO. Boston: Small,
Maynard & Co., 1899. x,[3]-224pp. Octavo. Plum red cloth, lettered in gilt, t.e.g., others
untrimmed. Portrait. Bookplate, some discolorations to endsheets and faintly in gutters
of prelims and terminal leaves, otherwise a very good, bright copy.
First edition of the author’s second substantial clothbound book, preceded by a slim
inspirational work, Daily Resolves (1896, [15]pp.), and a collection of selections from his
speeches, Black Belt Diamonds (1898).                                                 $400.

468. Wells, H.G.: AUTOGRAPH LETTER, SIGNED. Spade House, Sandgate. 5 November
1901. Three pages, in ink, on three panels of a folded small quarto lettersheet. Heavy horizontal
fold from mailing, a few light smudges, else very good. Enclosed in an oversize half morocco
clamshell box.
Addressed to “Dear Sir,” but the recipient is identified at the conclusion as W.H. Wright,
Esq., just possibly the Harvard astronomer. In response to an invitation to lecture, Wells
writes: “1901 is quite out of the question but in the mid of 1902 I don’t see why I should
not go [‘come’ inserted] to America. I want most keenly to get at the American public,
and if you will believe me, my motives are not absolutely sordid. At present I feel I haven’t
got the American public, though I have got most of what is worth having of the British -
& I understand this lecturing in some [indecipherable] way will conduce to that desired
end. Will you tell me just how it is done .... & will you promise not to write or inspire one
solitary paragraph about my home or my personality & will you consider the whole thing
in no sort of way binding me - if I ask you to come down & talk about it? ...” Signed, “Yours
faithfully, H.G. Wells.”                                                                $850.
                               One of Sixty Signed Copies
Small folio. Cloth backed boards, elaborately lettered in gilt, fore and bottom edges untrimmed,
printed spine label. Frontis and nine tipped-in photogravure plates. One end of spine label
chipped, costing final ‘L’, boards a bit hand smudged, with a few small nicks at edges;
usual mild offset from plates to facing pages, tiny surface abrasion to extreme margin (not
image) of frontis, small spot of ink offset in margin of title, otherwise fresh and crisp, with
the plates in fine state.
First edition in this format, the very scarce British issue. From a total edition of six hundred
copies printed on French handmade paper by Bertha Goudy at the Village Press, this is
one of sixty copies distributed in the U.K. by Grant Richards with their imprint, and with
a handwritten limitation statement on the blank verso facing the half-title, signed at the
end by Wells and by Coburn.

The hand-pulled photogravures were printed under the supervision of Coburn, from plates
he prepared himself. Due to a production accident, only three hundred of the six hundred
were issued with the full complement of photogravures; in the remaining three hundred,
sometimes one and usually many more of the plates were supplied as aquatones. This
copy, as we suspect all copies of the limited British issue as originally distributed, includes
all of the plates in photogravure.
CARY 70. TRUTHFUL LENS 184.                                                            $12,500.

470. [West, Nathanael]: Original Studio Publicity Campaign Pressbook for LONELY-
HEARTS. [Los Angeles]: United Artists, [1959]. 12pp. Folio. Pictorial self-wrappers. Illustrated.
Faint creasing and a couple of minor smudges at lower edge of front wrapper, otherwise
very good or better.
Original campaign pressbook for the U.S. release of Dore Schary’s screen adaptation of
West’s novel, directed by Vincent J. Donehue, starring Montgomery Clift (shortly after his
car accident and looking a bit wooden), Myrna Loy, Robert Ryan and Maureen Stapleton.
Includes promotionals of ranging degrees of inappropriateness (“Win a ‘Lonelyhearts’ World
of Romance Trip to Rio”), as well as some discussion of West’s novel and a drawing by
Hirschfeld specially executed for the film’s promotion.                              $125.
471. [West, Nathanael, and Whitney Bolton (screenwriters)]: Original Studio Publicity
Campaign Pressbook for THE SPIRIT OF CULVER. [Los Angeles]: Universal Studios,
[1939]. 12pp. plus [8] leaves of inserts. Folio (44.5 x 29.5). Highly pictorial self wrappers,
printed in red and blue on white. Profusely illustrated. Old horizontal fold across middle,
with some wear to upper panel at fold and chip at fore-edge; spine frayed and largely split,
other light use; in spite of these flaws, a good, internally very good, complete copy of a
very scarce pressbook.
An unusually substantial and highly pictorial publicity campaign pressbook for the 1939
release, based on a script cowritten by Nathanael West and Whitney Bolton, directed by
Joseph Santley, and starring Jackie Cooper, Freddie Bartholomew, Andy Devine, et al.
The array of publicity material, the press and advert copy, and the suggestions for promotion
are extensive. The cumbersome format, and the intended use, preclude the likelihood of
many copies remaining intact.                                                          $350.

