Literary Miscellany - William Reese Company [PDF]

Literary Miscellany Including Recent Acquisitions.

Catalogue 286

WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com

TERMS 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: [email protected] 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. Institutional billing requirements may, as always, be accommodated upon request.

________________________________________________________________ We invite you to visit our web site www.reeseco.com 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 [email protected] ___________________________________________________________________ William Reese Company 409 Temple Street New Haven, CT. 06511 USA Phone: 203.789.8081 Fax: 203.865.7653 e-mail: [email protected] Members ABAA and ILAB

1. Abramson, Ben: SERIES OF EIGHTEEN TYPED LETTERS, SIGNED, PLUS ASSOCIATED MATTER. Chicago. 4 May 1933 through 2 August 1938. Twenty-four pages, octavo and quarto, on letterhead of the Argus Bookshop, Inc. Very good. An extended and characteristic group of letters from the legendary Chicago bookseller and publisher to one of his customers in Texas, bouncing about from purely commercial concerns, to political and literary observations, to attempts at mildly risqué humor. The correspondence warms over time, and the recipient evidently graduated to the class of customer to whom Abramson not only quoted books, but simply sent books he felt the collector should buy (largely poetry and occasional fine press editions of classics). Accompanied by several carbons of the collector’s letters to Abramson, invoices, dunning statements, etc., as well as carbons of letters from the collector’s staff requesting that Abramson cease sending unsolicited books, and finally, a brief note announcing his death. Also present is a two page carbon of Abramson’s 6 March 1937 letter to the editor of Time, taking the magazine to task for its review of Steinbeck’s Of Mice and Men (captioned at the end in original type with a particularly virulent string of invective). $175. In Original Wrappers, Untrimmed 2. [Aldine Imprints]: Renouard, Antoine Augustine: ANNALES DE L’IMPRIMERIE DES ALDE, OU HISTOIRE DES TROIS MANUCE ET DE LEURS EDITIONS. Paris: Chez Jules Renouard, 1834. xvi,582,[6],lxviii,[4]pp. Large, thick octavo. Original drab wrappers, printed spine label, edges untrimmed. Two portraits. Three plates (one folding) and five folding facsimiles. Upper wrapper detached, with chipping along joints, single closed crack in spine, wrappers a bit darkened, offset from first portrait to title, otherwise an unusually nice copy in original state. Third and best edition of the primary early history of the Manutius family and its Aldine imprints (1494-1598). The first edition appeared in three volumes over 1803 – 1812 and, in this edition, remained for the duration of the 19th century the essential guide to the press, its authors and editors. Bound at the rear, as issued, is the separately paginated “Notice sur la Famille des Junte, et liste sommaire de leurs éditions jusqu’en 1550.” There were also thirty-two copies on large paper. Copies in this condition of the regular paper issue, which consisted of 350 copies, are not common. “Its third edition ... has remained the standard bibliography on its subject and is a model of its kind” – Breslauer & Folter. BRESLAUER & FOLTER 115. VICAIRE VI:1060-1. BRUNET 31237. $1750. 3. [Algren, Nelson]: Group of Seven Color Lobby Cards for WALK ON THE WILD SIDE. [Los Angeles]: Columbia Pictures Corp, 1962. Seven 11 x 14 color studio lobby cards. A couple minor corner creases, one card has a very slight color register flaw in the upper margin, otherwise fine. A set of seven of the eight lobby cards issued to promote John Fante’s adaptation to the screen of Algren’s novel, wanting the title-card (which is reproduced as an inset in each of these cards). The film was directed by Edward Dmytryk, and starred Laurence Harvey, Jane Fonda, Barbara Stanwyck, Capucine, Anne Baxter, et al. Fante received chief screen credit for the adaptation, though Ben Hecht and Edmond Morris were also involved. $150. 4. [Allen Press]: Goll, Yvan: FOUR POEMS OF THE OCCULT. [Kentfield]: The Allen Press, 1962. Five volumes. Small folio. Loose signatures laid into printed wrappers. Illustrations as noted below. Fine in cloth slipcase, with prospectus and publisher’s instruction sheet. First edition thus, with the translations into English by various hands edited by Francis Carmody. One of 130 sets (one hundred for sale) set and printed by hand on Rives in Goudy Modern and Cochin italic types. With color border decorations and initials by Malette Dean, and illustrations by Fernand Léger, Pablo Picasso, Yves Tanguy and Jean Arp, all faithfully reproduced from their appearances in the French editions, and in the latter case, printed from Arp’s original blocks. The most ambitious undertaking by the

Allens to its date, and among the most sought-after of the productions of the Allen Press. ALLEN PRESS BIBLIOGRAPHY 25. $2250. 5. [Allen Press]: Robbe-Grillet, Alain: JEALOUSY RHYTHMIC THEMES BY.... [Kentfield, CA: The Allen Press, 1971]. Quarto. Decorated boards. Illustrations. Fine. One of 140 copies set and printed by hand in Univers and Garamond types on Wookey Hole handmade paper. Illustrated with drawings by Michéle Forgeois, and with an introduction by Francis Carmody. The translation is by Richard Howard. ALLEN PRESS BIBLIOGRAPHY 36. $450. 6. [Allen Press]: Conrad, Joseph, et al: FOUR FICTIONS ... A CONCISE PRESENTATION OF LITERATURE, BOOK ARTS AND CRAFTS OF ENGLAND, FRANCE, UNITED STATES AND ITALY. Kentfield, CA: The Allen Press, 1973. Small folio. Boards. Illustrations. Minute wear at spine tips, otherwise fine. Original prospectus laid in. One of 137 copies (130 for sale) printed in various types on English, French, Italian and American papers in conformity to the nationalities of the authors and artists. The texts include Conrad’s “The Lagoon” (illustrated by Blair Hughes-Stanton); Flaubert’s “The Legend of Saint Julian” (illustrated by Michèle Forgeois); James’s “The Jolly Corner” (illustrated by Joseph Low); and Pirandello’s “The Annuity” (illustrated by Paolo Carosone). One of the highpoints of the press’s output. ALLEN PRESS BIBLIOGRAPHY 39. $750. 7. [Allen Press]: Wharton, Edith: QUARTET FOUR STORIES. Kentfield, CA: The Allen Press, 1975. Large quarto. Cloth and decorated cloth over boards. Very slight darkening at endsheet gutters, otherwise fine, with the prospectus laid in. First printing in this format. One of 140 copies printed by hand in Romanée types on English handmade paper, with decorations and drawings, by the Allens. ALLEN PRESS BIBLIOGRAPHY 41. $650. 8. [Allen Press]: Pushkin, Alexander: FOUR STORIES THE SQUIRE’S DAUGHTER THE QUEEN OF SPADES THE BLIZZARD THE SHOT. Greenbrae, CA: The Allen Press, 1987. Small quarto. Decorated cloth. Illustrated with two wood engravings by John DePol. A very fine copy, with the prospectus laid in (the latter with a neat ink date at end). Translations by Gillon Aitken. One of 145 copies printed on handmade rag paper in Van Dijck types, with the woodcut title-device colored by hand. The fifty-third production of the Press. $550. 9. [Allen Press]: Shakespeare, William: ROMEO [&] JULIET A TRAGEDY.... [Greenbrae, CA]: The Allen Press, 1988. Quarto. Calligraphically decorated cloth. Fine, in lightly rubbed acetate wrapper. One of 115 copies printed by the Allens in Monotype Bembo and Centaur on Rives, with line drawings by Michéle-Forgeois and with calligraphy by Mark Livingston. $650. 10. [Amateur Press]: Bliss, Carey S.: THE WILLOW DALE PRESS 1879 WITH NOTES ON THE HISTORY OF THE AMATEUR PRESS IN CALIFORNIA. Los Angeles: Dawson’s Book Shop, 1975. Cloth and decorated boards. Bookplate on front pastedown, otherwise fine. First edition. From a total edition of 132 copies printed at the Bookhaven Press, this is one of 52 copies with three original issues of the Willow Dale Press inserted in an envelope in the rear (I:1,3 and 6). The Willow Dale Press exemplified the principles of the amateur press of the late 19th century. It was hand-printed on a hobby press as a monthly by Annetta Florence Carter and her younger brother, and in its twelve numbers it featured amateur poetry, local anecdotes, and a few adverts. It was, coincidentally, also

the first printed newspaper to appear in the San Gabriel Valley. Bliss’ essay also explores California’s uptake of a hobby that was widespread in the Northeast and Midwest, drawing on collections at the Huntington and elsewhere to track early examples of the craft (the earliest being the 1856 Star out of San Francisco). However, this cataloguer is unable to agree with his conclusion that the amateur press phenomenon was not much in evidence after the turn of the century. The three specimen issues are tanned and a bit fragile at the creases, as usual, but are quite intact. $275. 11. Amor, Guadalupe: POLVO. Mexico: Nueva Floresta, 1949. Stiff printed wrappers. Recased, light foxing at edges, small nick at crown of spine, otherwise a very good copy. First edition of one of the significant early collections by the poet, inscribed by her to Victoria Kent, the exiled Spanish Republican lawyer and administrator. “Pita” Amor’s later years and effectiveness as a poet were clouded by scandalous public behavior stemming from the trauma of the death of her infant child in 1961. A decent association copy. $125. 12. Angelo, Valenti: ORIGINAL COLOR LINOCUT [“A HERD OF RUNNING HORSES”]. [Np The Artist, ca. 1949]. Three color linocut print (image size 20 x 25 cm, plus margins), on tissue. Some creasing at margins, else very good. An image in earth tones of a herd of ten horses galloping against a Southwestern landscape. Signed in pencil in lower margin: “Valenti Angelo 49. “ Size of edition unstated. $185. 24597

13. Angelo, Valenti: ORIGINAL COLOR LINOCUT [“TWO BIRDS”]. New York [?]: The Artist, [nd]. Four color linocut print (image size 21.7 x 16 cm, plus margins), on tissue. Some creasing at margins, else very good. An image in earth tones of two birds on a stump against a cloud-filled sky. Inscribed in pencil in lower margin: “To Jim Bennett Valenti Angelo ny.” Size of edition unstated. $150.

14. [Anonymous]: THE TRUE LIFE OF BETTY IRELAND. WITH HER BIRTH, EDUCATION, AND ADVENTURES. TOGETHER WITH SOME ACCOUNT OF HER SISTER BLANCH OF BRITAIN. CONTAINING SUNDRY VERY CURIOUS PARTICULARS. London: Printed for J. Robinson, 1753. 30pp. Octavo (signed in 4s). Extracted from bound pamphlet volume. Wanting the half-title, but accompanied by the terminal blank, faint old stamps of a defunct mercantile library, one small marginal smudge, short clean marginal tear at one lower edge, else very good. First edition. An extended comparison of Britain and Ireland, via the conceit of two female siblings: Betty Ireland (“...let, at first, to run wild in the Woods, cloathed with Skins and fed with Acorns...”) and Blanch of Britain. It is at times critical, and at times full of praise for both young ladies, depending on the feature under scrutiny. ESTC locates nine copies, and a multitude of copies of the Dublin reprint (which was also issued as part of the Patriot Miscellany). ESTC T115245. BRADSHAW 1531 (Dublin printing). $350. 15. [Anonymous Verse – 18th Century]: SEVENTEEN HUNDRED AND THIRTY-NINE. OR, THE MODERN P----S. A SATIRE. MOST HUMBLY INSCRIB’D TO THE RIGHT HONORABLE EARL OF CHESTERFIELD. London: Printed for T. Reynolds, 1739. 8pp. Folio. Later boards. Some pencil annotations in the text, boards a bit soiled, otherwise very good. First edition. An anonymous poem on the modern peers, identified by Foxon as possibly by the same author as Britannia’s Precaution (1741) and The Hibernian Politicians (1740), someone “possibly named Gardiner.” FOXON S354. ROTHSCHILD 221. ESTC T4631. $250. Rare Triple-Decker 16. Anstey, F. [pseud. of Thomas Anstey Guthrie]: THE PARIAH. London: Smith, Elder, & Co., 1889. Three volumes. Original slate cloth, decorated and lettered in red. Cloth a little soiled and bubbled; inner hinges cracked in volume two, with evidence of neat repair, spines a bit cocked, newscutting tipped to front pastedown of first volume, otherwise a very good copy. First edition of Guthrie’s only triple-decker, signed by him on a prelim in volume one. From the library of Guthrie’s friend, Horace N. Pym. A very rare book, of which Sadleir wrote “I am not conscious of having seen another copy outside a library.” The set in Wolff’s collection was presented by the author to his sister. This novel, Guthrie’s second attempt at “serious” fiction, is markedly different from his humorous writings, and though promoted on the spines as ‘By the Author of Vice Versa,’ it was not well received. The Times critic advised Guthrie “to return to the kind of work which was more within his range.” TURNER 7. SADLEIR 50. WOLFF 164. $1750. 17. Anstey, F. [pseud. of Thomas Anstey Guthrie]: THE PARIAH. London: Smith, Elder, & Co., 1890. Original brown cloth, decorated in black, lettered in gilt. Spine faintly cocked, one signature starting slightly, otherwise a very good copy. First one-volume edition, preceded by the very rare triple-decker of 1889. With Guthrie’s presentation inscription on the verso of the flyleaf: “To Horace N. Pym from his very sincere friend the Author. March. 1890.” With Pym’s bookplate. TURNER 7a. $125. With Original Lithographs by Hans Falk 18. Apollinaire, Guillaume: ...ZART WIE DEIN BILD. Zurich: Alpha-Presse, [1965]. 81,[3] pp. plus laid in lithographs. Large quarto (31 x 24.5cm). Loose gatherings laid into pictorial wrapper over stiff wrappers, untrimmed. Minute nick in crown of spine, else fine in glassine wrapper (a bit darkened at spine) and lightly corner-worn slipcase.

First printing in this format of the German translations of Apollinaire’s letters and poems to Madeleine Pagès, written largely from the Front. Illustrated with thirteen original erotic lithographs by Hans Falk, hors texte and printed on China paper, and ten lithographed designs as backgrounds for selected sections of text, the latter printed on Rives-Büttenpapier. From an edition of 151 copies, this is one of sixty copies (1-60) with three of the lithographs with highlights colored by hand. The thirteen lithographs are each signed by the artist, as is the justification. Elisabeth Brock-Sulzer’s commentary on the text is appended. A lovely production. $800.

19. L’ARCHITECTURE VIVANTE ... DOCUMENTS SUR L’ACTIVITÉ CONSTRUCTIVE DANS TOUS LES PAYS. Paris: Éditions Albert Morancé, Automne & Hiver 1925. Volume three, whole numbers 9 & 10. Two issues. Quarto. Loose sheets, folded signatures and plates laid in to stiff printed wrappers. Wrappers a bit chipped at extremities and torn at spines, internally, apart from some occasional marginal dust smudges, very good or better. Edited by Jean Badovici. Two representative issues of this important journal of the avant garde in architecture, founded in 1923 and published through 1932. #9 includes essays by Badovici (“Les Constructivistes”), Mondrian (“L’Architecture Future Néo-Plasticienne”) and Van Doesburg (“L’Evolution de l’Architecture Moderne en Hollande”), and the twentyfive high-quality plates (most phototypes, four of them colored) include works by Van Der Rohe, Van Doesburg, Oud, et al. #10 prints essays by Georges André, Van De Velde and Badovici, and the fifty plates present work by Van De Velde, Le Corbusier, and a selection of the Pavillions from the Exposition Internationale des Arts Décoratifs. $1000. 20. Arnold, Matthew: PASSAGES FROM THE PROSE WRITINGS OF MATTHEW ARNOLD. London: Smith, Elder & Co., 1880. Original cloth. Clipped biographical notice pasted to front endsheets, cloth a little worn at edges, some foxing early and late, otherwise a good copy. First edition. Presentation copy, inscribed by the author on the front blank “To William

Smith Esq. with thanks & kind regards from Matthew Arnold Octr. 1884.’’ The recipient was probably Dr. (later Sir) William Smith (1813-93), editor of the Quarterly Review. A selection made by Arnold of his prose writings on literature, politics, society, philosophy and religion. TINKER 180. $1500. 21. [Arp, Hans]: Jakovski, Anatole: ARP CALDER HÉLION MIRÔ PEVSNER SÉLIGMANN SIX ESSAIS .... Paris: Chez Jacques Povolozky, [ca. 1935]. Small octavo. Typographic stiff wrappers. Plates. Wrappers lightly soiled, a trifle dusty, else a very good copy. First edition. Brief essays on each of the artists, with representative illustrations of their work. The pamphlet was designed by Arp. $275. 22. [Arp, Jean]: Seuphor, Michel: THE SPIRITUAL MISSION OF ART. New York: Galerie Chalette, 1960. Oblong small quarto. Full velveteen stiff wrappers, with onlaid bronzelike metallic figure on upper wrapper. Illustrated throughout with plates and photographs. Fine, in suede covered clamshell box (see below). First edition, deluxe issue of this exhibition catalogue of Arp and Sophie Taeuber-Arp’s works, with Seuphor’s essay printed in both French and English. This is one of thirty numbered copies, specially bound, signed by Seuphor, and housed in the special folding case bearing an original wood-relief by Arp, entitled “améga dans l’oméga,” with a limitation statement signed by Arp affixed inside the upper panel. Enclosed in the original board outer case (a bit rubbed). There were also 970 ordinary copies. $3500. 23. [Arts & Crafts]: Meyer, Marilee Boyd, et al [curators]: INSPIRING REFORM BOSTON’S ARTS AND CRAFTS MOVEMENT. [Boston & New York]: Davis Museum and Cultural Center / Harry N. Abrams, [1997]. 249pp. Quarto. Cloth. Illustrations and plates (including color). A couple small, faint production smudges in margin of title, otherwise fine in very lightly used pictorial parchment wrapper. First edition. One of 4000 copies printed. The splendid collection of essays and catalogue for the exhibition marking the 100th anniversary of the Society of Arts and Crafts’s first exhibition, featuring 150 works from the 1890s to the 1930s, including furniture, books, prints, photographs, pottery, jewelry, metalwork and textiles. Preface by Susan M. Taylor, and essays by a number of experts. One of the most beautifully produced American works of its kind, and an elegant highly visual introduction to the topic. $75. 24. [Auction Catalogue]: [Lansdowne, William Petty, Marquis of]: BIBLIOTHECA LANDSDOWNIANA. A CATALOGUE OF THE ENTIRE LIBRARY OF THE LATE MOST NOBLE WILLIAM MARQUIS OF LANDSDOWNE; WHICH WILL BE SOLD BY AUCTION BY LEIGH AND S. SOTHEBY .... London: Leigh & Sotheby, [1805]. [2],244pp. Large octavo. Neatly extracted from bound pamphlet volume, fore and bottom edges untrimmed. Wanting the terminal leaf (bearing the sale calendar), otherwise a very good copy. The auction catalogue for the printed book portion of the Landsdowne sale, consisting of 6530 lots, with the view commencing on 30 December 1805, and the sale on 6 January and running through the following 30 business days. In spite of criticisms directed against him personally and politically as one of the most unpopular statesmen of his time, Lansdowne, a.k.a. Lord Shelburne, cultivated the friendships of many of the significant figures in the arts and sciences, and as a substantial patron of the arts, assembled a notable library. The sale realized over £6700, according to the DNB, and though a catalogue was issued for a sale of his manuscripts scheduled for April 1807, the collection was acquired by the British Museum en bloc for £4,925 and the auction canceled. DE RICCI, p.66. $800. 25. [Auction Catalogue]: Leigh and Sotheby: A CATALOGUE OF THE LIBRARY OF THE LATE REV. MATTHEW RAINE ... HEADMASTER OF THE CHARTERHOUSE SCHOOL

... WHICH WILL BE SOLD AT AUCTION ... ON THURSDAY, FEBRUARY 27, 1812, AND TWELVE FOLLOWING DAYS .... London: Leigh and Sotheby, 1812. [2],92,[2]pp. Octavo. Extracted from pamphlet volume. Some foxing, terminal ad leaf reinforced at gutter with old paper, neat (small) library duplicate release stamps, otherwise a good, untrimmed copy. First edition. Raine served as Headmaster from 1791 – 1811, and his library, as offered for sale here in 2707 lots, was strong in editions of the classics. OCLC/Worldcat locates 4 copies; the collation there overlooks the terminal leaf, noting the sale “in a short time” of “The Magnificent Library ... of a Nobleman, Lately deceased.” $150. 26. [Auction Catalogue]: Durel, A. [expert]: CATALOGUE DE TRÈS BEAUX LIVRES MODERNES ILLUSTRÉS ÉDITIONS DE BIBLIOPHILES RELIURES D’ART PROVENANT DE LA BIBLIOTHÈQUE DE Mr. J. S..... Paris: A. Durel, Libraire, 1908. 44pp. plus supplement of [8],32,[24] plates. Quarto (30 x 20cm). Gathered, loose signatures, laid into plain folded outer wrappers. A few margins dusty, with shallow nicks and chips to fore-edges of a few leaves, priced throughout, very good. An elegantly gotten up catalogue for this sale of 114 items, supplemented by medium-high quality monochrome gravure reproductions of photographs of the externals and internals of many of the beautiful bindings by several binders of the times -- though the majority are by Kieffer. An ink note indicates the sale took place on “12 Mars, 1908 Hotel Drouot.” The sole copy reported in OCLC/Worldcat, that at the Bib. Natl., does not include the extensive supplement of plates in its collation, nor does it identify the consignor. $125.