472. [Weston, Edward]: Armitage, Merle [editor & designer]: THE ART OF EDWARD
WESTON. New York: E. Weyhe, 1932. Folio. Vegetable parchment and glossy boards.
Portrait and 39 plates. Bookplate on front pastedown, edges and foretips a bit shelfworn,
slight darkening and a few light spots to spine, two tiny tape scars to edges of each pastedown,
small snag at top margin of half-title, otherwise a very good copy, without the slipcase.
First edition. One of 550 copies, designed by Merle Armitage, and signed by Weston. As
often, this copy is not numbered. One of the earliest substantial Weston monographs, including
prefatory notes and essays by Lincoln Steffens, Charles Sheeler, Arthur Millier, Jean Charlot,
and a statement by Weston. This copy is inscribed and signed by Armitage: “I have not
looked at this book in 2 years, and I will risk seeming fatuous - or being a conceited fool
- and say that this seems a good and appropriate book ... 1936 Merle Armitage.” $5000.

473. [Weston, Edward]: Weston, Cole: EDWARD WESTON DEDICATED TO SIMPLICITY
A REMINISCENCE .... [Toronto]: Lumiere Press, 1986. Octavo. Cloth and boards, paper
spine label. Tipped-in photographic portrait frontis and two plates. Bookplate on front pastedown,
otherwise about fine.
First edition, trade issue, of the first book publication of the press. One of 150 numbered
copies, of 176 (plus an unknown number of hors commerce copies). Published in observance
of the Edward Weston Centennial. Composed in Linotype Electra with Palatino for display
and printed on Mohawk Letterpress Text. Three previously unpublished photographs, portraits
of Weston by Brett Weston and Fritz Henle, and a photograph by Weston of Wildcat Hill
house, have been printed on gelatin-silver paper and tipped in. Designed and produced by
Michael Torosian.                                                                     $400.

474. Whigham, Peter: LANGUE D’OEIL. Los Angeles: Press of the Pegacycle Lady, 1971.
Sewn printed wrappers. First edition. One of sixty numbered copies, signed by the author.
Bookplate, otherwise fine in folding cloth slipcase.                                $65.

475. [Whitman, Walt]: Johnston, John: DIARY NOTES OF A VISIT TO WALT WHITMAN
AND SOME OF HIS FRIENDS IN 1890. Manchester & London: The Labour Press / The
Clarion Office, 1898. 151pp. Gilt green cloth. Frontis and eleven plates. Very slightly cocked,
top edge dust marked, else very good and bright.
Second edition. Several of the plates are reproductions of photographs made on the occasion
of the author’s visits with Whitman and John Burroughs. A facsimile of a Whitman letter
is included here that was not present in the first edition.
MYERSON D34.                                                                           $75.

AUTOGRAPH LETTER. Short Beach, CT. [nd. but approximately Nov. 1909]. One page,
quarto, typescript; and one page, octavo, in ink, on printed letterhead. Old folds for mailing,
paperclip marks at top edges, otherwise very good.
A lightly corrected typescript of one of Wilcox’s most widely reprinted poems, beginning:
“The days grow shorter, the nights grow longer; [/] The head-stones thicken, along the way
...,” titled and signed in full by her, in ink, with a one word revision and some corrections.
Accompanied by a one page a.l.s., undated, recipient unidentified: “This is the best I can
do and I can not think of a better title. If you care for the verses & want to rename them
you can do so ... send the poem back here if you do not want it.” Signed in full. When
the poem was collected in Wilcox’s Sonnets of Sorrow & Triumph, the date of composition
was recorded as November 1909. While known to the wider public for both her popular
verse (including such poems as “Solitude” - “Laugh and the World Laughs with You...”)
and her association with Theosophy, spiritualism, belief in reincarnation and other such
passions of the time, Wilcox is best remembered among wits as having been the inspiration
of Richard Murdoch’s “Ballet Egyptien” parody.                                          $450.

THE CRITIC AS ARTIST THE TRUTH OF MASKS. New York: Dodd, Mead, [nd. but ca.
1891?]. Rose cloth over boards, lettered in yellow, top edge stained brown. Spine a trifle
darkened, with some hand-smudging to cloth, small nick at crown of spine, but a very good
An American issue of the British sheets. Mason/Millard was unable to examine a copy
of the American issue of the first edition sheets, but describes a literal date in the title-
imprint, in a binding of the same color of cloth as this copy, with the same overall dimensions.
However, the American issue of the second London edition does bear a literal date (1894)
in the title imprint, and is bound in tan cloth. Hence the copy in hand is most likely not
a variant of the American issue of the second edition, and may very well be the American
issue of the first edition sheets (600 copies), at variance from Mason/Millard’s speculative
description. With the pencil ownership inscription of American publisher Ingalls Kimball,
dated Chicago August 1894.
MASON/MILLARD 343.                                                                        $500.

478. Wilder, Thornton: AUTOGRAPH LETTER, SIGNED. Hamden, CT. “Tuesday evening.”
[nd. but ca Dec. 1946-8]. Two pages, in ink, on recto and verso of quarto sheet of personal
letterhead. Old folds for mailing, otherwise fine. Folding cloth case.
Addressed simply: “Gnädigste,” and likely to Lucy Tal, his advisor on German language
publication, and wife of Viennese publisher Ernest Peter Tal, who emigrated to the U.S.
as a consequence of the war. Wilder writes in regard to a return to publication of his work
in Germany, noting: “I’d practically forgotten about the war when that little British reminder
crept up on me. As to the publishing, there’s nothing I want out of it except one thing:
since you are no longer publishing, I want my freedom, so as to start all over again. Herlitschka
as the translator, but publication centered in Berlin. I’ve been told that whatever may be
the legal, property status of the rights in Austria I am now free to make a separate German
publishing arrangement. I’m not impatient myself, but the large amount of letters I get
from Germany show that there are readers there waiting.” In regard to another unspecified
matter, he notes “I don’t remember giving any advice ... My mistakes have been as helpful
to me as my more judicious actions.” He closes, extending Christmas and New Year wishes,
noting “I’m starting off to Mexico on January 15th to work. work. work.” Signed “Cordially
Ever Thornton Wilder.”                                                                      $850.

479. Wilder, Thornton: AUTOGRAPH LETTER, SIGNED. Key West, FL. Evening, Thanksgiving
Day, [no year]. 1 1/3 pages, in ink, on recto and verso of octavo sheet of letterhead (of
“Gladys Pratt Willing”). Old fold for mailing, faint damp discoloration and wrinkling, good.
To “Mr. Hube [?].” “... Many thanks for your invitation to attend Saturday night’s performance.
I accept with pleasure - and particularly the invitation to attend the Player’s party afterwards.
I would wish to buy my own ticket because I believe in subsidizing good things, but Mrs.
Goddard assures me that no tickets remain for sale and that I must depend on your kindness.
With all best wishes and, again, many thanks Sincerely yours, Thornton Wilder.” $225.

London. 1962 - 1980. Sixteen pages, quarto and octavo. In ink. Folds from mailing, three
aerogrammes a bit ragged at edges, else very good. With transcripts and several envelopes,
enclosed in half morocco clamshell box.
An interesting sequence of six letters from Welsh dramatist, actor and screenwriter Emlyn
Williams to actress Katharine Cornell (1962-4), and three to actress/songwriter Nancy Hamilton
(1979-80), the former largely devoted to Williams’s efforts to engage Cornell to appear in
a revival of The Corn is Green, the latter to health and personal matters. A tenth letter,
to Williams from his agent, pertains to the then current rights to the play. After the opening
letter to Cornell, which is characterized by some formality, the correspondence quickly
warms to familiarity and witty banter, with accounts of weekends socializing, Williams offering
opinions about roles Cornell has been offered, and similar topics.                       $450.

481. Willingham, Calder [screenwriter]: THE TEN COMMANDMENTS “THOU SHALT NOT
COMMIT ADULTERY.” Burbank: Edgar J. Scherick Associates, Inc., 10 January 1978.
[2],112 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in printed
production company wrappers. Title lettered on spine, mimeo smudge along lower edge,
otherwise very good.
An unidentified but preproduction draft of this original teleplay by the distinguished novelist
and screenwriter. A prefatory note indicates this was to be the first in a series of productions
under the general title, and emphasizes the production company’s good fortune in having
Willingham as the writer of the first element in the series. However, the November 1978
broadcast co-credited Del Reisman with the final script. The release version starred Louise
Fletcher, Wayne Rogers and Bert Convey, under the direction of Delbert Mann. In 1982,
a second film appeared in the sequence, entitled Thou Shalt Not Kill, written by Lonne
Elder III, but that seems to have been the last realized production of the endeavor.
                                  Wilson’s Magnum Opus
482. Wilson, Adrian: PRINTING FOR THEATER. San Francisco: Adrian Wilson, 1957. Folio.
Light tan linen, printed in green and orange. Pictorial endsheets. Photographic portrait by
Minor White. Woodcuts, linoleum cuts and other illustrations. A few faint fox marks to fore-
edge of lower board and cloth sleeve, otherwise fine. Prospectus laid in.
First edition. Illustrated chapter headings, decorations and binding blocks by Nuiko Haramaki.
One of 250 numbered copies, designed and printed by Wilson on Tovil handmade paper.
Illustrated with twenty inserted or tipped-in specimens of announcements, programs and
broadsides for productions by the Interplayers, and with an additional sixteen loose specimens
inserted in a pocket in the rear. An always fascinating showcase of Wilson’s craft and
humor, and one of the leading examples of American fine printing of its generation.
WILSON 60.                                                                              $1250.

COMMENTARY. Austin: W. Thomas Taylor, 1983. Folio. Quarter morocco and cloth.
Frontispiece portrait after a photograph by Ansel Adams. Illustrations and tipped-in specimen
leaves. Bookplate on front pastedown, a few minute flecks of foxing at edges of endsheets,
otherwise fine.
First edition. Edited by Joyce Lancaster Wilson. One of 325 numbered copies, designed
and printed by Wilson and associates at the Press in Tuscany Alley, on Barcham Green
handmade paper. Printing and publishing bibliography at its very best.          $600.
484. Wolf, Alice: A HOUSE OF CARDS. Chicago: Stone & Kimball, 1896. Small octavo.
Blue-black cloth, elaborately decorated in gilt, t.e.g., others untrimmed. Lower fore-tips
slightly bumped, otherwise a bright, very good or better copy.
First edition. A romantic novel set in San Francisco, published as the second, and last,
title in “The Peacock Library.” Binding design by Frank Hazenplug.
WRIGHT III:6043. KRAMER 68. BAIRD & GREENWOOD 2668.                                $55.