Item 27

27. Austen, John: MERMAID [Original Woodcut]. [London?]. [nd]. Original woodcut, on tissue (15.4 x 10.2 cm plus margins). Old mounting tab discolorations in top corners of margins and a few small ink splashes in lower margin, neither near image or visible through mat, otherwise very good. A bold woodcut, printed in black, of a Rubenesque nude mermaid against a backdrop of rocks and the ocean, with a masted steam ship in the far background. Impression #5 of an edition of 20, numbered, titled and signed by the artist in pencil in the lower margin. $375. 28. [Bacon] Daskam, Josephine: POEMS. New York: Charles Scribner’s Sons, 1903. Deep red cloth, elaborately decorated in gilt with a floral design by Decorative Designers, t.e.g. Ink name on free endsheet, minor wear to binding extremities; a very good, bright copy. First edition of this early and somewhat uncommon collection of verse by the author better known for her mysteries for juveniles and “girls’” books published under her married name. The binding design is the work of the Thayers at Decorative Designers, and the text was printed at the Merrymount Press. $150. 29. Baird, Newton D., and Robert Greenwood: AN ANNOTATED BIBLIOGRAPHY OF CALIFORNIA FICTION 1664 – 1970. Georgetown, CA: Talisman Literary Research, Inc., 1971. xvi,521pp. Thick octavo. Gilt buckram. First edition of this essential annotated reference to over 2700 works of fiction related to California. Bookplate, top edge faintly foxed, else near fine in dust jacket (crease to front flap). $150. 30. [Barry, Philip]: Lovett, Josephine [screenwriter]: TOMORROW AND TOMORROW FROM THE PLAY BY .... Hollywood: Paramount Studio, 25 September 1931 and 22 January 1932. Two volumes. Foliated in reel format. Legal format. Mimeographed typescript, printed on rectos only. Stapled in left margins. Endleaves slightly creased and nicked, studio file stamps and routing notes, else very good. A “second white script” and a “Release Dialogue Script – Censored Version” for this adaptation to film of Barry’s 1931 stage success. The 1932 release, directed by Richard Wallace, starred Ruth Chatterton, Robert Ames and Paul Lukas. The film seems to have left less of an impression on the screen then the play did on the stage. $750. With Ten Signed Woodcuts 31. [Baskin, Leonard (illus)]: Lawrence, D.H.: THE MAN WHO DIED A STORY.... [Covello, CA]: The Yolla Bolly Press, [1992]. Folio. Open-sewn limp goat vellum over stiff wrappers. Illustrated with woodcut plates by Leonard Baskin. Fine, in publisher’s cedar and bay laurel wood box. First edition in this format, with a commentary by John Fowles. From a total edition of 135 copies printed on Somerset paper, with illustrations printed from original woodblocks by Leonard Baskin, all signed by Baskin and Fowles, this is one of thirty-five deluxe copies, specially bound and boxed, with a separate suite of the nine woodcuts, each signed by the artist in the margin. An additional hors-text impression of one of the woodcuts, also signed by Baskin, is laid in the book. Fine, with prospectuses and publisher’s letters/ announcements laid in, along with the set of cotton gloves provided by the publisher for handling the book. Five of the thirty-five deluxe copies were hors commerce, and evidently some out of series copies in the ordinary binding were accompanied by copies of the suite. $8500. 32. Bates, H.E.: THE LAST BREAD A PLAY IN ONE ACT. London: Labour Publishing Co., [1926]. Printed wrappers, sewn. Faint tan offsetting from wrappers to facing leaves, as often, otherwise a fine copy. First edition of the author’s first formally published book, published in the “Plays for the

Item 31

People Series.” Signed by Bates on the title page. In The Vanished World (London, 1969, p. 188) Bates recalled: “I was now twenty. As 1925 came to an end I was still unemployed, still on the dole. I had written not only novels, short stories and poems but also plays, mostly one-act plays, into one of which, The Last Bread, I had caustically poured some of my bitterness about the post-war twenties ....” Bates also recorded (in The Blossoming World, 1971, p. 24]) that this “angry-young-man broadside,” had been sent to the Labour Publishing Company, run by E.N. and Monica Ewer, and had been accepted, “though without advance, and was presently to be published at one shilling, thus becoming my first published book, preceding The Two Sisters by a month or two.” EADS A2. $300. 33. Bates, H.E.: CHRISTMAS 1930. [London: Esther and Charles Lahr], 1930. Folded leaflet. Small bookseller’s ticket of House of Books on p.[4], else about fine. First edition. One of an unknown number of copies printed on Japan vellum, in addition to two different variants (and a proof state) on ordinary card. Signed by the author on p.[2]. This copy is at variance from the description of this issue in Eades, in that only two edges are trimmed, and Bates has signed this copy of his anti-war poem on p. [2] rather than at the end of his poem. EADES D14(a). $150. 34. Baylor, Frances Courtenay: JUAN AND JUANITA. Boston: Ticknor and Company, 1888. Original pictorial green cloth, stamped in dark brown and gold, edges stained red. Illustrations by Henry Sandham. First edition. A near fine copy, in somewhat rubbed half morocco slipcase. PETER PARLEY TO PENROD, p.90. $250. 35. [Beard, Dan (illus)]: Barton, William E.: Original Publisher’s Promotional Poster for A HERO IN HOMESPUN. Boston, New York & London: Lamson, Wolffe & Co., Publishers, 1897. Folio (36.5 64 cm) pictorial broadside. Text in black & orange. Folded across middle (as issued), some minor smudges, creases and closed tears at edges, otherwise very good. Laid on board and shrink wrapped. A publisher’s promotional poster for Barton’s novel of “the Loyal South.” The book featured ten full page plates by Dan Beard, one of which is the dominant feature of this broadside. WRIGHT III:368 (ref). $100. 36. Benét, Stephen V.: TALES BEFORE MIDNIGHT. New York: Farrar, [1939]. Cloth. A near fine copy in an unusually nice example of the dust jacket. First edition of the second collection of Benét’s fantasy and supernatural stories, inscribed by him on the front endsheet: “For Eugene Delafield with the best wishes of Stephen Vincent Benet.” BLEILER, p.20. BLEILER (SUPERNATURAL) 128. $250. 37. Beresford, J. D.: THE EARLY HISTORY OF JACOB STAHL. London: Sidgwick & Jackson, Ltd., 1911. Gilt cloth. Minor wear, corners bumped, gutter of endsheet abraded (from the mounted letter – see below), otherwise a good copy. First edition. The first novel by this prolific fiction writer, described by Kunitz and Haycraft “as essential a part of the social education of the young generation of the early 1900’s as were the novels of H.G. Wells.” Paul Lemperly’s copy with his bookplate, which is signed by the author in a space provided for that purpose, on the front pastedown. Mounted to the front free endsheet is an a.l.s. (one page, 4to, The Cabin, Westcott’s Quay, St. Ives, Cornwall, 25 August 1912) from Beresford to Lemperly reading: “Dear Sir, Thank you for your kind letter & interest in my work. I have not published any novel other than the three you mention, but another (not the Jacob Stahl volume) is, I believe, coming out fairly soon, & I will, I hope, be, also, fathered by an American publisher. I enclose the bookplate, signed, as per request.” NCBEL IV:526. $250.

38. [Bergery, Gaston]: “Gaston-Francois” [pseud]: LA VIERGE ET LE SAGITTAIRE ROMAN. Paris: Le Portulan, [1947]. Printed wrappers. Usual uniform tanning to text block (but not brittle), a few leaves carelessly opened at fore-edges (but largely unopened). Very good. First edition of this pseudonymously published novel by the French diplomat (1892-1974) and Vichy Ambassador to Moscow and Ankara. While OCLC/Worldcat does not acknowledge actual authorship, our attribution is confirmed by family presentation copies. Institutionally an uncommon book: Worldcat locates a single copy, at Univ. of Illinois. $75. Two Presentation Copies to A. P. Watt 39. Besant, Walter: HERR PAULUS HIS RISE, HIS GREATNESS, AND HIS FALL. London: Chatto & Windus, 1888. Three volumes. Original brown cloth, decorated in black. Slight foxing, light wear to extremities, but a very good set. First edition of this novel treating the subject of fraudulent spiritualism, based loosely on the career of Daniel Douglas Home (1833-1886). A presentation copy, inscribed by Besant on the verso of the first front free endsheet: “A.P. Watt From the Author.” Given Besant’s life-long interest in, and struggle for, the rights of authors -- he was the moving spirit of the Society of Authors, formed in 1884, to improve copyright laws and to protect writers against exploitation by publishers -- and Watt’s position as one of the leading literary agents of the day, an association copy of a high order. SADLEIR 189. WOLFF 488. $1750. 40. Besant, Walter: ST. KATHERINE’S BY THE TOWER. London: Chatto & Windus, 1891. Three volumes. Original brown cloth, decorated in blind. Illustrated. Cloth a bit marked, extremities a bit worn, but a very good set. First edition. A presentation copy, inscribed by Besant on the half-title of the first volume: “A.P. Watt With the Author’s kindest regards 6th June 1891.” A few small ink smudges and droplets accompany the inscription. Given Besant’s life-long interest in, and struggle for, the rights of authors -- he was the moving spirit of the Society of Authors, formed in 1884, to improve copyright laws and to protect writers against exploitation by publishers -- and Watt’s position as one of the leading literary agents of the day, an association copy of a high order. Not in SADLEIR. WOLFF 461. $1750. First Book 41. Binyon, Laurence: PERSEPHONE THE NEWDIGATE POEM, 1890. Oxford & London: Blackwell / Simpkin, Marshall & Co., 1890. Small quarto. Printed wrappers. Light soiling and minor chipping to overlap edges of wrappers, but a very good, unopened copy of a fragile booklet, with the book label of Walter R. Bett. First edition of the author’s first separate publication. Not listed in NCBEL, and not included in Colbeck’s otherwise extensive collection of Binyon’s publications. HAYWARD 303n. $250. 42. [Bird & Bull Press]: Feather, John: ENGLISH BOOK PROSPECTUSES AN ILLUSTRATED HISTORY. Newton & Minneapolis: Bird & Bull Press / Daedalus Press, 1984. Quarter morocco and gilt decorative paper over boards. Facsimiles, plates and tipped-in specimen. Fine in slipcase with separate portfolio and prospectus. First edition. One of 325 numbered copies printed in Spectrum types on Arches. Accompanied by a separate portfolio of fourteen large facsimile specimens, printed on various interesting papers. Published at: $250. 43. [Bird & Bull Press]: McClure, Floyd Alonzo: CHINESE HANDMADE PAPER. Newtown, PA: Bird & Bull Press, 1986. Small quarto. Quarter morocco and gilt boards. Photographs, woodcuts, map and forty-one tipped-in paper samples. About fine, with folded facsimile newspaper laid in.

First edition in this format, edited, with a Preface, by Elaine Koretsky. After-note by Henry Morris. One of 325 numbered copies printed on mouldmade Hahnemühle paper and bound by Gray Parrot. The delicate paper specimens range from purely natural compositions to a few brightly colored or decorated papers. $450. 44. [Bird & Bull Press]: Heaney, Howell J.: THIRTY YEARS OF BIRD & BULL A BIBLIOGRAPHY, 1958-1988. Newtown: Bird & Bull Press, 1988. Small quarto. Quarter morocco and pastepaper boards. Tipped in specimens and facsimiles. Fine in quarto cloth folding slipcase. First edition. One of three hundred numbered copies, printed on handmade paper. Foreword and Commentary by Henry Morris. Accompanied by a large complement of Bird & Bull prospectuses and ephemera, enclosed in cloth folder, inserted in the slipcase. $450. 45. [Black Mountain College]: Albers, Anni: HANDWEAVING TODAY TEXTILE WORK AT BLACK MOUNTAIN COLLEGE [caption title]. [Np: Reprinted from The Weaver, Jan. – Feb. 1941]. 5,[1]pp. Quarto. Oblong sheet, folded to six panels. Photographs. A bit frayed at one edge and dust-marked at edges and blank rear panel, just a good copy of a fragile item. A separate printing, newly paginated, of this article first published in The Weaver 6 (Jan/ Dec 1941), pp. 3-7. Perhaps an author’s offprint, or a separate printing undertaken for distribution as a promotional for the college ... in either case, uncommon. Harris cites the periodical appearance. Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.285. $175. 46. [Black Mountain College]: BLACK MOUNTAIN COLLEGE BULLETIN CATALOGUE. [Black Mountain, NC.] Black Mountain College, December 1943. Volume II, number 3 (new series). 26pp. Printed wrappers (after the logo designed by Albers). Wrappers rather smudged and soiled, with patch of paper adhesion on upper wrapper; internally very good. First edition. The original series (1933 – 1944) of the Black Mountain College Bulletin was intended, at times, to appear seven times a year, but from November 1933 until Winter 1944, only eight numbers appeared in the original sequence. However, in this new series, in the format of the Bulletin / Newsletter, publication became somewhat more regular, and spanned twelve volumes over 1942-56. Issues of both series are uncommon and important documents of record toward the history of the innovative college/community. This number is an unusually substantial general catalogue. Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.281. $225. 47. [Black Mountain College]: BLACK MOUNTAIN COLLEGE BULLETIN ... GRADUATION AT BLACK MOUNTAIN [caption title]. [Black Mountain, NC.] Black Mountain College, August 1943. Volume one, number 5 (new series). 11,[1]pp. Stapled self-wrappers. Light smudging to lower wrapper, otherwise a very good or better copy. First edition. In this number the issue of outside examiners is discussed at length, as is the potential effect of the war on enrollment. Letters from alumni and supporters are also printed. Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.280. $250. 48. [Black Mountain College]: Albers, Josef: BLACK MOUNTAIN COLLEGE BULLETIN 2 CONCERNING ART EDUCATION [wrapper title]. [Black Mountain, NC.] Black Mountain College, [nd. but November 1944]. Whole number 2 (original series). [8]pp. Stapled pictorial self-wrappers. Faint discoloration along upper blank margin of front wrapper and first leaf, light dust soiling, two lower forecorners creased, but a good to very good copy. Second edition, revised. The first edition appeared in June 1934 in more modest format. Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.280. $275.

49. [Black Mountain College]: Kurtz, Kenneth: BLACK MOUNTAIN COLLEGE BULLETIN 8 BLACK MOUNTAIN COLLEGE, ITS AIMS AND METHODS [caption title]. [Black Mountain, NC.] Black Mountain College, [nd. but Winter 1944]. Whole number 8 (original series). [5pp. plus 3 blank pp.] Stapled self-wrappers. Staple rusty, otherwise a very good copy. First edition in this format, reprinted from the Winter 1944 issue of The Haverford Review (III:1). Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.280. $175. 50. [Black Mountain College]: BLACK MOUNTAIN COLLEGE BULLETIN ... ART INSTITUTE SUMMER 1945. [Black Mountain, NC.] Black Mountain College, May 1945. “Special number,” i.e. Volume three, no. 6 (new series). [12]pp plus folded insert. Pictorial selfwrappers. A bit rumpled, some discoloration to lower wrapper, a couple small creases and nicks at edges, but a good copy. First edition. This number serves as a general prospectus for the Second Art Institute (2 July – 8 September), with an overview, description of courses, and faculty list: Feininger, Motherwell, Zadkine, Lustig, Rand, Gropius, Josef and Anni Albers, et al. The tuition for the ten weeks was $400. The inserted application is still intact. Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.281. $350. 51. [Black Mountain College]: BLACK MOUNTAIN COLLEGE BULLETIN ... MUSIC INSTITUTE SUMMER 1945. [Black Mountain, NC.] Black Mountain College, April 1945. Volume three, no. 5 (new series). 12,[2]pp plus folded insert. Pictorial self-wrappers. A bit rumpled, some discoloration to lower wrapper, spine frayed and split at crown and toe, blank corner of first text leaf smudged, but a good copy. First edition. This number serves as a general prospectus for the Second Music Institute (2 July – 8 September), with an overview, description of courses, and faculty list (both resident and guest). The tuition for the ten weeks was $400. The inserted application is still intact. Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.281. $300. 52. [Black Mountain College]: BLACK MOUNTAIN COLLEGE BULLETIN ... ART INSTITUTE SUMMER 1946. [Black Mountain, NC.] Black Mountain College, April 1946. Not denoted, but Volume four, no. 3 (new series). 9,[3]pp plus folded insert. Pictorial self-wrappers. A bit rumpled and creased, spine splitting at crown and toe, a few small spots; just a good copy, with the insert intact. First edition. This number serves as a general prospectus for the Third Art Institute (2 July – 28 August), with an overview, description of courses, and faculty list: Varda, Jacob Lawrence, Gropius, Newhall, Josef and Anni Albers, et al. The tuition for the 8 weeks was $380. The inserted application is still intact. Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.281. $275. 53. [Black Mountain College]: BLACK MOUNTAIN COLLEGE NEWS LETTER ... FOURTEENTH COLLEGE YEAR OPENS [caption title]. [Black Mountain, NC.] Black Mountain College, November 1946. Volume Five, number 1 (new series). 8pp. Stapled self-wrappers. Short tear at staple, lightly creased and smudged, otherwise very good. First edition. In this number, “growing pains” are discussed, accompanied by the course and faculty roster, general faculty news, discussion of the biracial status of the school, concluding with a roster of the Summer Art Institute students. Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.281. $225. 54. [Black Mountain College]: Tite, Jimmie: BLACK MOUNTAIN COLLEGE BULLETIN ... EXPERIMENT IN EDUCATION [caption title]. [Black Mountain, NC.] Black Mountain College, May 1948. Volume six, number 4 (new series). 5,[1]pp. Folded self-wrappers. A few small spots, but a very good or better copy.

First edition. Jimmie Tite help set up, and then superintended from spring 1947 to summer 1948, the printing press and Print Shop at Black Mountain, and he here briefly discusses that expansion, in the context of other college news. The imprint of the Print Shop appears on this issue. Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.280. $350. 55. [Black Mountain College]: BLACK MOUNTAIN COLLEGE BULLETIN ... SUMMER SESSION 1948 [caption title]. [Black Mountain, NC.] Black Mountain College, September 1948. Volume Six, number 5 (new series). [4]pp. Folded quarto leaflet. Slight smudge and vertical crease, else very good. First edition. In this number, a general synopsis of the past summer session is accompanied by general news, and a roster of the summer students (among whom appears James Leo Herlihy, for example). Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.281. $150. 56. [Black Mountain College]: Bolotowsky, Ilya: TYPED LETTER, SIGNED. Black Mountain, NC. 4 July 1948. One page, on quarto sheet of Black Mountain College letterhead. Folded for mailing, else near fine. A contextually significant letter from the Russian-born abstract painter (1907 – 1981), written while on the art faculty of the innovative College. Bolotowsky substituted for Josef Albers for the academic year 1946/7 while Albers was on leave, and remained through the 1947/8 academic year. The letter is addressed to Reverend Carrol Leland Shult, of Fairbury, IL, and is “an advisor’s report” on the work of Wanda Shult for the second semester of 1947/8: “...she studied Drawing and Painting with me, Writing (a tutorial) with M.C. Richards, and Sculpture (an informal course) with Harry Holl.” There follow four paragraphs commenting on her work in Painting (“...An extremely intelligent and independent beginner in modern art ...”), Drawing (“...Steady, serious. Has been getting away from prettiness ...”), Sculpture (“...my discussions with Wanda have been very profitable to me ... she has worked very hard in both wood and stone ...”) and Writing. He additionally comments that she “did well on the Work Program ... a good student, serious, and mature.” Signed in full, in ink. $375. 57. [Black Mountain College]: Richards, M[ary]. C[aroline].: TYPED LETTER, SIGNED. [New York]. 12 October 1948. Two and 1/4 pages, on two quarto sheets of Black Mountain College stationary. Paperclip rust mark at top margin, otherwise very good. A fine, personal letter, signed “M.C.,” from the influential artist, writer and teacher, to one of her former students at Black Mountain, Wanda Schult. Richards (1916 – 1999) taught literature and drama at Black Mountain from the fall session of 1945 through the summer session of 1951, interrupted by two leaves of absence. The present letter relates to one of those leaves: “... life has been unusually rough and mixed up and as you probably know it is sometimes hard to say anything when one hardly knows what to say. Bill [her husband, Albert William Levi] and I did not resign from the college; we asked for a year’s leave of absence. We have been planning for 3 years to take a year off as soon as it seemed feasible ... to give ourselves a chance to do maybe some more sustained creative work. Bill has been teaching steadily for 15 years and, besides having an old romantic passion for Provence, he is becoming more seriously interested in painting and writing, forms of expression that he has not previously paid a great deal of attention to for himself. And I too hankered for an opportunity to concentrate in my imagination more than I am able normally to do when I am teaching ... The atmosphere at the college had become so antagonistic by June that we found it easy to believe that this was the time to go where fighting was less. By the end of the summer relationships were even worse. Bill was asked to resign from the faculty but did not oblige. Albers is rector with emergency powers. There are many evil things going on. Whether we return will depend on a number of things ....” She continues at length with personal news (health issues and the sudden death of her brother), plans for departure to France, work, local travels, etc.