485. [Woolrich, Cornell]: Fort, Garrett [screenwriter]: Original Studio Publicity Campaign
Pressbook for STREET OF CHANCE. [London]: Paramount Studios, [1942]. [4]pp. leaflet.
Folio (37.5 x 24.5 cm). Pictorial self-wrappers. Illustrated. Label abrasion on rear panel.
affecting a few letters, else near fine.
The pressbook for the British release of this adaptation of Woolrich’s novel, The Black
Curtain, directed by Jack Hively, and starring Burgess Meredith and Claire Trevor. Includes
a synopsis, production notes, bios, etc.                                              $175.

486. [Woolrich, Cornell]: Latimer, Jonathan, and Barré Lyndon [screenwriters]: Original
Studio Publicity Campaign Pressbook for NIGHT HAS A THOUSAND EYES. [London]:
Paramount Studios, [1948]. [8]pp. Folio (36 x 24.5 cm). Pictorial self-wrappers. Illustrated.
Very minor dust smudging to white areas and a few minor creases; very good.
The pressbook for the British release of this adaptation of Woolrich’s pseudonymously
published 1945 novel, based on a script by Latimer and Lyndon, directed by John Farrow,
and starring Edward G. Robinson, Gail Russell and John Lund. A showcase of the variant
atmospheric British publicity paper for this noir classic.                        $175.

Edward Moxon, Son, and Co., 1876. Three volumes. xxxviii,[4],360;347;xii,516,[2]pp. Large
octavo. Original forest green cloth, stamped in blind, lettered in gilt. Neatly rebacked and
resewn, original backstrips laid down, forecorners shelf-worn, contents leaf in first volume
bound after Preface, a few marginal nicks, occasional pencil notes (see below), otherwise
a good, bright set.
First edition, edited by Alexander Grosart. With the bookplate (in the second and third
volumes) of A.D. Coleridge (possibly Arthur Duke Coleridge 1830-1913), and the later pencil
ownership signatures and shelf marks of Boswell editor F.A. Pottle in all three volumes.
Another interim pencil signature appears in the first volume. There are scattered pencil
notes in the text, some in Pottle’s hand, others not necessarily so. At the time of publication,
a considerable editorial accomplishment, gathering Wordsworth’s Political and Ethical (Vol.
I), Aesthetical and Literary (Vol. II), and Critical and Ethical (Vol. III) prose.
WISE, p.228. CORNELL WORDSWORTH COLLECTION 222.                                           $400.

488. [World War I Poetry]: Kipling, Rudyard: SEA AND SUSSEX FROM RUDYARD KIPLING’S
VERSE ... ILLUSTRATED BY DONALD MAXWELL. Garden City: Doubleday, 1926. Large
quarto. Parchment and boards, t.e.g. Color plates. A few patches of very faint foxing to
spine, otherwise a fine copy, without slipcase
First American edition, limited issue. One of 150 numbered copies, specially printed and
bound, and signed by the author.
REILLY (WWI), p.190. RICHARDS A366n. STEWART 525n.                                $1000.

PLAY.... New York: Grosset & Dunlap, [1926]. Cloth. Frontis and plates. A very good copy
in lightly used pictorial dust jacket.
First printing in this format, issued to capitalize on 1926 Paramount film starring Ronald
Colman, Noah Beery, William Powell, et al, directed by Herbert Brenon.                $75.
                              To the Director of Beau Geste
Bournemouth. 19 November 1926. Six pages, on rectos and versos of three quarto sheets
of club stationary. Old folds from mailing, a few old, light spots to third leaf (in no fashion
affecting text), but otherwise very good. Enclosed in folding cloth case, with typed transcript.
A splendid letter, perhaps the best imaginable in its context, from Wren to the director
and co-writer of the 1926 film adaptation of his 1924 novel about British soldiers serving
in the French Foreign Legion, starring Ronald Colman, Neil Hamilton, Ralph Forbes, Noah
Beery and Norman Trevor. Writing three months after the film premiered in New York, Wren
apologizes for his silence: “ have probably decided that I am a myth or a fool or a
fish or a most unappreciative & ungrateful hound. In point of fact, I have been a corpse,
more or less, & it was not until this week that I have been able to see ‘Beau Geste,’ -
& I had determined not to trouble you with a letter until I had seen it. Well - it is the finest
film I have ever seen in my life, & you are the greatest, most artistic, cleverest & most
indomitable producer the world has yet seen. This sounds crude & fulsome flattery. It is
nevertheless my honest opinion, & from some points of view, there is nobody who is better
qualified to hold an opinion on the subject ... It was an astounding thing to me, incredible
& awe-inspiring, to see those people looking & behaving & speaking almost exactly as
they did in life - & in almost identical surroundings.” He continues on, at considerable length,
praising the film, the cast, and particularly noting that “No small part of the glory and greatness
of this film is the noble way in which American owners, American knowledge, American
advantages, American money - have cooperated in making a British story, with British heroes,
with British glorification, and a complete submergence of American pride or self-praise &
credit.” Wren’s praise for the film continues further, responding to the news that Brenon
is considering an adaptation of the sequel, asking if Ronald Colman will be in the cast,
and updating Brenon on his progress on the third volume of the trilogy. Toward bringing
a conclusion to his letter, Wren observes: “I must not occupy your time further - but would
like to add that I am as appreciative & grateful as it is possible to be, & that I realize that
it was a very great day in my life when you read ‘Beau Geste’ & decided to film it ....”
Ca. 750 words. Signed “P.C. Wren,” and accompanied by a 9.5 x 7 cm cabinet portrait
photograph of Wren in uniform, signed by him on the image, and inscribed on the verso:
“A snap-shot of Herbert Brenon’s most grateful admirer among all the millions who admire
him. P.C. Wren.” It would be difficult to imagine a more desirable letter relating to the transfer
of Wren’s novel to the screen, an undertaking for which Brenon won the Photoplay Awards
1926 Medal of Honor.                                                                        $3500.

491. Wyeth, Andrew, and Betsy James Wyeth: WYETH AT KUERNERS [with:] CHRISTINA’S
WORLD. Boston: Houghton Mifflin, 1976 & 1982. Two volumes. Oblong small folio. Half
brown publisher’s calf and tan cream linen, boldly lettered in gilt. Profusely illustrated in
color throughout. Bookplate in each volume of the James S. Copley collection, otherwise
fine, in lightly soiled matching cloth slipcase.
First editions, limited issue. One of two hundred numbered sets, specially bound, and signed
by Andrew Wyeth and Betsy James Wyeth, who has provided the text and commentary,
in each volume. Postage extra.                                                       $2250.

492. Wylie, Philip: TYPED MANUSCRIPT, WITH REVISIONS. Miami Beach, FL. [ca. April
1948]. Nine and one-half pages, on rectos only of ten quarto sheets. Typed, but with copious
manuscript revisions and corrections. About fine, in postally used envelope, with address
and return address and name in Wylie’s hand.
The corrected and revised manuscript for an article Wylie wrote for the University of Kansas
magazine, The Jayhawker, entitled “Sic Transit Veritas,” in which he deals with the general
unpreparedness of students for certain aspects of life after graduation. The student, he
asserts, “ is only half educated. When he graduates he hopes he knows enough to earn
a living. He hardly imagines that he must also earn a life ... The graduate knows everything
but himself, everything, that is, but humanity ....” He ponders their preparedness for potential
changes the future may hold, touching on themes which were leitmotifs in his fiction: “Are
courses being offered in wilderness survival? Or will Boy Scouts alone inherit such habitable
nooks of earth as may one day be left free of radio-activity ... In five generations ... the
American people have squandered five inches of topsoil which requires five thousand years
for deposit. America is becoming a ‘have not’ nation in many categories. Thus it may be
asked if ‘education’ has taught conservation and how to do with less ....” Wylie was, at
the time, on the staff of The Miami Herald. Best known now for his novels Gladiator
(1930), When Worlds Collide (1933, cowritten with Edwin Balmer, and its sequel), and
The Paradise Crater (1945), Wylie enjoyed some wider public celebrity for his 1942 nonfiction
collection, Generation of Vipers. While fair copy souvenir typescripts signed by him are
as common as they are valueless, working typescripts such as the example in hand are
a bit uncommon.                                                                          $500.
                               Inscribed to Ann Horniman
IRISH HEROIC AGE. Dundrum: The Dun Emer Press, 1903. Linen over boards, paper label
on upper cover. Cloth a bit foxed, some cloth bubbling on upper board, some tanning and
modest soiling, otherwise very good.
First edition. One of 325 copies printed. Inscribed in the month of publication: “Miss Horniman
from her friend the writer, August 22nd 1903.” Although Wade notes copies were finished
in mid-July, formal publication occurred in August, and Yeats later commented to John
Quinn that this was “the first book of mine that it is a pleasure to look at - a pleasure whether
open or shut.” Horniman, the daughter of a wealthy tea merchant, joined the Order of the
Golden Dawn in January 1890, the context in which she first met Yeats. Horniman resigned
from the Order in February of 1903, and began to devote her time and energy to the Irish
Theatre. She designed and made the costumes for the first production of The King’s
Threshold, and Yeats’s presentation on the aims of the Irish National Dramatic Society
that accompanied the first performances of the play in early October 1903 solidified her
decision to act as a significant financial backer of the Society. She also served, for a time,
as Yeats’s amanuensis. For a substantial account of her connection with him, see pp.
709-713 of Letters III.
WADE 49. MILLER 1.                                                                       $17,500.
                                     Association Copy
494. Yeats, William Butler: STORIES OF RED HANRAHAN. Dundrum: The Dun Emer Press,
1904. Linen-backed boards, paper spine and cover labels. Spine label chipped, boards
somewhat soiled, endsheets darkened, else a good, sound copy, in folding cloth slipcase,
morocco label.
First edition. One of five hundred copies printed. Inscribed by Lady Gregory to her former
lover, Augustus John. In spite of the date on the title-page, official publication did not occur
until 16 May 1905.
WADE 59. MILLER 4.                                                                       $1750.

Linen-backed boards, paper spine label. Title woodcut engraving “Monoceros de Astris”
by T. Sturge Moore. Fine.
First edition. One of 350 copies. Accompanied by the original Cuala Press invoice to Cecil
Harmsworth, accomplished and signed in ink by Elizabeth Yeats, as well as a copy of
the single-side broadsheet stocklist beginning with New Stories of Michael Robartes.
WADE 174. MILLER 52.                                                                $750.
497. Yeats, William Butler, and Margot Ruddock: AH, SWEET DANCER. W. B. YEATS
boards. Portrait and photographs. Edges dust marked, but a nice copy in dust jacket.
First edition. Edited by Roger McHugh. Poet Cid Corman’s copy, with his 1972 ownership
inscription and frequent, and often substantial, annotations. Prints thirty-one letters from
Yeats, his poem “Margot,” and various oddments.
JOCHUM 118.                                                                             $75.