Richards and Bill Levi did return to Black Mountain, and he returned to his teaching (Social Science and Philosophy) through the fall session of 1950. After leaving Black Mountain, Richards remained energetically involved with the arts and the avant garde. In 1954, with John Cage, David Tudor, Paul Williams and others, she co-established a commune near Stony Point, known as the Land. Her translation of Artaud’s The Theatre and Its Double (Grove Press 1958) had a tremendous influence on American theatre and film, and her 1962 work, Centering in Pottery, Poetry and Person, is a substantial classic in its field. Her life and work are the subject of the 2003 documentary, M.C. Richards: The Fire Within. $350. 58. [Black Mountain College]: [BLACK MOUNTAIN COLLEGE BULLETIN] A SUMMARY OF INFORMATION ON BLACK MOUNTAIN COLLEGE AS OF JANUARY 1ST, 1954 [caption title]. [Black Mountain, NC.] Black Mountain College, [March?] 1954. Volume Eleven, number 2 (new series). [4]pp. Folded quarto leaflet. Folded for mailing, with recipient’s address in place on lower panel, some pencil notes (a ‘to do’ list) in blank lower half-panel, else very good. First edition. This number prints a general overview, including faculty for the forthcoming Summer Inst. of Arts: Kline, Motherwell, Shahn, Cage, Cunningham, Olson, Goodman, Callahan, Siskind, et al. A mimeo supplement appeared (not here present), and only two more numbers appeared as the endeavor wound down. Harris, THE ARTS AT BLACK MOUNTAIN COLLEGE, p.281. $250. 59. Black, William: THE BEAUTIFUL WRETCH. THE FOUR MAC NICOLS. THE PUPIL OF AURELIUS. THREE STORIES .... London: Macmillan and Co., 1881. Three volumes. Original blue cloth, ruled in black, spines lettered in gilt. Very slightly worn; front inner hinge of volume one just a little cracked along the endsheet fold, lower foretips a bit shelfworn, but a near fine, bright set, with the bookplate in each volume of Douglas C. Ewing. First edition. “Enormously popular in the seventies, eighties, and nineties, and ranked with the best novelists, Black was grouped by Kipling with Besant and Hardy in his ballad protesting against their defense of American publishers in 1895. One of the ‘three great captains,’ Black was called by Kipling ‘Admiral of the North from Solway Firth to Skye’” – Wolff. SADLEIR 211. WOLFF 491. $750. 60. Blackmore, R.D.: DARIEL A ROMANCE OF SURREY. Edinburgh: William Blackwood & Sons, 1897. Original navy blue cloth, lettered in gilt, ruled in blind. Frontis. Inner hinges slightly cracked, some foxing early and late and at edges, cloth a trifle worn, but a good copy. First edition. A presentation copy, inscribed by the author on the half-title: “To the author of many fine books, James Baker. With kind regards. R.D. Blackmore. Decr. 2. 1897.” James Baker, English novelist and educator, was for several decades a close friend of Blackmore. SADLEIR 224. WOLFF 531. $750. Associations All Around 61. [Blunden, Edmund, and Alan Porter (eds)]: JOHN CLARE POEMS CHIEFLY FROM MANUSCRIPT. London: Richard Cobden-Sanderson, [1920]. Cloth, paper spine label. Portrait. Endsheets a bit tanned, light rubbing, else a very good copy without dust jacket. First edition of Blunden’s earliest significant editorial endeavor. One of a total edition of 2000 copies, of which 250 were exported for the U.S. issue. A charming association copy, inscribed by Edward Grey, Viscount Grey of Fallodon, to his future wife, Pamela Wyndham, Lady Glenconner (“Pamela Glenconner from E.G. 1921”) and with her bookplate on the pastedown. They married in June of 1922, following the death of her first husband, Edward Tennant, 1st Baron Glenconner, in 1920. Further and more expansively inscribed

by Edmund Blunden “For Stephen Tennant from his obliged Bard Edmund Blunden August 27, 1929.” Above the inscription Blunden has written out eight lines of verse, captioned “Clare’s last poem ...” in his distinctively legible hand. The recipient, Lady Glenconner’s youngest son, a prominent and eccentric figure in the circle of “Bright Young People,” was at the time involved in his four years-long volatile love affair with Blunden’s long-time friend, Siegfried Sassoon. KIRKPATRICK B3a. $750. 62. Blunden, Edmund, and Takeshi Saito: KEATS’ VIEW OF POETRY ... TO WHICH IS PREFIXED AN ESSAY ON ENGLISH LITERATURE IN JAPAN BY EDMUND BLUNDEN. London: Cobden-Sanderson, [1929]. Gilt cloth. Edges of cloth somewhat mottled, faint tide mark at extreme upper edge of endsheets and prelims, small spot on spine; a dull, but sound copy. First edition. A charming association copy, inscribed by Edmund Blunden (but not signed): “Stephen Tennant from one of the Professors Jan. 14, 1930.” The recipient was a prominent and eccentric figure in the circle of “Bright Young People,” and at the time was involved in his four years-long volatile love affair with Blunden’s long-time friend, Siegfried Sassoon. Laid in is a clipping, mounted to a printed tab from Sassoon’s press-clipping service (and likely given by Sassoon to Tennant), 10 Jan 1930, noting Blunden’s and Sassoon’s receipt of medals from the Royal Society of Literature. KIRKPATRICK B33. $375. 63. [Blunden, Edmund]: Brereton, Frederick [pseud of Frederick Thomson Smith (ed)]: AN ANTHOLOGY OF WAR POEMS. London: W. Collins Sons & Co Ltd, [1930]. Large octavo. Linen and boards, gilt spine label, t.e.g., others untrimmed. Noted collector’s gilt morocco bookplate on pastedown, trace of darkening along board edges, otherwise near fine. First edition, limited issue. Introduction by Edmund Blunden. One of two hundred numbered copies, printed on handmade paper and specially bound, signed by Blunden. Poems, largely reprinted from earlier books, by Graves, Grenfell, Gibson, Hardy, Kipling, Ford/Hueffer, Owen, Read, Rosenberg, Sassoon, Sorley, Thomas, Tennant, et al. Recently uncommon. KIRKPATRICK B44b. REILLY (WWI) 96. $450. 64. Blunden, Edmund: TO THEMIS POEMS ON FAMOUS TRIALS WITH OTHER PIECES. London: The Beaumont Press, 1931. Quarter vellum and decorated boards. Illustrations by Randolph Schwabe. Fine in plain tissue wrapper. First edition, deluxe issue. One of eighty numbered copies, specially printed and bound, and signed by the author and artist, from a total edition of 405 copies. $200. 65. Bond, Frederick Bligh: THE HILL OF VISION A FORECAST OF THE GREAT WAR AND OF SOCIAL REVOLUTION WITH THE COMING OF THE NEW RACE GATHERED FROM AUTOMATIC WRITINGS OBTAINED BETWEEN 1909 AND 1912, AND ALSO, IN 1918, THROUGH THE HAND OF JOHN ALLEYNE, UNDER THE SUPERVISION OF THE AUTHOR. London: Constable & Company, 1919. Drab green cloth, lettered and decorated in dark green. Folding frontis. A couple corners bumped, one leaf roughly opened at fore-edge, small ink drop to fore-edge, otherwise very good. First edition, British issue, comprised of sheets from the U.S. printing with a UK title leaf and binding. From the library of Siegfried Sassoon, with the monogram label from the posthumous library dispersal. A typically curious work by the British architect and psychic investigator, accompanied by a Preface by Ralph Adams Cram, the American architect. $125. 66. [Bontemps, Arna, and Countee Cullen]: Arlen, Harold, and Johnny Mercer: [adaptation]: ...HAROLD ARLEN’S BLUES OPERA ... AN AMERICAN MUSIC-DRAMA BASED ON A PLAY BY ARNE [sic] BONTEMPS AND COUNTEE CULLEN. New York: American Lyric Theatre, [ca. 1957]. With: HAROLD ARLEN’S “FREE AND EASY”.... New York. [ca.

1959]. First item: [4],44,14,[1],38,16,15 leaves, plus three laid in leaves; second item: [1],5,[3],54,14,[1],34,27 leaves, plus five laid in leaves. Both paginated in Act/scene format. First item: Quarto. Carbon typescript, on rose stock, typed on rectos only. Bradbound in stiff binder, with pasted-on label. Some modest use to binder, with old tide mark around edges (last few leaves slightly damp rippled at lower edge, but largely unaffected). Second item: Quarto. Mimeographed typescript, printed on rectos only, of white and blue stock. Claspbound in generic plain binder. Numbered script “46” on title, and with ownership inscription in same hand of “Stanley Rose.” Wrapper slightly darkened at edges, some relevant notes and annotations on laid in leaves, but very good. Two significantly different scripts attending Harold Arlen’s reconception and revision of his 1946 musical, St. Louis Woman, based on Arna Bontemps’s and Countee Cullen’s dramatization of Bontemps’s novel. The laid in sheets include prop lists, music indices and notes. The 1946 musical, St. Louis Woman, directed by Rouben Mamoulian, was the subject of some controversy in its time, but nonetheless enjoyed a successful, but short, run on Broadway. In his 1990 web article, “America’s Great Unknown Songwriter Harold Arlen,” Frank Ferriano provides a summary of the history of this project. In 1953, after the early success of the international tour of Porgy and Bess, Robert Breen suggested that Arlen write a “Blues Opera,” that he would direct. There were many delays due to Arlen’s poor health and the permissions complications arising from use of material from St. Louis Woman. In August 1957, a 25 minute long “Blues Opera Suite” was premiered and recorded by Andre Kostelanetz. After substantial revisions, a change of producers, and reorchestration by Quincey Jones, Free and Easy opened with performances in Brussels, Amsterdam and Sweden in late 1959 and early 1960. The official premiere took place in Paris on 15 January 1960, to positive reviews, but attendance did not sustain a long run, and the production closed in February. OCLC records no published form of either of these scripts, but recordings of performances of both are available. $1750. Association Copy 67. Bottomley, Gordon: DEIRDIRE DRAMA IN FOUR ACTS IN GAELIC AND ENGLISH ADAPTED FROM ALEXANDER CARMICHAEL’S BARRA STORY AND LAY ... WITH THE ADDITIONAL PASSAGES TRANSLATED INTO GAELIC BY CATHERINE F. AND DAVID URQUHART [facing title-page in Gaelic]. Inverness: At “The Northern Chronicle” Office, 1944. [8],[3]-159pp. Printed brick red stiff cloth wrappers. Wrappers slightly sunned at spine, otherwise a very good copy. First edition. Parallel Gaelic and English texts. A presentation copy, inscribed on the halftitle: “To John Masefield; from Gordon Bottomley. Silverdale: 22nd. July: 1944.” With the Masefield Library book label. A fine association copy of an otherwise somewhat uncommon book. Surprisingly, not in Colbeck’s otherwise substantial collection of Bottomley’s books. NCBEL IV:240. $350. 68. Boutcher, William: A TREATISE ON FOREST-TREES: CONTAINING NOT ONLY THE BEST METHODS OF THEIR CULTURE HITHERTO PRACTISED, BUT A VARIETY OF NEW AND USEFUL DISCOVERIES, THE RESULT OF MANY REPEATED EXPERIMENTS ... [etc]. Dublin: Printed for William Wilson...and John Exshaw, 1784. [8],xxviii,307,[1]pp. plus folding plate. Octavo. Extracted from old binding. Faint old stamps of a defunct mercantile library, short snag in upper corner of terminal leaf, otherwise a very good, fresh copy. Third edition, but the second Dublin edition recorded in ESTC. The first Dublin printing appeared in 1776, the year after the Edinburgh first edition in quarto. Among the best 18th century works on forest nurseries, trees and hedges. ESTC locates fourteen copies (6 in North America). HENREY 479. ESTC T112056. $250. 69. Braddon, M.E.: LONDON PRIDE OR WHEN THE WORLD WAS YOUNGER. [London: Simpkin, Marshall, Hamilton, Kent & Co., Ltd., 1896]. Large, thick octavo. Original

decorated pictorial cloth, t.e.g. Cloth lightly soiled and edgeworn, two small external chips to joints, spine stamping a bit dull, inner hinges cracked, a touch of foxing throughout, else a good copy. Cloth slipcase and chemise. First edition. An author’s presentation copy, inscribed on the half-title: “To Luther Munday with the author’s Easter Greetings 1898.” Luther Munday (1857-1922) was a British writer and an associate of Oscar Wilde. In his work, A Chronicle of Friendships (1912), he refers (p. 95) to a visit to “stay with Mrs. Maxwell (Miss Braddon) in the New Forest, when Willie (her son, the novelist, W.B. Maxwell) was a very small boy. She was the most copious writer of fiction in England, and is distinguished by her books, which are still looked for every year. ‘Lady Audley’s Secret’ has been acted for more than twenty-five years. Truly is Miss Braddon a remarkable woman, whose gentle personality and great talent one is glad to find inherited by her family.” SADLEIR 306. WOLFF 664. $1750. 70. [Bradley, Will H.]: Blackmore, Richard D.: FRINGILLA OR TALES IN VERSE ... WITH SUNDRY DECORATIVE PICTURINGS BY WILL H. BRADLEY. Cleveland: The Burrows Brothers Company, 1895. Large octavo. Linen and printed pictorial boards, t.e.g., others untrimmed. Endsheets and margins foxed, spine extremities darkened, otherwise a very good copy. First edition thus. One of 600 numbered copies, printed on handmade paper. Copiously illustrated and decorated with plates, initials and decorative borders by Bradley. An ambitious and important Bradley production, described by his bibliographer as “a masterly synthesis of Beardsley, Ricketts, and William Morris ideals”. BAMBACE A9. $1250. 71. [Bramston, James]: THE MAN OF TASTE. OCCASION’D BY AN EPISTLE OF MR. POPE’S ON THAT SUBJECT. London: Printed by J. Wright, for Lawton Gilliver, 1733. 19,[1]pp. Folio. Engraved frontis. Extracted. Some fraying and tears around old stabholes in early leaves, extended, clean tear (no loss) in blank portion of half-title, a few smudges and modest foxing early and late, else a very good copy Williams’ and Foxon’s first edition, without the advertisement at the base of the title-page. There is another impression, with an advertisement present there, that W.B. Todd has argued precedes this printing. The two were printed within three weeks of each other. FOXON B396. WILLIAMS, POINTS, pp.67-9. Todd, “On the Use of Advertisements for Bibliographical Studies,” THE LIBRARY, V:8 (1953). $225. 72. Breidehnbach, Tom: THE DOUBLE WHAMMY. New York: Didymus Press, 2000. Quarto. Linen, printed spine label. Illustrated with five original color woodcuts by Donald Baechler, printed from the block. New, with prospectus laid in. First edition of the poet’s first book. One of 330 numbered copies (of 360) printed after a design by Thomas Whitridge by Michael and Winifred Bixler, signed by the author and artist. $300. Presentation Copy 73. Breton, André: LÉGITIME DÉFENSE. Paris: Éditions Surréalistes, Septembre 1926. Small octavo. Printed wrappers. Spine a trifle tanned, upper fore-corner of rear wrapper torn away, slight tanning to text, otherwise a very good copy. First (separate) edition of this essay from #8 of La Révolution Surréaliste, wherein Breton affirmed his commitment to communism, while critiquing the stance taken by some party members toward the surrealists. Inscribed on the half-title by Breton to French diplomat/ author Gaston Bergery. $1250. 74. Brodsky, Joseph, and Mikhail Karasik [illustrator]: ISAAK I AVRAAM [text in Russian]. [St. Petersburg: Izd-vo. M.K., 1994]. Narrow quarto (29 x 15.2cm). Forest-green paper

over boards, printed paper label. Printed on one side only of accordion fold-out text block. Fine in board slipcase. First edition in this format, with color lithographed double-page title, and four full-page color plates, by Karasik. One of a total edition of forty-seven numbered copies, signed by the printer/illustrator, and with each of the lithographs initialed in pencil in the lower margin. An innovative presentation of Brodsky’s text, conceived and executed by one of the central figures in the revival of the artist’s book in post-Soviet Russia. “Mikhail Karasik’s crede [sic] is ‘a book made by an artist,’ he has been working on it since 1987 when he made his first lithographic book ‘Christmas,’ inspired by a poem by Pasternak. Karasik is the pioneer of the book made by an artist in Russia: he has published over 40 litho-books of this caliber in small editions. Moreover, he has been working hard as curator, organizer of exhibitions and festivals devoted to the book made by an artist in Russia and outside. Karasik draws upon the tradition of the Russian futurist books of the 1910-20s, the illustrated editions by K. Malevich, M. Larionov, N. Goncharova, O. Rozanov, P. Filonov. While these futurist slipshod bulky-section-books, which were deliberately anti-aesthetic, were meant to show off, Karasik’s books, on the contrary, are exquisitely aesthetic. The artist carefully chooses all elements of decoration, he experiments with paper trying craft- and laid-paper, signs and vellum, patterns and cardboard. The elaborateness of form is of conceptual importance, for the book is a full-dress metaphor of its content” – Russkialbum. $850.

75. Brooke, Rupert: THE COLLECTED POEMS OF RUPERT BROOKE: WITH A MEMOIR. London: Sidgwick & Jackson, Ltd., 1928. Thick octavo. Black cloth, printed spine label (spare tipped-in back). Two portraits by Sherril Schell. A few very faint flecks to cloth, top edge a bit dust darkened, otherwise very good in moderately tanned and lightly chipped dust jacket (uncommon thus). “Second Edition, Revised and Reset” of the 1918 first edition. The dust jacket states: “In this new edition (1928) the poems have been re-arranged, and they now appear, so far as possible, in the order in which they were written. Two poems have been added, and the [lengthy] ‘Memoir’ has been slightly revised.” Keynes notes that the two new poems are “Fafaia” and [2] “It’s not going to happen again.” This copy conforms to Keynes’ description save that [1] Edward Marsh’s long memoir is undated, [2] the spine and upper cover are not “lettered in gold,” and [3] no “yellow ribbon marker” appears to have ever been present. With a prize label from the Truro Diocesan Training College affixed to the front paste-down endsheet and with the signature of Arthur Quiller-Couch, dated 25[?] June 1930, on the flyleaf. KEYNES 14. $250. 76. [Brooke, Rupert]: Wolfe, Thomas: TO RUPERT BROOKE. [Paris: Lecram Press], 1948. Stapled printed wrappers. Very faint dust-soiling, one wrapper corner creased, but a very good, or better, copy. First edition. Copy number 7 of an edition of one hundred copies privately printed for Richard Jean Picard. The first publication in book form of Wolfe’s 1918 tribute (a poem) to Brooke. $450. 77. Bryant, William Cullen: POEMS. Philadelphia: Carey and Hart, 1847. Large, thick octavo. Original decorated red moiré cloth, a.e.g. Illustrations by E. Leutze, “engraved by American artists.” Some gilt stamping perished, neatly rebacked, with original backstrip laid down, plates a bit spotted, as usual, fore-tips worn, otherwise a good copy. First edition in this format (a reprint, save for the prefatory note “To the Reader,” “The Stream of Life,” and “The Waning Moon”). Presentation copy, inscribed by the author on a prelim: “To James Lawson Esq. from his much obliged friend The Author Dec. 1846.” The recipient, James Lawson (1799-1880), was a Glasgow-born American author, editor, and insurance expert. In late 1815 he emigrated to New York and, having as a young man acquired an interest in literature, “... in 1821 he selected American writers for representation in John Mennons’ ‘Literary Coronal’ and, later, for similar miscellanies. Duyckinck credits him with the introduction of the best American authors to the British public.... He was one of the committee with Bryant, Halleck, and others, which selected John Augustus Stone’s ‘Metamora’ as the prize play for Forrest in 1829, and helped in a similar way to bring James K. Paulding’s ‘The Lion of the West’, with its leading character, Nimrod Wildfire, to Hackett in 1831. One of his intimate friends was William Gillmore Simms whom he introduced to the Harpers and assisted in many literary and personal matters... Poe was also a friend and frequent visitor in Lawson’s home.... “ – DAB. BAL 1633. $2000. 78. [Bryant, William Cullen]: [Tuckerman, Henry T., et al]: THE BRYANT FESTIVAL AT “THE CENTURY.” New York: D. Appleton and Co., 1864. Original pale blue boards, printed in red. Boards somewhat rubbed as usual, crown and toe of spine slightly chipped, upper outer joint cracked (but sound), a touch of slight marginal tanning throughout, else an uncharacteristically good copy of a fragile book. Cloth slipcase. First (ordinary) edition – an illustrated large paper issue of 150 copies was also produced, though corrections printed therein suggest it was later than this form. A presentation copy inscribed by contributor Henry T. Tuckerman on the front free endsheet: “C.K. Tuckerman from his brother Henry. January 1865”. Tuckerman’s poem, “To William Cullen Bryant -- On His Seventieth Birthday,” appears on pp 83-86. There is a correction (in pencil) to the second line on p. 86, possibly in Tuckerman’s hand. Original contributions by