498. Yeats, William Butler, et al: TO-MORROW. Dublin. August & September 1924. Whole
numbers one and two (all published). Two issues. Folio tabloid, text in triple columns under
banner heading. Light foxing at edges, folded across middle, tiny closed marginal edge
tear at folds, but a very good set.
Collectively “edited.” The contributors include Yeats (the first Irish printing of “Leda and
the Swan,” first published in The Dial in June, as well as the manifesto to the first issue,
which, although not signed by him, is definitively attributed to him), Lennox Robinson, Liam
O’Flaherty, F. Stuart, Joseph Campbell, Arthur Symons, F.R. Higgins, Iseult (Gonne) Stuart,
et al.
WADE, p.382. HOFFMAN, et al, p. 275.                                                   $350.

499. Young, Art: ORIGINAL INK SELF PORTRAIT, SIGNED. New York. January 1937.
Ca. 10 x 10 cm, on 25 x 15.2 cm lettersheet. Paper browned from former proximity to old
mat, otherwise very good.
A characteristic self-portrait by the radical cartoonist and illustrator, showing himself from
right profile, busily at work on a drawing. The whole is executed on letterhead of the New
Union Square Hotel, and was utilized as the portrait for Young’s section in Willis Birchman’s
Faces & Facts (1937).                                                                   $350.

CA. 28 April 1948 through 31 January 1949. Eighteen pages, plus a fraction, variously on
octavo and quarto personal and studio letterhead, and studio copy stock. Very good to
fine. Enclosed in a folding cloth case.
An informative correspondence, providing significant background on the mechanics of, and
controversy surrounding, the film adaptation of Cid R. Summer’s 1946 novel, Quality, based
on a screenplay by Dudley Nichols and Philip Dunne. The 1949 release, entitled Pinky,
was directed by Elia Kazan (after John Ford became estranged from the project), and starred
Jeanne Crain, Ethel Barrymore and Ethel Waters. Zanuck’s letters to Nichols start the day
following their first conference about the project, proceed through discussions of titles and
locations (including prelims to the controversial decision to shoot on Hollywood set rather
than on location), revisions, casting (including mention of Hattie McDaniels as a possibility),
an MGM project based on a book by Walter White, and conclude with discussions of Zanuck’s
final editing of Dunne’s revision of Nichols’s script (including a final confidential letter including
his query: “ ... do you think that Phil is justified sharing screen credit with you?”).
Of particular note is the studio carbon of Zanuck’s ten-page letter to novelist and civil rights
activist Walter White, in his position as Executive Secretary of the NAACP (copied to four
other recipients - Jane White, Poppy Cannon, Arthur Spingarn and Roy Wilkins - and evidently
to Nichols as well) in which he responds in great detail and at considerable length to White’s
critical letter about the project, and to the memoranda from the other four individuals apparently
originally enclosed with White’s letter. In the letter, Zanuck defends both the script (and
its dramatic approach and point of view) and his own integrity in regard to issues of race
(with reference to his earlier films, Wilson and Gentleman’s Agreement), and argues
for his own approach to racial matters in film: “A motion picture which deals with the Negro
minority in the United States must be above all things non-propagandist. All it can hope
to do, at its boldest, is to make the white majority experience emotionally the injustice
and daily hurts suffered by colored people. But this is a tremendous lot, for it is my belief
that old customs and traditional attitudes are rooted in the emotions and not in the intellect,
and so it is the hearts of the white majority that must be awakened to bring about change
and amelioration ... So great a moralist in the theatre as Ibsen, for example, who spent
his life fighting social corruption and injustice and intolerance, set down as a maxim for
his work that his job was to show evil and not to find a solution for it ... If a motion picture
makes the white majority of the United States experience emotionally the humiliation and
hurt and evil of segregation and discrimination, I believe they will carry away a sense of
shame and that in some degree, small or large according to the capacity of the individual,
their feeling and thinking will be changed ....”
Further in his letter to White, Zanuck also addresses by point the criticisms voiced by the
other four critics, including (as articulated in Roy Wilkins’s memorandum) that the theme
of Pinky is “poisonous, not merely because it is contrary to the philosophy of the NAACP,
but because it is contrary to right and justice and history.” Writing from the perspective of
a film producer, “with many years of experience, as the producer of The Grapes of Wrath,
Ox-Bow Incident, The House of Rothschild, How Green Was My Valley and other
controversial films, let me give you this advice. A direct propaganda film incorporating the
policy of your organization will be doomed before it starts. On the other hand a film that
has the courage to reveal the inequalities and plight of the American Negro in the South
will prove to be a tremendously useful weapon in the war against intolerance and injustice
... We care going to make this film in the very best manner we can. When our script revisions
are completed we are hopeful that the final result will prove beneficial to the cause of the
American Negro. We do not expect you not [sic] all Negroes to like all of it ... We are going
to do the best we can — but in any event we are going to make it.” Signed in type: “Sincerely
yours, s/Darryl Zanuck.” The letter to White totals over three thousand words, and stands
as an in-depth unvarnished articulation of Zanuck’s stance on matters of race, both as playing
out in Pinky in particular, and as he feels they should be treated in mainstream films in
general.                                                                              $4000.


501. Caldwell, Erskine: THREE TYPED LETTERS, SIGNED (“SKINNY”). Point of the Woods
Rd., Darien, CT. 22 Jan., 26 Feb., and 6 March 1940. Three half pages, on quarto sheets
of personal letterhead. Receipt dates stamped in upper corners, otherwise near fine. Half
morocco folding case.
To “Dear Cap,” possibly Charles A. Pearce, of Caldwell’s publishers, Duell, Sloane and
Pearce. Brief, chatty letters, occasionally touching on business matters and meetings,
but chiefly in the vein of: “...I’ve just finished writing letters to every body in the office except
you and the swell-looking c**t at the switchboard, and I was always one to take pride in
doing a well-rounded job ...” or “My wife told me to stay away from Kyle Crichton because
he was a book-reading, infinitive-splitting old bastard. If you want to go to the trouble of
cleaning him up, I’ll come in a month or so ....” Signed with the form Caldwell occasionally
used with intimates: “Skinny.”                                                                  $300.

502. [Clemens, Samuel L.]: Twain, Mark [pseud], and Bret Harte: “AH SIN” A DRAMATIC
WORK. San Francisco: Book Club of California, 1961. Cloth and decorated boards, paper
spine label. Frontis, plates and facsimiles. Bookplate on front pastedown, otherwise near
fine. Half morocco slipcase and chemise.
One of 450 copies printed, and illustrated with woodcuts, by Vivien and Mallette Dean.
Preface by Frederick Anderson. The first publication of this collaborative failure, printed
from a prompt script in the Barrett Collection.                                      $100.
503. [Clemente, Francesco]: Savinio, Alberto [pseud of Andreas de Chirico]: THE DEPARTURE
OF THE ARGONAUT. [New York & London]: Petersburg Press, 1986. [100] accordion fold
pages, unopened at fore-edges, plus loose 4pp. insert of translator’s notes. Folio (65 x
50 cm; 25.5 x 19.5"). Plain wrappers. Translator’s notes creased along top edge, otherwise
fine in cloth-covered clamshell box, titled in blind.

First edition in this format, illustrated with forty-nine photolithographs by Francesco Clemente,
forty-three printed in color(s), six in monochrome. From a total edition of 288 copies printed
in Bembo types on cream wove Japanese Okawara paper by Staib and Mayer of Stuttgart,
with the lithographs printed by Rolf Neumann, this is one of two hundred numbered copies
(of 232) in book format, signed on the colophon by the artist. This first translation from
the Italian was prepared by George Scrivani. A painter like his brother, Giorgio di Chirico,
Andreas (1891-1952) first published this work, which is in part the travel journal and diary
of his experiences while being posted to the Salonia Front, in serial form under his pseudonym
in 1917, as “La partenza dell’argonauta.” The final form of the Italian text appeared in 1918
as the concluding, and lengthiest, section of his book, Hermaphrodito. “Clemente’s
‘illustrated’ version of the book is, without doubt, one of the most beautiful books the 20th
century has produced. On unbound, luminous, hand-made Japanese ‘kozo’ paper, the
lithographs, when displayed in groups, take on an unsurpassed visual lyricism, an effect
that is not soon forgotten” - Mark Henshaw, National Gallery of Australia, “Contemporary
Artist’s Books from Picasso to Clemente” (online introduction).
Castleman, A CENTURY OF ARTIST’S BOOKS (MOMA), p. 217.                                     $6750.

ORIGINAL INK DRAWING. Philadelphia. 14 November 1957. One page, in ink, on large
quarto letter sheet. Old folds for mailing, otherwise very good. Folding cloth case.
In Spanish, to “Tana.” Cuevas informs the recipient of his new address in Philadelphia,
and notes that in the coming week he will start his professional activities and work on “Kaffka
(sic).” He mentions receptions and inquires how an exhibition involving the recipient is going.
He closes, sending greetings to “Juan.” Signed “Cuevas.” The left half of the letter is filled
with a fanciful ink drawing of a human figure in a large coat, enveloped by the arms (tentacles?)
of a leering grotesque. Cuevas was working on his famous suite of illustrations for Kafka’s
Metamorphosis first published in The Worlds of Kafka and Cuevas in 1959, and then
revisited as an illustrative accompaniment to the text in the 1984 Limited Editions Club
edition.                                                                                   $850.
Francisco, etc: California Historical Society, [1977]. Large octavo. Cloth and boards, paper
spine label. Illustrated with Dixon’s drawings. Bookplate on pastedown, boards sunned along
top edges, otherwise very good or better.
First edition. Edited by Dixon’s widow, Edith Hamlin. Introduction by Kevin Starr, Preface
by J.S. Holliday. One of 1300 copies printed by Andrew Hoyem. To its date of publication,
the authoritative texts of Dixon’s poetry, including hitherto uncollected material gathered
from manuscript sources, periodical publications, etc.                                $150.