Bryant include “Mr. Bryant’s Reply to Mr. Bancroft” (pp. 9-13) and a reply on p. 43. Other contributors include Ralph Waldo Emerson, Oliver Wendell Holmes, George H. Boker, and James Russell Lowell. BAL 1692, 20696, etc. $750. 79. Bryant, William Cullen: HYMNS. [Np. nd. but ca. 1869]. Original cloth, lettered in gilt, decorated in blind. Extremities of spine a little frayed; cloth somewhat faded, front inner hinge cracking slightly, otherwise a good copy. Second edition, slightly revised from the first edition of 1864. Inscribed on the front free endpaper: “Charles Nordhoff Esq with the regards of William Cullen Bryant. Nov. 30. 1869-.” Charles Nordhoff (1830-1901), the Prussian-born journalist and author, wrote several works based on his youthful experiences as an American sailor, as well as guidebooks and the pioneering work, The Communistic Societies of the United States. He was a close friend of Bryant and served with him on the editorial staff of the New York Evening Post. BAL 1706. $750. Inscribed with a Poem 80. Bryant, William Cullen: POEMS COLLECTED AND ARRANGED BY THE AUTHOR. New York: D. Appleton & Co., 1875. Gilt decorated blue cloth, a.e.g. Slightly rubbed at the extremities, but an unusually bright, attractive copy. A collective edition, containing no first appearances, but with a fine inscription by Bryant on the front free endpaper to Miss Harriet Cazenove Lamar [?], dated “December 1877” and with eleven lines of verse copied out by him from “The Conqueror’s Grave” (“She met the hosts of Sorrow with a look ... “). The complete poem appears on pp. 252-4 of the text. BAL 1848. sold 81. Burroughs, William S,: ROOSEVELT AFTER INAUGURATION BY “WILLY LEE” ... [wrapper title]. [New York: Fuck You Press, January 1964]. 12mo. Stapled mimeographed wrappers (after a design by Allen Ginsberg). Very near fine. First published printing (the first printing was ‘destroyed’ in production by the mimeograph machine). One of an estimated 500 copies. When first published in Floating Bear #9, this romp resulted in legal charges for obscenity, and its publication in the Yage Letters was subjected to emasculation necessitated by the British printers. MAYNARD & MILES A9a. $300. 82. Burroughs, William S.: ORIGINAL ACRYLIC AND WASH CHRISTMAS CARD. [Np: William Burroughs], 1989. Original nonrepresentational painting, in gold and blue, on white stock, 19.2 x 14 cm. Near fine. Sent by Burroughs as his 1989 holiday greeting, initialed in pencil (“WSB-”) on the image, and with his copyright stamp and ‘Seasons Greetings’ stamp on the verso, incorporating a Santa Claus. With no pretense at being anything particularly accomplished or considered, it is nonetheless what it is. Accompanied by another holiday greeting from Burroughs, the “Holiday Elf” for 1992, printed in blue, black and red, and with his printed signature in blue. Provenance: estate of Lucien Carr. $850. 83. Butler, Samuel: THE WAY OF ALL FLESH. London: Grant Richards, 1903. Slightly later unsigned three quarter navy blue pebbled morocco and cloth, spine gilt extra, a.e.g., marbled endsheets. Extremities rubbed, short tear in fore-edge of front free endpaper, a bit cocked, internally very good. First edition of Butler’s posthumously published semi-autobiographical novel, and the work which will remain most frequently associated with his name in the popular mind. Edited, with a prefatory note, by R.A. Streatfeild. Although printed in a large enough edition (1500 copies), which took some four years to sell, the physical construction of the book guaranteed that fine copies would not be the norm for succeeding generations of

collectors. This copy was rebound early on (before, at least, 1919, based on the former owner’s pencil acquisition note), without the terminal adverts, and not with great distinction. HOPPÉ 42. $250. 84. Cable, George W.: DR. SEVIER A NOVEL. Edinburgh: David Douglas, 1884. Two volumes. Original medium brown cloth, stamped in gilt. Trace of minor foxing to endleaves, otherwise a fine set, and rare in this condition. First published English edition, preceded by a very rare copyright issue in ten parts also published by Douglas in Edinburgh in 1883-84. According to BAL, there were 520 copies of this edition published. The copyright printing preceded the Boston edition, and this edition was printed from the same setting and features a slightly variant text from that published in America. BAL 2339. $1500. 85. [Calder, Alexander]: Coleridge, Samuel Taylor: THE RIME OF THE ANCIENT MARINER WITH AN ESSAY BY ROBERT PENN WARREN. New York: Reynal & Hitchcock, [1946]. Small quarto. Cloth. Illustrations by Alexander Calder. Cloth a bit darkened at edges, a few marginal finger smudges, but a very good copy in lightly chipped and edgeworn dust jacket with a few short, closed edge tears. First edition. With Calder’s expansive inscription: “to the Lehmann-Haupts very cordially Sandy Calder August ‘51.” GRIMSHAW B16. $600. 86. Caldwell, Erskine: KNEEL TO THE RISING SUN AND OTHER STORIES. New York: Viking, 1935. Cloth, leather label, t.e.g. A near fine copy, in slightly edgeworn slipcase, enclosed in a folding half morocco slipcase. First edition, limited issue. One of three hundred numbered copies, specially printed and bound, and signed by the author. $300. 87. Caldwell, Erskine, and Margaret Bourke-White: YOU HAVE SEEN THEIR FACES. New York: Modern Age Books, [1937]. Quarto. Pictorial stiff wrappers. Illustrated throughout with Bourke-White’s photographs. A few soft creases to upper wrapper, lower blank fore-tip of one plate margin neatly clipped (possibly in production trimming), pencil name, otherwise a very good or better copy in the pictorial dust jacket (minor fraying at crown of spine and a few short, closed edge tears). First wrapperbound edition, preceded by the clothbound edition from Viking Press. An important examination of the plight of the southern share-croppers, and one of the most successful collaborative works of photo-reportage and text of its decade. $175. 88. [Carlyle, Thomas]: THE LIFE OF FRIEDRICH SCHILLER. COMPREHENDING AN EXAMINATION OF HIS WORKS. London: Taylor & Hessey, 1825. viii,352pp. Large octavo. Portrait. Dark green pebbled cloth, printed spine label (similar to Tarr’s binding ‘b’). Moderate foxing to endsheets, prelims, portrait and terminal leaves, label a bit worn but legible, otherwise a very good copy. First edition of Carlyle’s first substantial original book publication, somewhat revised and expanded from its first appearance in the London Magazine. Only one thousand copies were printed. DYER, p.244. NCBEL III.1249. TARR A3.I. $500. 89. Carstairs, Carroll: A GENERATION MISSING. London: Heinemann, [1930]. Tan cloth, stamped in gilt. Trace of tanning at endsheet gutters, otherwise about fine, without dust jacket. First edition. Foreword by Osbert Sitwell. An early presentation copy from the author: “To Arnold Whitridge in memory of some past days – Carroll Carstairs April 10 1930.” The

first printing consisted of 2000 copies, published on 31 March. Carstairs, an American, represented himself as a Canadian and enlisted in the Royal Artillery, eventually transferring to the Grenadier Guards. He saw action in a number of the significant battles of the War, won a M.C., and was severely wounded in 1918. When he returned to the U.S., he became one of the principals of Knoedler’s. His narrative is one of the key personal memoirs of the experience of the Great War. The recipient of the inscription, the American literary historian and grandson (and editor) of Matthew Arnold, followed a similar path: at the outbreak of World War I, Whitridge, then a student at Oxford University, joined the British Royal Field Artillery and was awarded the British Military Cross for gallantry. He returned to New York and in 1917 joined the U.S. Army when the United States entered the war. FIFOOT OB12. $400. 90. Carstairs, Carroll: THE WINDOW SILL. London: Heinemann, [1930]. Gilt decorated black cloth, t.e.g., others untrimmed. A very good, bright copy, without dust jacket. First edition. A presentation copy from the author: “To Janetta and Arnold [Whitridge] from Carroll Christmas 1930.” Carstairs, an American, represented himself as a Canadian and enlisted in the Royal Artillery, eventually transferring to the Grenadier Guards. He saw action in a number of the significant battles of the War, won a M.C., and was severely wounded in 1918. Includes several poems written on the Front and in the Great War’s immediate wake. REILLY (WWI), p. 81. $225. 91. Carter, John, and Percy H. Muir, et al [eds]: PRINTING AND THE MIND OF MAN. A DESCRIPTIVE CATALOGUE ILLUSTRATING THE IMPACT OF PRINT ON THE EVOLUTION OF WESTERN CIVILIZATION DURING FIVE CENTURIES. [New York: Holt, Rinehart and Winston, 1967]. Quarto. Cloth. Facsimiles. Bookplate, else near fine in like, priceclipped dust jacket. First edition, American issue (printed in Britain). Introductory essay by Denis Hay. The revised form of the exhibition catalogue, and one of the most justifiable of the lists pursued by collectors. Nicholas Barker, H.A. Feisenberger, Howard Nixon and S.H. Steinberg served as assistants to the editors. $350. 92. Cather, Willa: SAPPHIRA AND THE SLAVE GIRL. New York: Knopf, 1940. Large octavo. Gilt cloth and boards, t.e.g. Trace of darkening at endsheet gutters, otherwise unusually fine, in very good, slightly darkened fold-over dust jacket (a couple short tears at folds) and lightly worn slipcase. First edition, limited issue. Copy #19 of 520 numbered copies (498 for sale), specially printed and bound, and signed by the author. Laid in is a 1948 t.l.s. from Alfred A. Knopf presenting this copy (suggesting it was perhaps one of those twenty-two copies reserved for such purposes). $850. 9 3 . C h a t w i n , B r u c e : I N PATA G O N I A . N e w Yo r k : S u m m i t B o o k s , [ 1 9 7 7 ] . L a r g e octavo. Cloth and boards. Frontis map. First U.S. edition of the author’s first book. Bookplate on front pastedown, otherwise about fine in dust jacket. $125. 94. Claudel, Paul: AUTOGRAPH LETTER, SIGNED, TO SAMUEL JOHNSON WOOLF. Washington, DC. 27 April 1930. One and one-half pages, on small octavo sheet of French Embassy stationary. Folded for mailing, otherwise about fine. Accompanied by original envelope, addressed in Claudel’s hand. Addressed to S.J. Woolf, c/o the New York Times. Woolf, an accomplished journalist and artist, served as artist/correspondent for Time during the Great War, and contributed a series of portraits, under the title “Drawings from Life,” to the New York Times Magazine from 1918 to 1948. The present letter in part concerns a portrait Woolf made of Claudel: “I had great pleasure to make your acquaintance and I congratulate you for the very life like portrait. So many painters have made me groan! I send you a copy of ‘Christopher

Columbus’. I am sure you will like the illustrations of my friend the young French Mexican painter Jean Charlot. They are full of imagination and wit. You would greatly oblige me by saying a kind word about them. I spoke to you with utmost liberty but I have confidence in your discretion, as a gentleman with another. I would not like to have my reflections about war published.... Yours very sincerely Claudel.” Claudel was French Consul to Washington from 1928-1933, and upon his appointment, a portrait of him by Woolf appeared on the cover of Time, though given their first meeting as dated by this letter, it would appear not to have been made from life. The edition of Christopher Columbus with Charlot’s illustrations was published by Yale University Press in 1930, in a limited edition. $450. 95. Clemens, Samuel L.: [AUTOGRAPH MANUSCRIPT CRITIQUE OF BRITISH FAMILY HOTELS]. [London]. [ca. 1 October 1900]. Three pages, in ink, on rectos of three octavo lettersheets. Sharply folded for mailing, with short marginal breaks at margins, a few smudges and incidents of foxing, scattered insertions, deletions and revisions in ink, near very good. An unsigned epistle of great charm, dated as above by the Mark Twain Project, with the unspecified recipient identified as Clemens’ friend, John Y. MacAlister. Clemens writes: “I meant to sail earlier but waited to finish some studies of what are called family hotels. They are a London specialty, God has not permitted them to exist elsewhere. They are ramshackle cribs which were dwellings in the time of the Heptarchy ... The once spacious rooms are split up into narrow coops which afford as much discomfort as can be had anywhere out of jail for any money. All the modern inconveniences are furnished & some that have been obsolete for a century. The prices are astonishingly high ... the bedrooms of the upper floors are hospitals for incurable furniture ... They exist upon a tradition: they represent the vanished homelike inn of fifty years ago & are mistaken by foreigners for it. Some quite respectable Englishmen still frequent them through inherited habit & arrested development; many Americans also, through ignorance & superstition. Brown’s is as interesting as the Tower of London & older I think. Older & dearer. The lift was a gift of William the Conqueror, some of the beds are pre-historic. They represent geological periods. Mine is the oldest ... & contains the print of pre-historic man ... Thousands of scientists come to see it. They consider it holy. They want to blast out the print but cannot. Dynamite rebounds from it. Finish studies & sail Saturday ....” $2750. 96. [Clemens, Samuel L.]: Twain, Mark [pseud]: A CHAMPAGNE COCKTAIL AND A CATASTROPHE TWO ACTING CHARADES [wrapper title]. [New York: Privately Printed], Xmas 1930. [8]pp. Printed self-wrapper. Fine. Folding morocco backed cloth case. First edition. The colophon states that the text was printed from the manuscript in the possession of “Robin and Marian Mac Vicars,” but BAL asserts that the Mac Vicars are fictitious. BAL 3551. $250. 97. [Clemens, Samuel L.]: Jones, Grover, and William Slavens McNutt [screenwriters]: HUCKLEBERRY FINN FROM MARK TWAIN’S IMMORTAL STORY .... [Los Angeles]: Paramount Publix Corporation, 27 May 1931. [2], A1-J5,[1] leaves, foliated in sequence format. Legal format. Mimeographed typescript, printed on rectos only, and somewhat crudely restapled in left margin. Filing stamp on title leaf, some small nicks and modest creases to outer, earlier staple holes in left margin; a good copy. Denoted a “white” script of this, the first sound adaptation of Clemens’ novel, directed by Norman Taurog, and as a direct successor to the 1930 Tom Sawyer, starring Jackie Coogan and Junior Durkin. The film was released on 7 August. $1250. 98. Collins, Mortimer: MIRANDA: A MIDSUMMER’S MADNESS. London: Henry S. King & Co., 1873. Three volumes. Original forest green cloth, decorated in black, edges untrimmed. A little shaken; covers soiled and shelfworn; modest foxing; library labels (“Barnabas Girls’ Club”) affixed to front pastedowns of all three volumes (partially removed

in Vol. III); some cracking of inner hinges. Just a good, sound set. With occasional stamps of the Barnabas Church in the text. First edition. This set is at variance from Wolff’s set, in that there are no publishers’ advertisements for Collins’ other books on the versos of the front free endpapers, and the first volume contains 4pp (only; paged as iv) of prelims; possibly recased? Wolff writes: “Rather raffish in his younger days and with an inflated self-esteem, given to classical puns and irritating mannerisms, Collins had genuine talent. He infuriated his enemies and inspired great affection in his friends. He deeply loved both his first wife and his second, Frances Cotton, who collaborated with him on his later books, but who allowed her name to appear with his only after he had died untimely, leaving her in difficult financial circumstances. Collins’ books are exceptionally hard to find.... Several times I have ordered and missed titles I needed. Collins emerges as an interesting second-rater, a figure of pathetic jauntiness ....” Not in Sadleir. WOLFF 1332. $350. 99. Collins, Mortimer: SQUIRE SILCHESTER’S WHIM. London: Henry S. King & Co., 1873. Three volumes. Original red cloth, decorated in black. Shaken, cloth a bit worn and soiled; some cracking of inner hinges; possible traces of labels removed from front covers, a couple small patches of erosion along upper joint of volume 3, still a good, sound set/ First edition of this novel, dedicated “To Frederick Locker, Poet and Friend of Poets.” A presentation copy, inscribed by the author’s wife on the front free endsheet of volume one: “To James Allwright from Frances Collins. Knowl Hill, February 1873,” and with similar inscriptions in volumes two and three. With the recipient’s signature (“Allwright”) in the first and second volumes. Wolff writes: “Rather raffish in his younger days and with an inflated self-esteem, given to classical puns and irritating mannerisms, Collins had genuine talent. He infuriated his enemies and inspired great affection in his friends. He deeply loved both his first wife and his second, Frances Cotton, who collaborated with him on his later books, but who allowed her name to appear with his only after he had died untimely, leaving her in difficult financial circumstances. Collins’ books are exceptionally hard to find .... Several times I have ordered and missed titles I needed. Collins emerges as an interesting second-rater, a figure of pathetic jauntiness ....” The Wolff collection includes a copy Collins’ rare suppressed novel, Sweet Anne Page (3 vols., 1868) that also was presented to Allwright. WOLFF 1336. SADLEIR 580. $975. 100. [Conroy, Pat]: Carlino, Lewis John [screenwriter]: THE GREAT SANTINI SCREENPLAY ... FROM THE NOVEL BY PAT CONROY. Los Angeles: Bing Crosby Productions, 21 November 1977. [1],143 leaves. Quarto. Mimeographed typescript, printed on rectos only, bradbound in production company wrappers with diecut window. Wrappers lightly sunned, title lettered on spine, near fine. A “Final Draft” of this adaptation to the screen of Conroy’s 1976 novel. Carlino directed the 1979 release, starring Robert Duvall, Blythe Danner, Michael O’Keefe, et al. Duvall and O’Keefe were both nominated for Oscars for their roles. This “final” draft was subject to even further revisions in coming months. $250. 101. Conroy, Pat, and Becky Johnston [screenwriters]: PRINCE OF TIDES SCREENPLAY BY .... [Np]: United Artists, 26 January 1988. [1],127 leaves. Quarto. Photoduplicated typescript, printed on rectos only, bradbound in studio wrappers. Title handlettered on spine, studio stamps on title leaf, minor use at wrapper edges, very good or better. An unspecified but rather early draft of Conroy’s own collaborative adaptation of his 1986 novel. Barbara Streisand both directed and costarred in the December 1991 release, along with Nick Nolte, Blythe Danner, George Carlin, et al. The film and its principals earned several Oscar nominations, and Nolte won a Golden Globe. $175.

Ordered Burnt by the Common Hangman 102. [Coward, William]: SECOND THOUGHTS CONCERNING HUMAN SOUL, DEMONSTRATING THE NOTION OF HUMAN SOUL, AS BELIEV’D TO BE A SPIRITUAL IMMORTAL SUBSTANCE, UNITED TO HUMAN BODY, TO BE A PLAIN HEATHENISH INVENTION, AND NOT CONSONANT TO THE PRINCIPLES OF PHILOSOPHY, REASON, OR RELIGION; BUT THE GROUND ONLY OF MANY ABSURD, AND SUPERSTITIOUS OPINIONS, ABOMINABLE TO THE REFORMED CHURCHES, AND DEROGATORY IN GENERAL TO TRUE CHRISTIANITY. .... London: Printed for R. Basset ..., 1702. [24],458,[6]pp. Octavo. Old paneled calf, rebacked at an early date to style. Extremities worn and joints a trifle weak, occasional scattered foxing, and mild discolorations, lower blank corner of C 3 torn away, and shallow marginal losses to b 2, still a good, sound copy. First edition of this controversial work by the London physician and poet, published anonymously, but with a dedicatory epistle signed “Estibius Psychalethes.” Coward’s argument “was possibly suggested by Locke’s famous speculation as to the possibility that a power of thinking might be ‘superadded’ to matter. He maintains, partly upon scriptural arguments, that there is no such thing as a separate soul, but that immortal life will be conferred upon the whole man at the resurrection ... [a pamphlet controversy ensued, and] complaint was made in the House of Commons, 10 March 1703-4. A committee was appointed to examine Coward’s books. Coward was called to the bar and professed his readiness to recant anything contrary to religion or morality. The house voted that the books contained offensive doctrines, and ordered them to be burnt by the common hangman. The proceeding increased the notoriety of Coward’s books; and in the same year he published another edition ...” – DNB. ESTC online locates 8 copies in North America. ESTC T137990. $450. 103. Crane, Hart: THE BRIDGE A POEM ... WITH THREE PHOTOGRAPHS BY WALKER EVANS. Paris: The Black Sun Press, 1930. Quarto. Original printed wrappers. Very faint shadow to spine area around slipcase finger-pulls, otherwise a f i n e c o p y, i n r a t h e r s c u ff e d a n d r u b b e d s i l v e r f o i l c o v e r e d s l i p c a s e , w i t h a significant portion of lower (or upper) panel snagged (but present and still whole). First edition, trade issue. From a total edition of 283 numbered copies, this is one of two hundred copies with the text printed on Holland. Now acknowledged as among the defining poetic works of the American 20th century, The Bridge also marks the debut of Walker Evans’ photographs as book illustrations. Although Crane and the Crosbys had initially planned to use one of Joseph Stella’s iconic paintings as the frontispiece, and a corresponding proof of the title pulled, they opted instead to include the photographs by Evans, who Crane had actually met at the Brooklyn Bridge in 1928. Crane was engaged with the decision, taking a careful hand in the placement of the photographs in relation to the text, and pleased with the final result, noting in a letter to Caresse Crosby: “I think Evans is the most living, vital photographer of any whose work I know. More and more I rejoice that we decided on his pictures rather than Stella’s.” While one may surely regret that the edition with Stella’s frontispiece didn’t come about, the conjoining of Evans’ photographs with Crane’s poem has proved a durable aesthetic marriage, particularly after the selection of photographs was revised for the subsequent Liveright edition. SCHWARTZ & SCHWEIK A2. MINKOFF A32. MODERN MOVEMENT 64. $10,000. 104. Crawford, F. Marion: TO LEEWARD. London: Chapman & Hall, 1884. Two volumes. Cloth. Neat bookplates, hinges cracking, short tear in one endsheet, extremities shelfrubbed, but a good set. First edition, preceding the American one volume edition by a couple of weeks. On each half-title, possibly in the hand of the dedicatee, appears the inscription: “Sybil Milnes, from Uncle Sam. January 1884.” The dedicatee of this novel, Samuel Ward, was Crawford’s own uncle and literary promoter. BAL 4133. WOLFF 1585. WRIGHT III:1287 (US ed). $185.