506. Huxley, Aldous: THE MOST AGREEABLE VICE [wrapper title]. [Los Angeles: Printed
by the Ward Ritchie Press for Jake Zeitlin, 15 June 1938]. 7,[1]pp. 12mo. Sewn self-wrapper.
Slight tanning, but a very good copy, in morocco-backed folding case.
First edition. An original essay on book-buying, printed in an edition of 500 copies for the
occasion of the opening of Jake Zeitlin’s bookshop on Carondelet Street. This copy is inscribed
on the colophon by Zeitlin: “for Richard Marshall fraternally in libros Jake.” The recipient
was partner in the L.A. bookselling firm, Bennett & Marshall, found in 1941. In the pre-
internet era, one of the more elusive Huxley firsts of U.S. origin.                      $250.
                                  The Argonaut Edition
NORRIS’S WORKS. Garden City: Doubleday, Doran, 1928. Ten volumes. Parchment over
boards, gilt. Top edges a trace dusty, spines a trace darkened, a couple of minuscule nicks,
otherwise a fine set, in lightly worn cream white dust jackets (spines quite tanned, as often).
One of 245 numbered sets, with a leaf of the original working autograph manuscript of McTeague
in an envelope laid into the first volume. The folio leaf is numbered ‘177’, bears over 300
words, and includes some significant revisions, deletions and insertions. Each major work
is preceded by an introduction by a contemporary, including Mencken, Dreiser, Cobb, Irwin,
and Charles Norris. An increasingly more uncommon set with the leaf of manuscript present.
BAL 15048 & 9.                                                                          $3250.

THE SAN FRANCISCO WEEKLY, 1893 TO 1897. San Francisco: Westgate Press, 1931.
Large octavo. Cloth and boards, paper spine label. Bookplate on front pastedown, otherwise
fine in faintly used dust jacket.
First edition. One of 500 copies printed at the Grabhorn Press (this copy not numbered).
Foreword by Charles G. Norris. Introduction by Oscar Lewis.
BAL 15052.                                                                        $100.

OF THE SOUTHWEST AND BEYOND. Flagstaff: Northland Press, [1976]. Half calf and
cloth, marbled endsheets. Illustrations. Bookplate on front pastedown, otherwise fine in
very good slipcase (a few small spots on one panel).
First edition, limited issue. One of one hundred numbered copies, signed by the author
and by the illustrator, Bettina Steinke. Includes Powell’s essays on Henry Miller, Maynard
Dixon, Edward Abbey, Gertrude Stein, Jake Zeitlin and Saul Marks.                    $150.

510. [Rowlandson, Thomas (illus), and William Combe]: THE TOUR OF DOCTOR SYNTAX,
SYNTAX, IN SEARCH OF A WIFE. A POEM. London: R. Ackermann’s Repository of Arts,
1812, 1820 & [1821]. Three volumes. iii,[3],275pp. plus engraved title and 30 plates (including
frontis); [6],279pp. plus 24 engraved plates (including frontis); [4],279pp. plus 24 engraved
plates (including frontis). Large octavos. Uniformly bound by Riviere in full deep red crushed
levant, raised bands, spines gilt extra, gilt inner dentelles, t.e.g. Bookplate on front pastedown
in each volume, along with small tape scars from earlier “protective” wrappers, usual mild
offsetting from plates to facing pages, occasional minor smudges or light spotting, but a
very good set, attractively bound.
First edition in book form of one of Rowlandson’s most popular illustrated works, featuring
the 78 handcolored full-page engraved plates, and two colored engraved titles - the second
volume appeared with a printed title. In this set, the leaves of “Directions to Binder” are
bound in; in the first volume the opening leaf of text is headed “Chapter I” and plate 5 is
in its first state; in the second volume plate 15 is in Tooley’s second state. The first title
appeared in the Poetical Magazine under the title “The Schoolmaster’s Tour,” and
Rowlandson added three illustrations and reworked the plates for the book edition. The
second and third titles appeared serially, each in eight monthly parts, prior to publication
in book form. “The misadventures of this elderly pedant gave Rowlandson ample scope for
the comic designs of which he was a master, and the three books which deal with Syntax
were his greatest success as an illustrator” - Ray.
ABBEY (LIFE) 265-7. TOOLEY 427-9. RAY 34.                                             $2500.

511. Zanuck, Darryl F., and Wendell L. Wilkie: TWO TYPED LETTERS, SIGNED. [Beverly
Hills, CA]. 9 December 1943 and 28 Sept. 1943. Each one-half page, on quarto sheet of
personal letterhead. Folded for mailing, otherwise fine.
To screenwriter Dudley Nichols. In the course of preproduction planning of an unrealized
film adaptation of Wendell Wilkie’s One World, Zanuck writes: “I am having Colonel Joy
send you the check for your services on One World. I frankly think you are cheating yourself.
I have not yet read the script ... but nevertheless I know that it is going to be grand ...
I want you to know that in expressing my gratitude, I am also expressing the gratitude
of Mr. Wilkie. I don’t see why the hell you don’t write and produce, or write and direct pictures
for me ....” Signed, in ink, “Darryl.” Accompanied by another typed letter, signed, 28 September
1943, from Wilkie to Nichols, on Zanuck’s letterhead, thanking him for their conference
on the project the previous day, and indicating that “I leave here confident that the preparation
of the story is in especially capable hands ....” The letter also suggests that the script
was to be a collaboration with “Mr. Trotti” (i.e. screenwriter Lamar Trotti). Signed in full,
in ink, with nine word autograph postscript.                                               $450.

To top