105. Crawford, F. Marion: KHALED A TALE OF ARABIA. London: Macmillan and Co., 1891. Two volumes. Original cloth, spines stamped in gilt. Endsheets foxed, spines and edges a trifle darkened, but nonetheless a very good set. First edition of what many consider Crawford’s most successful venture into fantasy fiction, preceding American publication. BLEILER, p.52. BAL 4165. WOLFF 1562. SADLEIR 643. $175. First Mafia Novel 106. Crawford, F. Marion: CORLEONE A TALE OF SICILY. London: Macmillan & Co., 1897. Two volumes. Blue cloth, stamped in gilt and yellow. Extremities lightly rubbed, a few stray marks to cloth, otherwise a very good, tight set. First edition of what many critics regard as the first successful treatment of the Mafia in literary fiction. According to BAL, this British edition precedes the formally published U.S. edition, although a special copyright printing was deposited in 1896. BAL 4201. WOLFF 1554. WRIGHT III:1267. $225. 107. Crawford, F. Marion: THE WHITE SISTER. London: Macmillan & Co., 1909. Red cloth, stamped in gilt and blind, t.e.g. Free endsheets offset as usual, pencil ownership signature, but a very good, bright copy. First (British) edition; the American may have been simultaneous. Filmed twice, first in 1923 with Lillian Gish and Ronald Coleman, and again in 1933 starring Helen Hayes and Clark Gable. BAL 4241. WOLFF 1589. SMITH C-917. $35. 108. Creeley, Robert: THIRTY THINGS ... MONOPRINTS BY BOBBIE CREELEY. Los Angeles: Black Sparrow Press, 1974. Small octavo. Cloth and decorated boards. Fine. First edition, limited issue. Copy #4 of five numbered copies denoted for presentation, in addition to 250 numbered copies and fifty deluxe copies, all signed by the author. $ 100. 109. Crosby, Caresse: GRAVEN IMAGES. Boston: Houghton Mifflin, 1926. Pale blue paper boards, printed in red and dark blue, with pictorial vignette. Early pencil name and bookseller’s ticket, top edge slightly dusty, otherwise an unusually nice copy in matching dust jacket (faintly foxed along one flap fold). First edition of the author’s second book, and the first of her titles issued by a commercial publisher. In the condition represented by this copy, an uncommon book. $500. 110. Crosby, Harry: WAR LETTERS. Paris: Black Sun Press, 1932. Small quarto. Publisher’s quarter calf and pastepaper boards and endpapers, ribbon marker. Frontis portrait. Light rubbing to edges of boards, otherwise a fine copy. First edition. One of 125 copies on Navarre. This copy, as often (but not always), has a portion of a line on page 305 blacked out. Crosby served with the American Field Service and the Ambulance Corps during the Great War, experiences which left an indelible mark on his personality and world-view. The letters are preceded by a chronology and brief Preface by Henrietta Crosby. While not a particularly scarce book, the binding of this, the last Paris Black Sun imprint, is particularly vulnerable to wear and deterioration to the joints and this is an unusually nice copy. MINKOFF A43. $2000. 111. Crowley, Aleister: THE STRATAGEM AND OTHER STORIES. London: The Mandrake Press, [1929]. 12mo. Faux snakeskin in gilt over boards. Minor edgewear, otherwise a very good copy in darkened, slightly soiled and edgeworn dust jacket. First edition, published as one of the “Mandrake Booklets.” BLEILER, p.53. NCBEL IV:1036.

$175.

Dedication Copy 112. Curle, Richard: LIFE IS A DREAM. London: Kegan Paul, Trench, Trübner & Co., 1914. Gilt cloth. Spine faded, cloth a bit soiled and worn, several brown spots in the first gathering, with some underlining and pencil annotations in the text, else a good copy. First edition. The Dedication Copy, inscribed by the author on the front free endsheet: “W.M. Rossetti with affectionate regard from R. Curle 13/2/14.” The printed dedication [p. v] reads: “To W.M. Rossetti with affection.” $375. 113. [Dana, Richard Henry, Jr]: Allston, Washington: LECTURES ON ART AND POEMS. EDITED BY RICHARD HENRY DANA, JR. New York: Baker and Scribner, 1850. Original cloth, decorated in blind. Cloth a bit faded and worn, shallow surface losses at crown and toe of spine, some foxing and tanning, a few clean marginal tears to last few leaves, otherwise a good copy. Book label of Herbert Boyce Satcher. First edition, BAL’s binding 1. With a presentation inscription from the editor’s father on the front free endsheet: “Rev’d Derwent Coleridge, Principal of St Mark’s College, Chelsea, London -- With the respects of Richd H. Dana Boston, U.S.A. May / [illegible].” Tippedin at the front is a third person ANS (one page, 8vo, 8 Buckingham Place, Fitzroy Square, 19 June n.y. [docketed on verso, possibly in the hand of John Quincy Adams (see below), “Allston -- 19. June 1816. 20 June 1816. Recd.”]), from Washington Allston, presenting his compliments “to Mr & Mrs Adams” and “with great pleasure” accepting “their invitation for saturday [sic].” Also present is a TLS (one page, 4to, 105 Brattle Street, Cambridge, Massachusetts, 13 Sept. 1948, with envelope) from Henry Wadsworth Longfellow Dana to Herbert Boyce Satcher, thanking him for “your interesting information about the book and the manuscript of Allston in your possession,” and commenting: “The book was published by my grandfather, Richard Henry Dana, Jr., some seven years after the death of Washington Allston, who had been his uncle. The inscription, since it does not have the ‘Jr.’ I judge to be not by the editor but by his father, the poet Richard Henry Dana. He was a great admirer of Samuel Taylor Coleridge, who had been a close friend of Allston and had travelled with him in Italy. I believe the Reverend Derwent Coleridge, was the son of the poet Coleridge who died in 1834. I should like to think that my great-grandfather inscribed the book to him in the very year it came out -- 1850 -- but he may have waited until 1854 to find out the address of Coleridge’s children. Allston’s autograph is of even greater interest. John Quincy Adams was then serving as the American Ambassador in England as his father, John Adams, had been before him and as his son, Charles Francis Adams, was to be after him. Mr. Henry Adams, by the way, gave me some time ago a photostat of a letter in which John Quincy Adams states that he gave his son the middle name of ‘Francis’ in honor of my great-grandfather [sic], Francis Dana, whose daughter Washington Allston married. I am delighted, then, to know of this letter ... Does the other side by any chance give the address of John Quincy Adams at that time?” Derwent Coleridge (1800-1883), English scholar and author, was the third son of Samuel Taylor Coleridge. He was ordained in 1825, and in 1841 was appointed first principal of St. Mark’s College, Chelsea. BAL 508 & 4440. $750. Rare Triple-Decker 114. Davidson, John, and C. J. Wills: LAURA RUTHVEN’S WIDOWHOOD. London: Lawrence & Bullen, 1892. Three volumes. Original medium green textured cloth, ruled in blind, spines lettered in gilt. Spine lettering very slightly dull, endsheets a bit tanned, a few minor smudges to cloth, but a very good, tight set, with the bookplate of Pickford Waller in each volume. First edition. Davidson’s only triple-decker, a collaboration with Charles James Wills, M.D., M.R.C.S. (1842-1912), and a rare book. Wills was trained as a physician and spent some time in that practice before turning to literature in 1882, at the age of 40. He began his new career as a travel writer, and then went on to publish more than a

dozen novels. John Davidson, some 15 years younger than his colleague, is now the better known of the two. He wrote plays, poetry of ideas, journalism, short stories, and philosophy; he was a member of the Rhymers’ Club, and a contributor to The Yellow Book. Davidson’s later years were wretched, despite the patronage of such notables as Edmund Gosse and George Bernard Shaw, and in the end he committed suicide. Recent studies have revealed that Davidson wrote other books with Wills, but this title is the only one to acknowledge the collaboration on the title-page. The NUC lists four copies (CtY, MiU, NjP, NNC), to which OCLC adds two others (CLU [Sadleir], TxU). Not in Wolff and not in the Colbeck collection. We’ve handled one other set, some years ago, as part of a Davidson collection sold en bloc. SADLEIR 676. STONEHILL 9. NCBEL III:620. $3500. Inscribed to His Publisher 115. Davidson, John: THE TRIUMPH OF MAMMON. London: E. Grant Richards, 1907. Gilt cloth, t.e.g., others untrimmed. Minor rubbing, usual slight offsetting to endsheets, but a very good copy. First edition. Inscribed by the author to his publisher on the title-page: “To my dear E. Grant Richards John Davidson April 11. 07.” This work constitutes Part I of a projected trilogy Davidson intended for publication under the general title of God and Mammon, but his suicide preceded completion of third volume. Part II, Mammon and His Message, was published in 1908. Colbeck speculates that copies with the spine imprint of “E. Grant Richards,” and with a terminal catalogue, as here, may be the earliest binding state, and this presentation would likely confirm that hypothesis. NCBEL III:620. STONEHILL 36. COLBECK I:183. $750. 116. Dawson, Fielding, and Jack Boyd: 2 & 4 POEMS. [Black Mountain: Black Mountain College, August 1950]. Small octavo. Pictorial wrappers after a design by Don Alter. Small black square on front wrapper where original price was blacked out, otherwise fine. First edition of this joint publication, limited to 250 copies only, with each poem signed by its respective author, as issued (4 by Dawson and 2 by Boyd). Listed by Butterick as Dawson’s first book, but two separate publications preceded. $250. 117. Dawson, W.J.: THE WAR EAGLE A CONTEMPORARY NOVEL. New York & London: John Lane Co. / John Lane, the Bodley Head, 1918. Gilt pictorial cloth. Fine and bright, in very good, slightly worn pictorial dust jacket with several short creased edge-tears and a minor chip. First edition. Inscribed by the author on the front free endsheet to his daughter: “To My Co-Writer Nov. 9. 1918 From Her Grateful Father W.J.D.” A good association copy of this fictional treatment of the pro and anti-war sentiments in the U.S. during WWI. SMITH D-215. $375. 118. [De Coverly, Roger (binder)]: OBITER DICTA SECOND SERIES. By Augustine Birrell. London: Eliot Stock, 1887. Octavo. Full olive-green crushed levant, spine gilt extra, a.e.g., gilt inner dentelles. Light rubbing at extremities, faint bump to rear lower fore-tip, otherwise a very good copy. First edition. The binding is signed by R. de Coverly, the London binder under whom T.J. Cobden Sanderson and Charles McLeish (the younger) trained. $250. 119. De la Mare, Walter: HENRY BROCKEN HIS TRAVELS AND ADVENTURES IN THE RICH, STRANGE, SCARCE-IMAGINABLE REGIONS OF ROMANCE. By “Walter Ramal”. London: John Murray, 1904. Blue cloth, spine gilt extra. Cloth a little soiled and worn, slight cracking at gutter between half-title and free endsheet, but a good copy, with the small booklabel of Herbert Boyce Satcher. First edition of the author’s second book, and first novel, in the traditional first “issue”

binding, without t.e.g., and with no final bracket after “Walter Ramal” on the title page. Tipped-in is an autograph letter signed (2pp, 8vo, 195 Mackenzie Road, Dukenham, n.d.) from the author to the literary agent, Pinker, arranging a meeting. BLEILER, p.59. NCBEL IV:259. $150. Inscribed to Eddie Marsh 120. De la Mare, Walter: PEACOCK PIE A BOOK OF RHYMES. London: Constable and Co., 1913. Gilt blue buckram. Cloth dusty and a bit edgeworn, corners bumped, some offsetting to endsheets, else a good copy. With the book labels of Simon Nowell-Smith and his wife, Judith Adams Nowell-Smith. First edition. A fine association copy, inscribed by the author to Edward Marsh: “To E.M. with best wishes from W.d.l.M. June 1913.” In response, Marsh wrote to de la Mare: “I’ve waited to write until I had time to read it twice and let it sink in. There are exquisite things in it, and no one else could have written them, or anything like them. ‘Dick and the Moon’ is perhaps the one that takes me most of all, another great favourite is ‘The Little Green Orchard’, and there are several others that run them close. ‘The Ship of Rio’ is delicious, and so is the one about the three farmers - - ‘Axcusing Silver’ is an inspiration! (There are some that I don’t see quite enough point in ... praps it’s my fault?).” See Edward Marsh A Biography, by Christopher Hassall (London. 1959). NCBEL IV:258. $850. With a Frontis by Rops 121. Delvau, Alfred: HISTOIRE ANECDOTIQUE DES CAFÉS & CABARETS DE PARIS .... Paris: E. Dentu, 1862. xviii,298,[2]pp. 12mo. Half green morocco and marbled boards (unsigned), raised bands, gilt. Frontispiece and six engravings in text. Foxing to frontis and title, and terminal leaves a bit foxed, lower fore-tips rubbed, otherwise a very good copy. First edition, issue on ordinary paper. The frontis is a spirited etching by Felicen Rops. One of the other etchings is credited to Gustave Courbet, but Vicaire attributes it to Poulet-Malassis, etched by Leopold Flameng, who executed the other mounted chapter heading vignettes and the cul-de-lampe. Delvau’s essays had previously appeared, in part, in the periodical Cadet-Roussel. An interesting survey of the prominent cafés and cabarets of the city, with comments on some of the personalities who frequented them. VICAIRE III:147-8. BRIVOIS, p.118. $550. 122. Demoustier, C.-A. [Charles-Albert]: LETTRES À ÉMILE SUR LA MYTHOLOGIE. Paris: Chez Ant. Aug. Renouard, 1809. x,127,[4],120;[4],96,105;112,150pp. Six parts bound in three volumes. 12mo. Full crimson straight grain morocco, gilt extra, a.e.g., by Ruban. Some foxing and tanning, light rubbing at extremities, and a couple of rubs to raised bands, otherwise a very good set. A 12mo redaction of the first illustrated Renouard edition, published in the same year as its larger format siblings, featuring a portrait engraved by Gaucher after Ducreaux, and thirty-six plates engraved by various hands (Delvaux, de Ghendt, Roger, Simonet, Thomas and Triere) after drawings by Moreau le Jeune. Cohen – De Ricci devote over a column to Renouard’s edition. COHEN – DE RICCI, pp. 283ff. RAY, p.88. $375. Inscribed by Dickens 123. [Dickens, Charles]: Beaumont, Francis, and John Fletcher: THE WORKS OF BEAUMONT AND FLETCHER. WITH AN INTRODUCTION BY GEORGE DARLEY. London: Edward Moxon, 1840. Two volumes. Polished tan calf, spines gilt, with gilt labels (small repairs), t.e.g. by Sotheran. Gift inscription (to Emily Vine from her mother dated 1857 on title of each volume); extremities, raised bands and edges rubbed; covers a little worn and soiled, otherwise a good set. From the collection of William E. Self, with his book label in each volume.

An excellent association copy, with a presentation inscription on the half-title in volume one: “J.A. Overs / From / Charles Dickens [paraph] / 1st November 1840.” John A. Overs (1808-1844), a London cabinet-maker by training, educated himself and pursued his interests in writing. Dickens became his most important literary friend, providing comments on his stories and poems, introducing him to newspaper editors and offering financial assistance when Overs became ill. Overs first wrote to Dickens in January 1839 hoping to have some poetry placed in Bentley’s Miscellany, and Dickens recommended several pieces to his successor as editor. “Perhaps more importantly, however, Dickens advised Overs on the publication of his Evenings of a Working Man (1844), and wrote the preface to the work ... In his preface Dickens is careful to emphasize Overs’s autonomy, stating that although he had given advice to the author on this collection of short pieces, he ‘never altered them, otherwise than by recommending condensation now and then,’ and assuring the reader that the volume’s sketches represented Overs’s ‘genuine work, as they have been his sober and rational amusement’” – DNB. The two men remained close until Overs’s death in 1844: “When poor Overs was dying he suddenly asked for a pen and ink and some paper, and made up a little parcel for me which it was his last conscious act to direct. She [Amelia Overs] told me this and gave it me. I opened it last night. It was a copy of his little book in which he had written my name, ‘With his devotion.’ I thought it simple and affecting of the poor fellow” (Dickens to John Forster [17 Dec. 1844] in the Letters of Charles Dickens, Pilgrim Edition, 4:240). $17,500.

Inscribed to Dickens 124. [Dickens, Charles]: Cornwall, Barry [pseud of B. W. Proctor]: ENGLISH SONGS AND OTHER SMALL POEMS. London: Edward Moxon, 1844. 12mo. Contemporary threequarter morocco and marbled boards. Binding rather rubbed and edgeworn, otherwise a good copy, with Charles Dickens’ lion bookplate and the Gadshill label at the front, and with the bookplate of John Gribbel at the back. Old bookseller’s description tipped in front. The second edition, in which Procter took the opportunity “to strike out about forty of the poems (of inferior quality) contained in the old volume, and to introduce, in their stead, nearly seventy Poems, in rhyme, besides a considerable quantity of Dramatic verse” – “Preface to the Present Edition,” dated “April 13th 1844.” A presentation copy, inscribed on the title-page: “Charles Dickens / with the best Regards of / The Author.” In The Dickens Circle (New York, 1919, p. 169), J.W.T. Ley states: “We may take it as quite certain that Dickens came to know Procter through Forster. And from the first the novelist and the poet were on the best of terms. It was natural. Procter was a peculiarly lovable man, with a peculiar gentleness, ‘childlike, without being childish, and an unfailing buoyancy of spirit.’ Such a man could not but have a strong attraction for Dickens. From the beginning he loved the company of his friend, who, in the ‘forties, was one of the innermost circle with Forster and Maclise and Ainsworth. Procter was one of the little company at the Greenwich dinner in 1842, and until he grew too old (he was twenty-five years older than Dickens) they had frequent social meetings. For Household Words and All the Year Round he wrote a great deal, and Dickens valued his contributions very highly indeed ... As Procter grew old Dickens saw less and less of him, but the friendship remained as deep as ever, and in 1854 it was peculiarly sweetened by the discovery that the ‘Miss Mary Berwick’ who had contributed verses to Household Words which had won Dickens’s unstinted praise was really his old friend’s daughter, Adelaide, whom he had known from her childhood.” $3500. 125. Dickens, Charles: THE CRICKET ON THE HEARTH. A FAIRY TALE OF HOME. New York: Harper & Bros., 1846. 32,5,[3],4,4pp. Large octavo. Original printed brickbrown wrappers, untrimmed. Text in double columns. Usual scattered foxing, one leaf with marginal loss to lower edge due to careless opening, wrapper extremities a bit nicked and creased, surface loss in areas of wrapper spine, but a good, sound copy. Morocco backed folding cloth case. One of the American editions competing for the status as the first U.S. edition – no definitive priority has been established. EDGAR & VAIL, p.3. GIMBEL A93. VANDERPOEL B403(2). $450. Editor’s Copy 126. [Dickens, Charles]: Wills, Henry W. [editor]: OLD LEAVES: GATHERED FROM HOUSEHOLD WORDS. London: Chapman & Hall, 1860. Contemporary three quarter brown morocco and marbled boards, a.e.g. Binding worn, joints mended, some restoration to spine, front binder’s free endsheet cracking at gutter; just a sound copy. First edition. An uncommon collection, containing fifteen of Dickens’ articles, including some well-known pieces: “A Curious Dance Round a Curious Tree,” “A Plated Article,” and “Valentine’s Day at the Post Office.” Dickens revised the texts of these pieces for this book publication, and Wills dedicated the volume to Dickens. The editor’s copy with his bookplate [William Henry Wills] on the front paste-down and a statement written out by a later owner in ink on a prelim narrating the provenance of this volume: it stayed with Wills’ widow (“formerly Miss Janet Chambers”) until her death in 1892, when “Mr. Wills’ library was inherited by my aunt Lady Priestly and is now in the possession of her son, Dr. [?] R. Priestly, and, to a small[er?] extent, in that of her second son Mr. J.G. Priestly K.G. who presented me with this volume. G.[?]E.S. Chambers. Edinburgh. May 1911.” William Henry Wills’ lifelong association with Dickens began in the fall of 1845, when Wills became the novelist’s personal secretary and general administrative assistant. Wills had contributed to Bentley’s Miscellany in 1837, had been a member of the literary staff of Punch at its founding in 1841, and had served since 1842 as assistant editor of Chambers’s

Journal in Edinburgh. “On John Forster’s suggestion, Wills was made assistant editor of ‘Household Words,’ and was given the same position by Dickens when, ten years later, ‘All the Year Round’ was incorporated with it. His business capacity was invaluable to Dickens, and he was one of the most intimate friends of the novelist in later life. At the end of 1851 Wills accompanied Dickens on his theatrical tour in connection with the Guild of Literature and Art, to the temporary success of which his exertions largely contributed. In 1868, while Dickens was in America, Wills suffered concussion of the brain from an accident in the hunting field, and was disabled from his duties as editor of ‘All the Year Round.’ He never recovered, and retired from active work” – DNB ECKEL, pp.187-8. GIMBEL D35. SUZANNET E50. $650. 127. [Dickens, Charles]: Cook, James [compiler]: BIBLIOGRAPHY OF THE WRITINGS OF CHARLES DICKENS, WITH MANY CURIOUS AND INTERESTING PARTICULARS RELATING TO HIS WORKS. London: Frank Kerslake, 1879. Contemporary three quarter gilt calf, marbled boards, t.e.g. Front free endsheet loose, binding rather scuffed and worn, a bit of soiling at edges; a sound copy, with an early bookseller’s description tipped to the front endsheet. First edition of the earliest Dickens bibliography. A significant association copy, probably in a presentation binding, inscribed by the compiler to the novelist’s son on a preliminary leaf: “To Charles Dickens, Esq. with the regards of the Compiler James Cook Aug. 27, 1879.” Cook’s Bibliography, “made with a set of the various Works as they were originally published, in parts or in volumes,” precedes that of R.H. Shepherd (Manchester, 1881) and several items directed at collectors, such as Johnson’s Hints to Collectors (1885). Cook provides “such particulars as are necessary to give the Bibliophilist or Collector a thorough knowledge of the peculiarities of the several editions”. Major, minor, and miscellaneous works, Christmas books, biographies, and portraits are described, with notes on reprints and inscribed copies. GIMBEL H108. $1500. 128. [Dodgson, C.L.]: Carroll, Lewis [pseud]: THE HUNTING OF THE SNARK AN AGONY IN EIGHT FITS. London: Macmillan and Co., 1876. Pictorial buff cloth, a.e.g. Frontis and plates by Henry Holiday. Cloth darkened, spine slightly cocked, some tanning and modest spotting to tissue guard and title, but a good to very good copy. First edition, in the ordinary binding for general publication. Copies were also gotten up in several different styles of presentation bindings for Dodgson. WILLIAMS 32. WILLIAMS & MADAN 89. PARRISH, p.15. $600. 129. [Doheny Collection]: [Miller, Lucille (comp)]: CATALOGUE OF BOOKS & MANUSCRIPTS IN THE ESTELLE DOHENY COLLECTION. Los Angeles: [Privately Printed], 1940. xiii,[1],297,[1]pp. Small folio. Cloth, gilt leather label. Frontis and plates. Bookplate on front pastedown, cloth a bit handsoiled, small nick to label, otherwise a good, internally very good or better copy. First edition of the first of three such catalogues, printed in an edition of one hundred copies by Ward Ritchie. With a Foreword by Doheny, and an Introduction by Lucille Miller. At the time, the library included some 4000 items; in 1946 a second volume was published (77pp.) and a third in 1955 (170pp). $250. 130. Doughty, Charles M.: THE DAWN IN BRITAIN. London: Duckworth & Company 1906. Six volumes. Publisher’s olive green cloth, stamped in gilt, t.e.g., others rough trimmed. A couple of tiny nicks to two spine crowns, traces of foxing early and late, otherwise a very good, bright set. First edition of each volume. Doughty enthusiast Siegfried Sassoon’s set, with his early pencil ownership signature in the first two volumes, pencil notes of pages references on the front endsheets of four volumes, and handful of pencil notes and marginal highlights (“p. 164 – as fine as anything in Spenser”). The monogram label of the posthumous library

dispersal sale appears on each pastedown. While Doughty’s extended poetic account of the rise of British civilization has generally been eclipsed for contemporary readers by his prose classic, Travels in Arabia Deserta, it did claim staunch advocates as recent as Laura Riding and Schuyler Jackson, for whom it had central significance in their Rational Meaning: A New Foundation for the Definition of Words. Now, somewhat uncommon in this condition. NCBEL III:622. $750. 131. Doughty, Charles M.: THE TITANS. London: Duckworth & Co., 1916. Gilt cloth. Spine sunned, with some dust-soiling to cloth and top edge, scattered foxing; a good copy. First edition. With the early ownership signature on the front pastedown of Siegfried Sassoon, and with the posthumous library dispersal label. Sassoon annotated three passages in the text, in ink, and laid in an unrelated clipping. NCBEL III:622. $150. 132. Doughty, Charles M.: MANSOUL (OR, THE RIDDLE OF THE WORLD). London: Selwyn & Blount, 1920. Gilt cloth. Spine dull, with some dustsoiling to cloth and top edge; a good copy. First edition. With the early ownership signature on the front pastedown of Siegfried Sassoon, and with the posthumous library dispersal label. NCBEL III:622. $150. 133. Doughty, Charles M.: MANSOUL OR, THE RIDDLE OF THE WORLD. London: Jonathan Cape & The Medici Society, 1923. Gilt vellum, t.e.g. Vellum a bit bowed, with some natural mottling, edges a trace foxed, but a good copy. First revised edition, limited issue. One of five hundred numbered copies, specially printed and bound, and signed by the author. Siegfried Sassoon’s copy, with the posthumous library dispersal label, and an extraneous portrait of Doughty from a periodical laid in. Accompanied by a three page a.l.s., Cranbrook, Kent, 1 June 1932, from Caroline Doughty to Sassoon, advising him that “Mr. Cockrell has sent me (from Elkin Mathews) £25 for your little book of lovely verses! It must be rare that a poet’s works are so much appreciated during his life! I feel guilty in selling a gift book, but in these difficult times such an unexpected windfall is very helpful ....” She continues further, inviting him to stop in for “a simple lunch or tea ... you might be interested to see my husband’s notes etc.” She concludes, enclosing this book as a gift, noting “... he altered it a great deal after this edition but never quite finished it.” NCBEL III:622. $300. 134. Douglas, Norman: NERINDA (1901). Florence: G. Orioli, 1929. Large octavo. Printed paper boards. A fine copy, though the slipcase, which is usually totally absent, is bumped and is wanting a chip from the bottom panel. First edition of this revised text of a story from Unprofessional Tales. One of 475 numbered copies, signed by the author. WOOLF A28a. $200. 135. [Doves Bindery]: Tidcombe, Marianne: THE DOVES BINDERY. London & New Castle: British Library / Oak Knoll Books, 1991. xiv, 490pp. Quarto. Cloth. Frontis and plates (including color). Spine stamping faintly rubbed, otherwise about fine, with errata laid in. First edition of this massive undertaking, both as a history and as a catalogue of examples located and work recorded by the bindery archives. $225. 136. [Doyle, Arthur Conan]: Andrews, Robert B. [adaptation]: “SHERLOCK HOLMES VS. LORD HAW-HAW” STORY OUTLINE BY... [wrapper title. Released as: SHERLOCK HOLMES AND THE VOICE OF TERROR]. [Los Angeles: Universal Pictures], 14 February

1942. [2],51 leaves. Quarto. Original carbon typescript, typed on rectos only of canary yellow onion skin stock. Bradbound in typescript wrappers. Several vertical creases and a small chip to upper wrapper, revised title in blue pencil on upper wrapper, otherwise very good or better. Perhaps the earliest available draft for this 1942 contribution to the Holmes film canon, based in part on His Last Bow, updated to a setting in the years immediately preceding WWII. This is an original carbon typescript of Andrews’s outline/treatment for the film, here under the working title, which was later changed to The Voice of Terror. The film was directed by John Rawlins, and starred Basil Rathbone and Nigel Bruce. Robert H. Andrews, John Bright and Lynn Riggs shared final screen credit for the shooting script, and in the final version, the particular reference to Lord Haw-Haw was altered, and the mysterious broadcaster referred to as “The Voice of Terror.” Script material relating to any of the pre-1950 Holmes films is uncommon, particularly material from such an early stage of development. The first leaf denotes this typescript is “For: Mr. Howard Benedict” – the film’s producer, and the title leaf bears a small ink numeral ‘4’. Although well over one hundred and fifty adaptations of Sherlock Holmes to the screen are known, beginning with Sherlock Holmes Baffled (1903), the Rathbone-Bruce portrayals have become almost canonical, beginning with The Hound of the Baskervilles (March 1939), and concluding with the twelfth in sequence, Dressed to Kill (1946). DE WAAL 5148. $1850. 137. Du Maurier, George: PETER IBBETSON. WITH AN INTRODUCTION BY HIS COUSIN LADY (“MADGE PLUNKETT”). EDITED AND ILLUSTRATED BY .... London: James R. Osgood, McIlvaine & Co., 1892. Two volumes. Original pictorial cloth, edges untrimmed. Plates. Some foxing to the endsheets, former owner’s neat, small blindstamp on title-page of each volume, else a very good set in a cloth slipcase (spine darkened and edges dustmarked). From the collection of Mrs. J. Insley Blair, with her “Blairhame” leather book label. First British edition, Carter’s binding B (see Carter, Binding Variants, p.136). First published in Harper’s Magazine in the U.S., and in book form by Harper’s a month prior to this edition. SADLEIR 1674a. WOLFF 1950b. NCBEL III:1049. Carter, BINDING VARIANTS, P.136. $125. 138. [Duchamp, Marcel]: VIEW THE MODERN MAGAZINE MARCEL DUCHAMP NUMBER. New York. March 1945. Small folio. Pictorial wrappers, after a design by Duchamp. Heavily illustrated. Minimal use along the spine fold, with slightest curling of foretips, otherwise an unusually nice copy, very near fine. The trade issue of the special Marcel Duchamp number of View (V:1), featuring work by and about him, with contributions by Breton, Soby, Gabrielle Buffet, Desnos, Janis, Calas, Man Ray, Mina Loy, “Henrie Waste,” et al. The die-cut folded inserted triptych construction by Frederick J. Kiesler, “Les Larves d’Imagie d’Henri Robert Marcel Duchamp,” is intact and unsullied: “The following Triptych when unfoldeded represents three walls of Duchamp’s studio on 14th Street in New York. The cut-out flaps, left and right, when bent toward the center, transform the interior wall into a vision of the ‘Mariee mise a nu.’” $600. 139. [Duchamp, Marcel]: Prowler, David: A TELEGRAM FROM MARCEL DUCHAMP. [San Francisco: Readymade Press, 1990]. Oblong octavo. Bound in die-cut galvanized steel, with fuzzy fabric spine and inset, with rubber nipple. Illustrations and plates. Fine in bubble-wrap packet with velcro fastener. First edition, limited issue. One of thirty numbered copies (of 2000) signed by the author and specially bound. Designed by Diane Burke and Robert Langenbrunner; bound by Kay Yataba and Marc Delang. An homage, of sorts, with the upper board executed in imitation of Duchamp’s breast binding for La Surrealisme En 1947. $300.

140. Dunsany, [Edw. Plunkett], Lord: TALES OF WAR. Dublin: The Talbot Press, [1918]. Cloth and gray boards, stamped in red and black. Spine a little rubbed, boards and text stock a little darkened, as usual, but a good or better copy, without dust jacket. First edition. Dunsany served as a Captain with the Royal Iniskilling Fusiliers, and was wounded in 1916. Some of these tales are uncomfortable attempts at mingling fantasy and patriotic propaganda. BLEILER (SUPERNATURAL) 580. BLUNDEN, et al, p.8. NCBEL III:1946. $150. 141. [Dwight, Timothy]: A STATISTICAL ACCOUNT OF THE TOWNS AND PARISHES IN THE STATE OF CONNECTICUT...VOL. I. – NO. 1. New Haven: Printed and Sold by Walter and Steele, 1811. xi,[1],83,[1]pp. Octavo. Three-quarter morocco and marbled boards, t.e.g., by Stikeman. Slight tanning and scattered light foxing, binding very slightly bowed, but a very good copy. First edition. Published under the auspices of the CT. Academy of Arts and Sciences. This, the only number published, treats the City of New Haven. BAL 5064. HOWES D611. $200. 142. Easton, Phoebe Jane: MARBLING A HISTORY AND A BIBLIOGRAPHY. Los Angeles: Dawson’s Book Shop, 1983. xiii,[1],190,[4]pp. Quarto. Full natural linen, with inset of marbled paper. Tipped-in frontis, color and b&w plates, illustrations, and six tipped-in paper samples. Bookplate laid in (formerly tipped in), otherwise fine. First edition. One of 850 numbered copies, designed and produced by Joseph Simon and Lillian Marks. $200. 143. Ecilaw, Ary [pseud of Alexandrine Kolemine]: THE ROMANCE OF A GERMAN COURT. A TRANSLATION OF ARY ECILAW’S “LE ROI DE THESSALIE.” London: Remington and Co., 1886. Two volumes. Original brown cloth, decorated in blind, ruled in black, lettered in gilt. Very slight rubbing, otherwise near fine. First edition in English, the translation from the French not attributed. Author’s preface dated October 1885, from Perm, Siberia. “A ‘mythical kingdom’ novel about the not so mythical kingdom of Thessaly: royal family, Pattenpouf, ie. Battenburg, Emperor of Caucasia, ie. Tsar. Topical, since the whole Battenburg business in Bulgaria was over in 1885’’ – Wolff. WOLFF 1977. $350. 144. Eggers, W.P. Eberhard: SKIZZEN AUS DER NEUEN WELT ... ZEHN RADIERUNGEN AND EINE TITELRADIERUNG, DIE IM FRÜHJAHR 1971 IN DER STOUT STATE UNIVERSITY MENOMONIE/WISCONSIN IN DEN USA ENTSTANDEN. Burgdorf / Hannover: Steintor Verlag, 1971. Folio (43 x 42cm). Title leaf plus ten etchings, and tissue interleaves, laid into folding cloth portfolio, with original two color etched pictorial label. Fine. From a total edition of 110 impressions of each of the etchings, this is one of fifty sets for sale as a suite, with each etching signed and numbered by the artist. A sequence of surreal, and occasionally darkly satirical etchings stemming from Eggers’s tenure as a visiting professor at Stout, including images titled “Miss Menomonie,” “Mister Pecker of Menomonie,” “Stout Jury,” “Body Building Tonight,” “What Means Pollution?” etc. $550. 145. Eichenberg, Fritz: FABLES WITH A TWIST TWENTY WOODBLOCKS AND TWENTY TWISTED TAILS. [Peace Dale, RI: Fritz Eichenberg, 1976]. [2] preliminary leaves, plus twenty woodcuts, with bifolium interleaves bearing text on upper leaf, and colophon. Folio (44.7 x 38 cm). Loose sheets and bifolia laid into folding cloth clamshell box with printed label. Box a bit sunned and lightly rubbed, otherwise about fine. First edition. Illustrated with twenty original woodcuts, printed from the block, with full margins, by the author. A sequence of loose adaptations of fables from Aesop and others, updated (often wickedly) for contemporary relevance, each accompanied by a corresponding wood engraving. One of one hundred numbered portfolios, printed by Harold McGrath

at the Gehenna Press, signed by the author/artist on the colophon, and with each of the wood engravings numbered, titled and signed by Eichenberg in the margin. As this was not a formal publication of the Gehenna Press, it is not included in the bibliography. $3500.

146. Eliot, T.S.: FOUR QUARTETS. New York: Harcourt, [1943]. Cloth. Generic bookplate on free endsheet, but a very good or better copy, in moderately tanned first printing dust jacket with three shallow chips and a short, closed edge-tear. First impression of the first U.S. edition, and first collected edition. Due to poor imposition of the formes during printing, the first impression was deemed faulty and only 788 copies were distributed in order to fulfill copyright and other obligations; the remaining 3377 copies were destroyed. A second, prepublication impression consisting of 3500 copies was ordered, and copies of that impression saw regular distribution. GALLUP A43a. MODERN MOVEMENT 92. $3500.

147. [Elzevir Imprint]: Commines, Philippe de: LES MEMOIRES DE MESSIRE PHILIPPE DE COMMINES, SR. D’ARGENTON. A Leide: Chez les Elzeviers, 1648. One volume bound in two. [24],370; 371-765,[19]pp. Engraved title. 12mo. 13.5 x 7.5cm. Very handsomely bound in full early 19th century dark brown straight grain morocco (unsigned), spines and panels elaborately decorated in blind, marbled endsheets, a.e.g. Auchincruive bookplate (with shelf numbers) in first volume. Very slight rubbing to a few extremities, slight tanning, otherwise a very pretty set. First Elzevir edition of the celebrated memoirs of the foremost French Renaissance historian (1445-1509), notable as an important analysis of 15th century culture, politics and personality. “...The graphic style of his narrative and above all the keenness of his insight into the motives of his contemporaries, an insight undimmed by undue regard for principles of right and wrong, make this work one of the great classics of history” – Encyc. Britannica. “...Authoritative [and] rare...printed in Paris probably by Le Gras” – Rostenberg & Stern, The House of Elzevir, 27 (referencing this edition in their offering of the 1661 edition). “Jolie édition, dont les exemplaires grands de marge et bien conservés sont fort recherchés” – Brunet. RAHIR 630. BRUNET II:191. WILLEMS 634. $1250. 148. Epstein, Jean: BONJOUR CINEMA. Paris: Editions de la Sirene, 1921. Small octavo. Typographically decorated wrappers. Plates and illustrations (including collages attributed to Claude Dalbanne, and type designs). Clean crack up middle of spine, with slight chipping at toe and old tape mend at crown, internally very good, and with the decorative front wrapper only slightly darkened along the lower edge. First edition, ordinary issue (after 46 numbered copies on fine papers) of this engaging book by the Warsaw-born director and film theorist. In his article on Epstein (1897 – 1953) J.-A. Fieschi notes: “The whimsical typography, the alternation of blank verse with short prose sections, the erratic punctuation, the unpredictable capitalized words, the illustrations with over lapping perspectives in the Cubist manner, all betoken a certain kinship with Apollinaire, Cendrars and Dada. The book was a manifesto, a prospectus, an object-poem ... “ – Cinema A Critical Dictionary, p.328 ff. $250. 149. [Ernst, Max]: Ribemont-Dessaignes, Georges: LA BALLADE DU SOLDAT. [Vence]: Pierre Chave / Kenneth Nahan, [1989]. Small folio (38.5 x 28 cm). Loose gatherings laid into pictorial wrappers, enclosed in folding cloth chemise and slipcase. Very fine. First English language edition. Illustrated with thirty-four original lithographs and two vignettes by Max Ernst. One of 199 numbered copies (of 217) on Arches, with the text in English, signed by the author and the artist. The lithographs for all the editions were printed at Atelier Chave in 1972, contemporary with the preparation and publication of the edition of the French text (a total of 315 copies). A German language edition (also consisting of 199 copies plus 18 h.c.) was published. The English translation, prepared in 1972 by Nicolette Bernard, Peter Leslie and George Kimball, was not actually printed until 1989 (also at Atelier Chave). An irreverent and pointed attack on authoritarianism and militarism, the text written decades earlier, presented as a late collaboration of two old friends. MONOD 9695. $3000. 150. Faulkner, William: ABSALOM, ABSALOM! New York: Random House, 1936. Gilt cloth and decorated paper over boards, t.e.g. Folding map. Faint sunning to spine, minor darkening at edges and endsheets toward gutters, otherwise about fine. Enclosed in a (too large) clamshell cloth box, gilt label. First edition, limited issue. One of three hundred numbered copies, specially printed and bound, and signed by the author. PETERSEN A17d. MASSEY 1. $7500.

Item 149 151. Faulkner, William: THE HAMLET. New York: Random House, 1940. Gilt cloth and decorative paper over boards, t.e.g. Color pictorial title. The extreme top and lower edges of the boards are a bit darkened, else about fine. First edition, limited issue. One of two hundred and fifty numbered copies, specially bound, and signed by the author. The first volume of the Snopes Trilogy PETERSEN A20c. MASSEY 55. $7500. 152. Faulkner, William: REQUIEM FOR A NUN. New York: Random House, [1951]. Cloth and marbled boards. About fine in acetate wrapper. First edition, limited issue. One of 750 numbered copies, specially printed and bound, and signed by the author. Laid in front is the publisher’s advance delivery memorandum, noting the publication price and calling attention to the publication date (Sept. 24). MASSEY 219. PETERSEN A28c. $2000.

153. Faulkner, William: A FABLE. [New York]: Random House, [1954]. Decorated cloth. Fine in glassine wrapper and very faintly smudged slipcase. First edition, limited issue. One of one thousand numbered copies, specially bound and signed by the author. MASSEY 37. PETERSEN A31b. $2000. 154. Feiffer, Jules: LITTLE MURDERS. New York: Brodsky/Gould Productions, 25 May 1970. [1],110 leaves (plus lettered insert). Quarto. Mechanically reproduced typescript, printed on rectos only of pale and dark green stock. Bradbound in production company wrappers. Production number and revision date in ink on upper wrapper, small nick at lower overlap edge of wrapper, else near fine. A revised “second draft” of Feiffer’s own adaptation to the screen of his 1966 breakthrough black comedy. The 1971 release, directed by Alan Arkin, starred Eliott Gould, Marcia Rodd, Vincent Gardenia et al, and Feiffer’s screenplay was nominated for a WGA Award for Best Adaptation from Another Medium. It comes as no surprise that the latest revisions in this draft are to the setup and brilliantly complex overlapping monologues of Carol, Alfred and Kenny at the conclusion of the film. $300. 155. Fellowes, Daisy [née Marguerite Séverine Philippine Decazes de Glücksbierg]: SUNDAY OR A WORKING GIRL’S LAMENT. Monaco: Imprimerie A Chène, 1930. Large octavo. Cloth backed pictorial boards. Color vignettes. Slight tanning at edges of white boards, otherwise very good. First edition. One of two hundred copies printed on vélin superieur. Rather than being signed as called for in the colophon, this is an inscribed presentation copy from the “apologetic author” to Bettina Bergery, with a small drawing. Bergery has written the author’s name on the title. “A bird’s eye view of New York during prohibition” (author’s inscription) in occasionally suggestive verse. $150. 156. [Fergusson, Harvey]: Cohen, Saul: SOUTHWEST WRITER HARVEY FERGUSSON A COLLECTOR’S VIEW AND CHECKLIST. Santa Fe: Press of the Palace of Governors, 2001. Small quarto. Cloth backed pictorial boards. Photographs and facsimiles. Bookplate on front pastedown, otherwise fine, without dust jacket, as issued. Prospectus laid in. First edition. Foreword by Lawrence Clark Powell. One of 150 numbered copies, designed and printed by Pamela Smith, and signed by Cohen. Offered at original subscribers’ price: $200. 157. Fernandez, Agustin, and Alain Bosquet: 7 POINTES SÉCHES [with:] LETTRE A UN GENOU. [Paris: l’Imprimerie Lacourière et Frélaut, 1963]. [8] leaves plus seven drypoint etchings. Folio (51 x 38 cm). Loose bifolia and sheets laid into cloth and board portfolio. Light use and a few faint spots to portfolio, slight tanning to extreme margins of text and plates, but very good or better. First edition. One of five author’s copies, from a total edition of fifty copies printed on grand Vélin de Rives, signed by the artist. Each of the etchings is signed by the artist in the margin, and denoted “H.C.” This copy is additionally inscribed to two friends by the artist. A relatively early work by one of the most prominent of contemporary modernist artists living in exile from Cuba. Fernandez (1928-2006) moved from Cuba to Paris in 1959 and then, in 1968, moved to Puerto Rico and thence to New York. His later work, both two dimensional and three dimensional, embraces the machine and metallic surfaces as dominant frames for the conveyance of often subtly erotic or emotional themes. His work has been the subject of scores of exhibitions and he is strongly represented in institutional collections. $1500.

With Illuminated Manuscript Renderings for His Wife of “Dutch Lullaby” and “Little Boy Blue.” 158. Field, Eugene: WITH TRUMPET AND DRUM. New York: Charles Scribner’s Sons, 1892. Publishers quarter vellum and boards, t.e.g., others untrimmed. Binding somewhat soiled and worn, former owner’s bookplate, otherwise a very good copy. Cloth folding box. First edition, limited issue. One of an unknown number of out of series copies, unnumbered, in addition to 250 numbered copies, signed by the publisher. In this copy, on a sheet of matching handmade paper inserted in place of the front free endsheet Field has neatly copied out his poem, “Little Boy Blue,” in red and black ink, in his diminutive hand, with rubricated initials at the beginning of each stanza and two small hand-colored drawings (a toy soldier and a toy lamb) in the margins. Beneath the poem is his presentation inscription, which reads: “For My Dearest and Most Beautiful Julia, Ever yours devotedly, / Eugene Field.” On integral blank leaves at the back of the volume the author has written out his poem, “Dutch Lullaby” (beginning “Wynken, Blynken and Nod one night / Sailed off in a wooden shoe . . .”), also in black ink with rubricated initials, with a double-rule border in black and red in the left margin, and with his presentation inscription at the end: “For My Dearest and Most Beautiful Julia -- / Eugene Field.” Field married Julia Sutherland Comstock on 16 October 1873. BAL 5750. $15,000.

159. “Field, Michael” [pseud. of Katherine H. Bradley and Edith E. Cooper]: CANUTE THE GREAT: THE CUP OF WATER. London & Clifton: George Bell & Sons / J. Baker & Son, [nd. but 1887]. Original stiff cream parchment, printed in red, t.e.g. Date of publication written in ink beneath the title-page imprint, parchment a bit bowed, as usual, with short cracks at crowns and toes of joints, otherwise an unusually nice copy, near fine, in plain tissue dust jacket (possibly original, but with some small chips and edge tears). First edition of this relatively early volume – two plays – by the pseudonymous collaborators. The first book by “Michael Field” appeared in 1884. With several small publishers’ advertisements laid-in, including a Matthews and Lane leaf for books by “Michael Field.” From the collection of Herbert Boyce Satcher, with his book label. NCBEL III:626. COLBECK I:247. $450. 160. “Field, Michael” [pseud. of Katherine H. Bradley and Edith E. Cooper]: FAIR ROSAMUND. [London: The Vale Press, 1897]. Large octavo. Decorated boards, paper spine label, untrimmed. Boards slightly worn and smudged, spine ends a bit frayed, usual offsetting to endsheets, but otherwise a good copy. First separate edition. One of two hundred and ten copies printed on handmade paper at the Ballantyne Press under the supervision of Charles Ricketts, who also contributed the woodcut decorations. Holbrook Jackson’s copy, with his pencil ownership signature, and later, from the library of Herbert Boyce Satcher, with his small book label. NCBEL III:626. TOMKINSON (VALE PRESS) 10. COLBECK I:248. $450. 161. “Field, Michael” [pseud. of Katherine H. Bradley and Edith E. Cooper]: NOONTIDE BRANCHES A SMALL SYLVAN DRAMA INTERSPERSED WITH SONGS AND INVOCATIONS. [Oxford: Printed by Henry Daniel at the Daniel Press, 1899]. Original printed wrappers, untrimmed. Wrappers a bit creased at edges, and with a few small tears at overlap edges, but an unusually nice copy, very good, or better, of a fragile book. First edition. Copy #21 of 150 copies privately printed at the Daniel Press. From the collection of Herbert Boyce Satcher, with his booklabel. MADAN 46. NCBEL III:626. COLBECK I:249. $350. 163. Flagg, James Montgomery: “PEACE ON EARTH GOOD WILL TO ALL MEN – EXCEPT NAZIS!” [original watercolor greeting card]. [Np: The Artist ca. 1940s]. Original watercolor, pencil and ink drawing on paper (16.5 x 12.5 cm). Very near fine. A charming and characteristic Christmas card by the American illustrator, in the form of a self-portrait from mid-torso up, holding a Christmas wreath high, captioned as above. Signed in ink “from Monty.” $350. 164. [Ford] Hueffer, Ford Madox: BETWEEN ST. DENNIS AND ST. GEORGE. A SKETCH OF THREE CIVILIZATIONS. London: Hodder & Stoughton, 1915. Light brown wrappers, printed in dark brown and ruled in red, over plain stiff wrappers. Spine creased and lightly spotted, rear endsheet creased, small nicks and frays at extremities, small tear at toe of spine, very good. First edition of this companion to When Blood is Their Argument. This issue in wrappers is not recorded in Harvey, and may be an advance state. The price “2/6” that appears on the spine conforms to the publication price of the book. A small date is stamped on the front endsheet (“Jan. 11”) but the book was published in September. HARVEY A48. $550. 165. [Fraser, Claud Lovat]: COLOUR GARLANDS NO. 1 [through:] NO. 3. [London]: Issued by Heal & Son Ltd., Pavilion of Colour, Olympia, 1920. Three [4]pp. leaflets. Illustrations by Claud Lovat Fraser. Slight soiling, No. 3 has a short tear at the fore-edge of the lower panel, otherwise very good. First editions. A complete set of these fragile hand-outs “given at our Pavillion of Colour

this 4th day of Feb., in the year of grace 1920.’’ Nicely printed at the Curwen Press. Very scarce. MILLARD 641-3. $250. 166. [Frazier, Charles]: Minghella, Anthony [screenwriter]: [A Small Archive of Scripts and Other Material for the Film Adaptation of COLD MOUNTAIN]. New York, Bucharest & elsewhere: Mirage Enterprises, Inman Films, Cold Mountain Ltd., etc., Various dates through 2002. Chiefly quarto. Variously: bradbound in production company wrappers, bradbound, stapled, loose or paperclipped. Very good to about fine. An interesting mini-production archive relating to the filming of Minghella’s adaptation of Frazier’s novel, for which he as well served as director. Present are four drafts of the screenplay (Feb. 2002; June 2002; 9 July 2002, and 9 July 2002 with inserted revises from 22 July), as well as some hundred pages of production memos, cast lists, crew lists, subsequent revises dating through August, and similar work paper. An e-mail and an ownership signature trace the lot to a party who served as costume consultant in coordination with the set decorator. Jude Law, Nicole Kidman and Renée Zellweger starred in the 25 December 2003 release, which garnered an Oscar for Zellweger and numerous other awards and nominations for cast and production. $750. Rare Triple Decker 167. Frederic, Harold: IN THE VALLEY. London: William Heinemann, 1890. Three volumes. Original cloth. Spines a little darkened, some modest soiling to cloth, modest edgewear, a bit of soiling to top edges, otherwise a good set. Signature of J.H. Fowler, dated “1890,” on front free endsheet of the first volume. First English edition of Frederic’s third book, an historical novel set about 125 years earlier in the author’s native Mohawk River valley. According to BAL, the New York (Scribner) edition was published on 11 Oct. 1890; this London edition was “listed PC Nov. 1, 1890.” The author’s only triple-decker and a very rare book. He had moved to England in 1884 to act as the London correspondent for the New York Times, and although all of his novels were written there, the first eleven, including his best known work, The Damnation of Theron Ware, were set in the U.S. His last three novels -- two of them published posthumously -- featured English settings. BAL 6269n. $1750. 168. Frost, Robert: A MASQUE OF REASON. New York: Henry Holt, [1945]. Cloth. A few spots of dulling to cloth, a couple bumps to edges, else a good copy in worn and chipped dust jacket. First trade edition. Presentation copy to Wilbert Snow, inscribed on the date of publication by the author on the front free endsheet: “To Bill from one of the oldest friends of him and all his works Robert Wesleyan March 26 1949”. With pencil markings (presumably in Snow’s hand) in the margins and traces of erased pencil annotations throughout the text. Charles Wilbert Snow (1884-1977), a poet of the Maine seacoast (especially near Spruce Head, Maine) and a professor of English at Wesleyan University (from 1921-1952), often arranged visits of varying lengths for Frost at Wesleyan. “During those visits the two poets became affectionate friends, although the Socialist liberalism of Snow’s political views and activities offended RF’s conservatism.” (Selected Letters of Robert Frost, ed. by Lawrance Thompson, N.Y., 1964, p. 393). CRANE 27.1. $1250. 169. Frost, Robert: NEW HAMPSHIRE A POEM. Hanover, NH: The New Dresden Press, 1955. Small octavo. Cloth and boards, gilt spine label. Fine in slightly frayed unprinted tissue jacket with narrow tear in spine panel. First separate edition. One of 750 numbered copies, signed by the author. Woodcut by J.J. Lanes. This copy bears the author’s additional presentation inscription on the front

free endsheet: “To George Cohn from his old old friend in memory of good talks[.] Robert Frost Cambridge Mass Jan 13 1956.” CRANE A6.2. $1250. 170. Fuller, Samuel: THE RIFLE. [Los Angeles: William Shiffrin and Associates, nd. but ca. 1970s]. [1],132,[1] leaves. Quarto. Mimeographed typescript, bradbound in stencil printed stiff wrappers. Title label across spine, agency label inside front wrapper, a couple tiny edge tears and corner creases to wrapper, but internally fine. An agency circulated mimeo (produced by Kwik Script Service) of this unproduced original screenplay by Fuller for what was to be his cinematic statement about the U.S. involvement in Vietnam. The draft is unspecified, but it presumably is one of Fuller’s final drafts prepared for use in his repeated endeavors to secure funding and support for the project. Ironically, it was Fuller who directed one of the first studio films about the war in Vietnam (albeit the period of French involvement), 1957’s China Gate. In 1980, the release of the studio version of his semi-autobiographical WWII film, The Big Red One, again focused public attention on Fuller’s talents as a director of war films, and it is regrettable that this project never proceeded beyond script development. Very scarce. $950. Inscribed, with Drawing and Letter 171. Furniss, Harry: FLYING VISITS. Bristol: J.W. Arrowsmith, nd, [but ca. 1892]. Medium brown pictorial cloth, elaborately decorated in slate and black. Illustrations by the author. Rear inner hinge cracking slightly, cloth faintly handsoiled and lightly rubbed, bookplate on pastedown, otherwise an unusually nice copy. Half morocco slipcase. First edition, published in Arrowsmith’s “Three & Sixpenny Series.” A presentation copy from the Irish-born illustrator and film animation pioneer, with an illustrated inscription from the author on the front free endsheet (which also serves as half-title): “Miss Arnold from her flying acquaintance [self portrait sketch of the artist flying through the air] Harry Furniss Halifax 1892.” Loosely inserted is an autograph letter, signed, (3pp, 8vo, on letterhead of “The ‘Humors of Parliament’ on Tour”, Imperial Hotel, Belfast, 1 September n.y.), from Furniss to the American lecture agent, J.B. Pond, reading in part: “I am glad you have Arnold for America. I shall be glad to hear from you when convenient. All my letters are forwarded ... from ‘Punch’ office. My first week on Tour has been a great success ... I send by this post a local paper – they are all the same – giving me splendid notices.” Minor traces of mounting and recipient’s stamp (dated “Sep 16 1891) on verso of letter, else near fine. $875.

Item 172

172. [Futurism]: STILE FUTURISTA ESTETICA DELLA MACCHINA REVISTA MENSILE D’ART – VITA. Turin: A. & G. Marco, July & August 1934. Anno I, Nos 1 & 2. Two issues. Quarto. Pictorial wrappers. Illustrations and photographs. Wrappers of first number somewhat frayed and soiled, with some old erased pencil squiggles, sewing broken, so signatures laid in loose, otherwise internally good; wrappers of second number very faintly foxed, with minor chips to spine ends, spine glue dried out, otherwise bright and internally very good or better. Edited by F.T. Marinetti, E. Prampolini, et al. The first two numbers (of at least 16 numbers, some of them double numbers, published) of one of the visually most impressive of the Italian Futurist periodicals. As the subtitle suggests, the contributions place particular emphasis on machine aesthetics, as well as architecture, design, the visual arts, and Futurist and Fascist polemics. Marinetti, Fillia, Prampolini, Le Corbusier, Benedetta, et al, contribute. $450. 173. Garnett, Richard [trans]: DANTE PETRARCH CAMOENS CXXIV SONNETS. London & Boston: John Lane / Copeland & Day, 1886. Slate cloth, decorated in gilt, edges untrimmed. Binding rather rubbed at crown of spine and edges, else a good, sound copy. First edition. A presentation copy, inscribed by the translator on the half-title page: “Constance Plumptre with R. Garnett’s sincere regards.” With corrections in Garnett’s hand in the prefatory note and on pp. 45, 105, and 135. NCBEL III:1431. KRAUS 51. $250. Presentation Copy 174. Gilbert, W.S.: GRETCHEN A PLAY, IN FOUR ACTS. London: Newman & Co., 1879. Original cloth, stamped in gilt, bevelled edges. Very lightly worn at extremities, a touch of foxing to verso of front free endsheet and title-page, otherwise a very good, or better, copy. Second edition (by Searle’s criteria), with the leaf of “Dramatis Personae” at p. [v] and with the front cover stamped in gilt ‘Gretchen’ – features which Searle states conform to the format of the second edition. The first edition was also published in 1879. A presentation copy, inscribed by the author on the title-page to the English poet and book collector, “F. Locker With the Author’s kind regards. 26.6.81.” With the bookplate of Frederick Locker on the front pastedown. SEARLE 68. $2500. 175. Gilchrist, R. Murray: BEGGAR’S MANOR. London: William Heinemann, 1903. Pictorial navy blue cloth, edges untrimmed. Cloth sizing a trifle flecked in a few places, some offsetting to endsheets, but a near very good copy. First edition. A presentation copy, inscribed by the author on the front free endsheet: “To W.E. Henley, with R. Murray Gilchrist’s affectionate regards. Cartledge Hall, June 30th 1903.” Henley died on 11 July. WOLFF 2499. $250. Family Association Copy 176. Gordon, Caroline: THE GLORY OF HERA. Garden City: Doubleday, 1972. Cloth. Edges a bit rubbed and sunned, but a good copy, in heavily frayed and soiled dust jacket. First edition. A lovely association copy, inscribed by the author to her granddaughter (and namesake): “For Caroline Wood from Caroline Gordon with love Irving, [TX] Sept. 27, 1973.” $500. 177. Grahame, Kenneth: THE HEADSWOMAN. New York & London: John Lane The Bodley Head, 1898. Pictorial wrappers. Shallow sliver losses at overlap edges, otherwise a near fine copy of a fragile book. Cloth chemise and slipcase.

First separate edition. This copy does not have the 12pp. catalogue at the end which appears in some copies. Issued as #5 of the Bodley Booklets. $150. 178. Grahame, Kenneth: THE GOLDEN AGE. London: John Lane, The Bodley Head, [1928]. Original vellum-backed marbled boards, t.e.g., others untrimmed. With Illustrations and Decorations by Ernest H. Shepard. Vellum very slightly soiled, some offsetting and foxing to endsheets, otherwise a very good copy in publisher’s slipcase (soiled and worn, split along lower edge and repaired at rear panel). First large paper edition with Shepard’s illustrations. Copy #180 of 275 copies “printed on specially made rag paper” and signed by both Kenneth Grahame and Shepard. $475. 179. [Greenaway, Kate]: Harte, Bret: THE QUEEN OF THE PIRATE ISLE...ILLUSTRATED BY KATE GREENAWAY ENGRAVED AND PRINTED BY EDMUND EVANS. London: Chatto & Windus, [1886]. Small quarto. Pictorial cloth, stamped in gilt, black and other colors. With color frontispiece and 27 color illustrations by Kate Greenaway. A few dust smudges to cloth, otherwise a very good or better copy First edition, BAL’S binding B (with plain endsheets, and brown rather than gilt edges), British issue, preceding the first American issue. Both the British and the American issues were printed and bound in the UK. BAL 7337. OSBORNE I:350. $450. 180. [Grenfell Press]: THE GRENFELL PRESS TYPEFACES &C. New York: In Association with The X Press, March 1980. [6],25,[1]pp. Quarto (29.2 x 20.5 cm). Sewn limp linen wrappers, printed paper label, Japanese Tairea endsheets. Illustrations and decorations. faintest sunning to top edges of covers, otherwise fine. First edition. The first publication to be formally identified as a production of the Grenfell Press, this being copy #43 of a total edition of eighty-five copies printed by hand by Leslie Miller on handmade Milbourne paper on a Vandercook proofing press. Various illustrations, including a drypoint printed on a Wepplo etching press, accompany the display of innovative as well as traditional typographic presentations, all foreshadowing the accomplishments to come. The colophon incorporates a mission statement. Uncommon. $550. 181. Hale, Matthew: THE PRIMITIVE ORIGINATION OF MANKIND, CONSIDERED AND EXAMINED ACCORDING TO THE LIGHT OF NATURE. London: Printed by William Godbid, for William Shrowsbery at the sign of the Bible in Duke-Lane, 1677. [10],380pp. Folio. Contemporary paneled calf, rebacked to style, raised bands gilt label. Engraved portrait by F.H. Van. Hove. Early ink ownership inscriptions on title, with occasional neat marginal annotations, extreme lower blank forecorners of portrait margin and 2L 2 torn away, clean tear in from lower margin of 2L 3 (touching five lines, with no loss), old repairs to tear and marginal break in B 1 (no loss), scattered foxing and occasional spotting; withal a good, sound copy, in a handsome binding. First edition. This posthumous publication was drawn from a substantial body of manuscripts left by Hale at his death, relating both to his practice and interpretation of the law, and to his amateur pursuit of matters of science and theology. “In this very curious treatise Hale in the first place attempts to show that the world must have had a beginning; next, with lawyer-like caution, that if by possibility this were not so, the human race at any rate cannot have existed from eternity; then passes in review certain ‘opinions of the more learned part of mankind, philosophers and other writers, touching man’s origination,’ and finally defends the Mosaic account of the matter as most consonant with reason” – DNB. As illustrative of some of his hypotheses, Hale draws on examples of observations of human and animal life in North America. It is the earliest work relating to issues of evolution cited by Garrison & Morton. ESTC R17451. WING H258. GARRISON & MORTON 215. EUROPEAN AMERICANA 677/101. JCB II:1677. $850.

Fine Association Copy 182. Hardy, Thomas [ed]: SELECT POEMS OF WILLIAM BARNES. CHOSEN AND EDITED WITH A PREFACE AND GLOSSARIAL NOTES BY THOMAS HARDY. London: Henry Frowde, 1908. Original elaborately gilt decorated cloth, t.e.g., ribbon marker. Usual foxing to endsheets, otherwise a fine copy in lightly frayed and smudged (but very scarce) dust jacket. Slipcase. From the collection of Frederick B. Adams, Jr., with his bookplate. First edition (one of 2000 copies printed). A superb presentation copy, inscribed by Hardy in the month of publication to his future second wife, Florence Dugdale: “Miss F.E. Dugdale: with the Editor’s kind regards. November 1908.” With an autograph correction by Hardy on p. iv and a few pencil markings in the text. This is one of two presentation copies singled out by Purdy for mention. “...Hardy’s most considerable tribute to a Dorset man whom he had known ‘well and long’, whose friendship he had cherished, and whose poetry had in some measure influenced his own. It entailed uncongenial work of a critical and editorial nature he would hardly have assumed under other circumstances...” – Purdy. PURDY, pp. 135-7. $10,000.

Inscribed to Gosse 183. Hardy, Thomas: A CHANGED MAN, THE WAITING SUPPER, AND OTHER TALES, CONCLUDING WITH THE ROMANTIC ADVENTURES OF A MILKMAID. London: Macmillan & Co., Ltd., 1913. Original decorated cloth, t.e.g. Photogravure frontis. Very slightly worn, but a near-fine copy in a full morocco solander case by Sangorski & Sutcliffe. From the collection of Frederick B. Adams, Jr., with his bookplate (designed by Rockwell Kent). First edition of Hardy’s last collection of stories, collected from the first appearances in periodicals. One of four presentation copies recorded by Purdy, with the author’s inscription on the front free endsheet: “Edmund Gosse from Thomas Hardy. October: 1913.” PURDY, pp. 151-6. $13,500. Inscribed to John Galsworthy 184. Hardy, Thomas: MOMENTS OF VISION AND MISCELLANEOUS VERSES. London: Macmillan and Co., 1917. Original decorated cloth, edges untrimmed. Some cracking along front inner hinge, spine gilding dull, cloth a bit finger smudged and lightly edgeworn, else a very good copy. In a (scuffed) half morocco slipcase. Later collector’s booklabel. First edition. A good association copy, inscribed by Hardy on the front free endsheet: “To John Galsworthy, with every good wish, from Thomas Hardy. Dec. 1917.” With Galsworthy’s bookplate. Purdy notes “Moments of Vision is a collection of 159 poems, the largest such collection Hardy ever published. Where it is possible to date the poems, they seem to be almost wholly the product of the years 1913-16, and only five (with varying dates 1871-98)

give any evidence of earlier work. Nine had already appeared in Selected Poems the year before. The recurring theme, excluding the war poems, is the theme of ‘Poems of 1912-13’, the death of Hardy’s wife and the recreation of their old romance, and the size of this collection and the brief interval of three years that had elapsed since Satires of Circumstances are witness to its hold on the poet. The personal character of the verse is further emphasized by the fact that, barring 14 ‘Poems of War and Patriotism,’ designed for widest circulation, only six poems in the volume had been published previously (save in Selected Poems). Very rarely if ever did Hardy permit periodical publication of poems of so intimate a nature .... Hardy inscribed his wife’s copy, ‘From Thomas Hardy, this first copy of the first edition, to the first of women Florence Hardy. Nov: 1917.’ Other copies (dated November) were inscribed to Edmund Gosse (‘these late notes of a worn-out lyre’) and Sydney Cockerell (with corrections on 11 pages in Hardy’s hand) and (dated December) to John Galsworthy.” PURDY, pp.193-208. REILLY (WWI), p.159. $12,500. 185. Hardy, Thomas: THE OXEN (A LEGEND OF CHRISTMAS EVE). SONG. WORDS BY ... MUSIC BY GRAHAM PEEL [caption title]. London: Chappel & Co., Ltd., nd, but [ca. 1920]. Quarto. Printed self wrappers. Folded, loose sheets, as issued. A bit rumpled and lightly soiled, but a good copy. First edition of the original sheet music for the setting of this Hardy poem. A presentation copy, inscribed on the front wrapper: “To Ethel, / from / Th: Hardy. / Jan: 1920.” The recipient, Ethel Richardson, was Florence Hardy’s elder sister. Michael Millgate, in Thomas Hardy A Biography (p. 545), notes that Mrs. Richardson stayed at Max Gate in September 1922 “while Florence went up to Enfield to see her parents. Mrs. Richardson played to Hardy on the piano -- everything from cathedral chants to modern dance tunes....” $1500. 186. Harris, Frank: ELDER CONKLIN AND OTHER STORIES. New York: Macmillan, 1894. Gilt olive-brown cloth. Spine extremities a little worn; a trifle shaken, else a good copy. First (U.S.) edition of the author’s first book, inscribed by him on the front free endsheet: “To the Rev. H.B. Satcher from the author, Frank Harris Oct. 1918.” With the book label of Herbert Boyce Satcher mounted to the front pastedown. Tipped in is a t.l.s. (one page, on the printed letterhead of Pearson’s Magazine, 34 Union Square, New York, 15 October 1918) from the author to Satcher, thanking him for his payment, recommending his book, Unpath’d Waters (“It is my best book of short stories and has three studies of Jesus in it”), and presenting this volume: “I am going to send you too my earliest book of short stories written thirty years ago -- Elder Conklin. There are one or two stories in it I think may interest you.” The original envelope is affixed to the front pastedown. Letter slightly worn, but in good condition. WRIGHT III:2484. NCBEL IV:1054. $250. 187. Harshberger, Mac: [Original Pen and Ink Illustration of:] CLEOPATRA. [New York. No later than 1928]. Original pen and ink drawing, on artboard. 43.6 x 34.6 cm, plus margins. Signed in the image. Margins a bit dustsoiled, with pencil production notations, tips of board chipped or bumped, some minor isolated soling in the white portions of the image, but image in generally very good state. A finished, and characteristically stylized pen and ink illustration by Harshberger (1900 – 1975), the Washington-born illustrator, painter and bookplate artist, prepared as an illustration to accompany the song “Cleopatra” by Holland Robinson, as published in their collaborative production, Loose Lyrics of Lovely Ladies, published in New York in 1928, shortly after Harshberger and Holland returned from Paris, where the artist trained under Maurice Denis and partook of the influence of European Modernism and Art Deco. Harshberger was the subject of a one-man show at the Fine Arts Museum of San Francisco at the Palace of the Legion of Honor and at the Honolulu Academy of Art, and his work is in the permanent collections of those institutions and of the Wolfsonian Museum in Miami. $950.

Item 187 188. Harte, Bret [editor]: THE OVERLAND MONTHLY DEVOTED TO THE DEVELOPMENT OF THE COUNTRY. San Francisco: A. Roman & Company [and beginning with volume IV:] John H. Carmany and Company, July 1868 – June 1871. Six volumes. Large octavo. Contemporary three quarter black morocco and plum cloth over boards. Bookplate in each volume, a few isolated patches of rubbing to spine extremities and raised bands, foretips rubbed, a bit of rubbing and occasional spotting to the cloth side panels, otherwise a very good set. The first six volumes (36 issues), in the publisher ’s bound format with general title and index to each volume, of the first series of the most significant western periodical publishing original literary works of its generation. The Overland Monthly was initially conceived and published by San Francisco bookseller and publisher, Anton Roman, who selected Bret Harte as editor. Harte served from its inception through his departure from San Francisco in 1871. He contributed nearly thirty poems and stories to these numbers -- including “The Luck of Roaring Camp” and “The Heathen Chinee” – as well as regular editorial content. Prominent among the other contributors he attracted to its pages are Samuel Clemens, J. Ross Browne, Ina Coolbrith, Henry George, C.W. Stoddard, Prentice Mulford, Joaquin Miller, and others. Ambrose Bierce, under the pseudonym “Ursus,” makes a somewhat early appearance, contributing the five articles making up the “Grizzly Papers” to the last volume present here. The original series of The Overland Monthly, somewhat diminished after Harte’s departure, terminated at the end of 1875, and after a hiatus during which The Californian picked up the slack, a new series commenced in January 1883, concluding with a 52nd volume in 1908. CHIELENS (18th & 19th Centuries), pp. 308-13. $1000. 189. Harte, Bret: THE HERITAGE OF DEDLOW MARSH AND OTHER TALES. London: Macmillan and Co., 1889. Two volumes. Medium blue cloth, spines lettered in gilt, boards

ruled in pale green. Corners a bit bumped, cloth a bit rubbed and darkened, usual tan offsetting to endsheets, but a good-very good set. First British, and first two-volume edition, following the substantially less appealing and much more common U.S. edition by about a month. BAL 7514. SADLEIR 1150. $400. 190. Harte, Bret: UNDER THE REDWOODS. Boston and New York: Houghton Mifflin, 1901. Red cloth, lettered in gilt and black. Extremities very slightly bumped, otherwise a very good copy, with the bookplates of Alain de Suzannet and of Paul Hyde Bonner. First American edition, BAL’s printing 2, spine imprint A. The UK edition may have been issued simultaneously. With Harte’s presentation inscription on the front free endsheet: “Madame Van de Velde from her friend Bret Harte The Red House, Camberley.” “Monsieur and Madame Van de Velde, to whom Bret Harte so often refers in his letters, were his closest and most devoted friends. He met them during the time he was in Glasgow, and had known them for over five years when he came to stay with them in London ... Both understood the need that Bret Harte had for friendship and congenial surroundings, and their home, as long as Monsieur Van de Velde was alive, was the refuge to which he [Harte] always turned when in need of comprehension. After his departure from Glasgow, he came to London, and for some time was an inmate of their house.” See The Letters of Bret Harte (edited by Geoffrey Bret Harte, 1926, pp.289-90) BAL 7396. SMITH H-330. $750. 191. Hartmann, Sadakichi: SHAKESPEARE IN ART. Boston: L.C. Page & Company, 1901. Original pictorial cream cloth, decorated in gilt and blue, t.e.g., others untrimmed. Frontis and plates. Binding rather handsoiled and darkened, crown and toe of spine a bit frayed; just a sound copy. First edition. From the collection of Herbert Boyce Satcher, with his book label and ownership signature. Mounted to the front pastedown is an envelope containing an a.l.s. from Hartmann, one full page, 4to, n.p., 25 January [19]29, to Mr. Freystadt, in response to an offer of assistance: “... The only thing that would really help me would be working towards my being subsidized -- if you have journalistic connections to make a plea in that direction -- if you have influential friends do talk to them about it -- In any other country ... it would have happened long ago -- but I am living in a very material land where idealism of any kind is at a low ebb -- however I do not complain, the world is the loser, not I ....” $125.

Item 192

192. Hartwell, Kenneth: UNTITLED ORIGINAL LITHOGRAPH [BURLESQUE CLOWNS]. [Np]. 1931. Original lithograph, printed against tinted background and colored. 44.5 x 32.5 cm plus full margins. Small chip from extreme lower left margin, otherwise about fine. Matted. One of an unspecified edition, dated and signed in the stone, and signed and dated in pencil in the lower margin. George Kenneth Hartwell (1891-1949) was born in Fitchberg, Mass, and studied at the Art Students’ League in New York City under Kenneth Hayes Miller, Edward Hopper and George Bellows. His work was exhibited at the Art Institute of Chicago (1923), the Society of Independent Artists (1923), the Library of Congress (1944-46), the Laguna Beach Art Association (1945 and 1946) and the Carnegie Institute (1945), Hartwell worked as an illustrator for Century, Scribner’s and Theatre Arts. He is particularly known for his Depression-era depictions of the worlds of carnivals, sideshows and burlesque houses, of which this image is a fine example. He executed this lithograph in at least four variations, monochrome, tinted and with at least two forms of coloring, as here. $750. 193. Hawthorne, Julian: LOVE – OR A NAME A STORY. Boston: Ticknor and Company, 1885. Decorated plum cloth, stamped in gilt and black. First edition. A few minor flecks to cloth sizing, minuscule nick at crown of spine, otherwise a fine copy, and scarce thus. A tale of New York politics. WRIGHT III:2593. $250. 194. [Hemingway, Ernest]: Three Original Stills from THE SPANISH EARTH. [Np]: Prometheus Pictures, [1937]. Three 8 x 10 b&w glossy stills. Images a bit oxidized, a couple small nicks at corners, otherwise very good. Three original publicity stills from the 1937 documentary about the Spanish Civil War, directed by Joris Ivens, and with narration written by John Dos Passos and Ernest Hemingway. The studio credit line appears on only one of the images, and notes “Narrative by Ernest Hemingway.” The stills were obviously enlarged from 16mm film stock exposed under difficult circumstances (bombardment by the Franco Fascists), and hence betray the technical shortcomings of such source material. Given the specialized and limited original distribution of the documentary, any form of publicity material associated with its first release is uncommon. $300. 195. [Hemingway, Ernest]: Fourteen Original Stills from THE SUN ALSO RISES. [Np]: 20th Century-Fox, 1957. Fourteen 8 x 10 b&w glossy stills, with studio credit lines. Five of the stills have significant corner creases (one starting to separate), one still has some surface spotting, the remainder are very good. Fourteen original 8x10 stills from the 1957 adaptation of Hemingway novel, based on a screenplay by Peter Viertel, directed by Henry King, and produced by Darryl F. Zanuck. The cast included Tyrone Power, Ava Gardner, Errol Flynn, Mel Ferrer, et al. $125. 196. [Herberstein, Sigismund von]: Adelung, Friedrich: SIEGMUND FREIHERR VON HERBERSTEIN. MIT BESONDERER RUECKSICHT AUF SEINE REISEN IN RUSSLAND. St. Petersburg: N. Gretsch, 1818. xxx,513,[1]pp. plus plate and folding map. Octavo. Full 19th century crimson roan, a.e.g., spine ruled in gilt. Engraved frontis portrait and one colored portrait. Spine and extremities worn, upper joint cracked, but internally a near fine copy, with the stamp of the Tsarkoe Selo library, and later small book labels of three distinguished collectors. First edition. The primary substantial biographical account of Herberstein (1486 – 1566), a Carniolan diplomat and historian who served two appointments as Austrian Ambassador to Russia. His major work, Rerum Moscoviticarm Commentarii (1549), was one of the earliest authentic sources for Western European readers about Russia. $950.

197. Herbert, George: HERBERT’S REMAINS. OR, SUNDRY PIECES OF THAT SWEET SINGER OF THE TEMPLE ... SOMETIME ORATOR OF THE UNIVERSITY OF CAMBRIDG [sic]. London: Printed for Timothy Garthwait ..., 1652. [72],1-168,[2],1-70,171-194pp. 12mo. Early 20th century speckled calf, somewhat to contemporary style, but nonetheless amateurish. Top edge trimmed a bit close, touching a few headlines, some darkening to general title and terminal leaf, and to edges; just a good copy. First edition. The extensive life has been attributed to Barnabas Olbey, who is also credited with having edited the text. The Jacula Prudentum has its own title-leaf and imprint, and is signed and paginated independently. It features an enlarged selection of the proverbs beyond those in the edition of 1640, though their attribution to Herbert has been questioned. PFORZHEIMER 464. WITHER TO PRIOR 439. ESTC R202053. ALLISON 6. WING H1512. sold 198. Hertz, Heinrich R.: “Ueber sehr schnelle electrische Schwingungen” [with:] “Nachtrag zu der Abhandling über sehr schnelle electrische Schwingungen” [with:] “Ueber einen Einfluss des ultravioletten Lichtes auf die electrische Entladung” contained in ANNALEN DER PHYSIK UND CHEMIE ... NEUE FOLGE. BAND XXXI .... Leipizg: Johann Ambrosius Barth, 1887. viii,1048pp. plus seven folding plates. Large octavo. Early 20th century fine grain brown cloth, spine stamped in gilt. Tan offsetting to free endsheets, slight cracking at top of front inner hinge and at gutter after half-title, small collector’s book label, otherwise a bright copy, very near fine. The first appearance of Hertz’s first paper on electromagnetic waves, along with the second journal publication of the second, wherein he details his methods and proof of the passage of electrical waves through space, along with his paper on ultraviolet light wherein he demonstrated that UV light is alone responsible for the photoelectric effect. His contributions appear on pp. 421-8; 543-544; and 983–1000, in company with important papers by Planck, Röntgen, Bunsen, and others. Hertz’s papers on electromagnetic waves were collected and published in book form by Barth in 1892, and his “discovery of the properties of reflection, refraction and polarization in electricity, with this wave theory of electrical motion, laid the foundation of radiotelegraphy and radiotelephony” – Milestones of Science, p. 47. PRINTING & THE MIND OF MAN 377 (n). Dibner, HERALDS OF SCIENCE 71. Sparrow, MILESTONES OF SCIENCE 101n. NORMAN 1060. NORMAN SALE 1123. $1750. 199. Hichens, Robert: FLAMES. Chicago & New York: Herbert S. Stone & Company, 1897. Decorated cloth and pictorial boards, t.e.g., others untrimmed. Minor rubbing to lower fore-tips, otherwise a fine copy. First U.S. edition. The first of three novels by Hichens published by Stone, and the first Stone publication with the joint Chicago & New York imprint. KRAMER 123. $125. 200. Hichens, Robert: THE LONDONERS. Chicago & New York: Herbert S. Stone & Company, 1898. Pictorial slate cloth, stamped in white, red and yellow, t.e.g., others untrimmed. Small booklabel residue mark in corner of front pastedown, otherwise very near fine. First U.S. edition, published within days of the UK edition. The binding design is by Claude Bragdon. KRAMER 146. $100. 201. Higgins, F.R.: SALT AIR...DECORATIONS BY W. VICTOR BROWN [wrapper title]. Dublin: Irish Bookshop Ltd., 1923. Quarto. Printed self-wrappers, with handcolored illustration on upper wrapper and smaller, uncolored cut on lower wrapper. Faint old creasing, light soiling to lower portion of upper wrapper, but a very good copy of an inexplicably uncommon book.

First edition. One of five hundred copies. A very early, if not the first, separate publication by Yeats’s protégé, and later editor of the Cuala Press. Six poems are printed, including the title poem of his first clothbound collection, “Island Blood.” NCBEL IV:290 $450. 202. Hinton, C[harles] H.: STELLA AND AN UNFINISHED COMMUNICATION STUDIES OF THE UNSEEN. London & New York: Swan Sonnenschein, & Co. / Macmillan, 1895. [6],177,[1]pp. Small octavo. Forest green cloth, spine stamped in gilt, sides ruled in blind. Neat collector’s bookplate on front pastedown, light rubbing to tips, otherwise a very good, bright copy, near fine and largely unopened. First edition. Two influential scientific romances by the British mathematician, the first involving the achievement of human invisibility by chemical means, the second dealing with space/time issues and the fourth dimension. Later critics have noted the potential influence Hinton may have had on others of greater renown, including Wells. BLEILER (SF EARLY YEARS) 1098. $350. 203. Hockney, David: HOCKNEY’S ALPHABET DRAWINGS BY...WRITTEN CONTRIBUTIONS EDITED BY STEPHEN SPENDER. [London]: Faber and Faber for the Aids Crisis Trust, [1991]. Small folio. Cloth. Illustrations in color. Fine in slipcase. First edition, “special” issue. One of an unspecified number of specially printed copies signed by Hockney and Spender. A number of significant poets and prose-writers served as contributors to the text accompanying Hockney’s renderings of the letters of the alphabet for this fund-raising effort, including Patrick Leigh-Fermor, Seamus Heaney, Julian Barnes, Iris Murdoch, Gore Vidal, Norman Mailer, Martin Amis, Ian McEwan, Douglas Adams, Doris Lessing, Kazuo Ishiguro, Ted Hughes, William Boyd, Arthur Miller, Craig Raine, John Updike, Anthony Burgess, Paul Theroux et al. $500. 204. Hockney, David: HOCKNEY’S ALPHABET DRAWINGS BY...WRITTEN CONTRIBUTIONS EDITED BY STEPHEN SPENDER. [London]: Faber and Faber for the Aids Crisis Trust, [1991]. Small folio. Quarter gilt vellum and Fabriano over boards. Illustrations in color. Fine in matching slipcase with pictorial label. First edition, deluxe signed issue. One of two hundred and fifty numbered copies (of three hundred), specially printed and bound, and signed by Hockney, Spender, and many of the contributors. A number of significant poets and prose-writers served as contributors to the text accompanying Hockney’s renderings of the letters of the alphabet for this fund-raising effort, including Patrick Leigh-Fermor, Seamus Heaney, Julian Barnes, Iris Murdoch, Gore Vidal, Norman Mailer, Martin Amis, Ian McEwan, Douglas Adams, Doris Lessing, Kazuo Ishiguro, Ted Hughes, William Boyd, Arthur Miller, Craig Raine, John Updike, Anthony Burgess, Paul Theroux et al. Among those contributors signing this copy are Heaney, Oates, A. Miller, Murdoch, Theroux, Mailer, Sontag, Updike, Lessing, Barnes, Pritchett, Golding, et al. $3000. Good Association Set 205. Holmes, Oliver W.: ELSIE VENNER: A ROMANCE OF DESTINY. Boston: Ticknor and Fields, 1861. Two volumes. Original blindstamped cloth. Cloth slightly rubbed and sunned, with a few faint spots, short creased snag in fore-edges of half-title and ad leaf, otherwise a very good set. Half morocco slipcase. First edition, BAL’s postulated first printing. Presentation copy, inscribed by the author to his sister-in-law on a prelim of the first volume: “Lucy C. Morse with the affectionate regards of O.W. Holmes.” With, in the second volume, the pencil signature, “John T Morse -- Boston --” [on the flyleaf] and the pencil annotation in his hand [on the title-page]: “Lucy C Morse from O.W.H. --”. The recipient of this copy was Lucy Cabot Jackson Morse whose son, John Torrey Morse (1840-1937), became Holmes’ biographer. BAL 8801. WRIGHT II:1249. $2500.

206. Holmes, Oliver Wendell: URANIA: A RHYMED LESSON ... PRONOUNCED BEFORE THE MERCANTILE LIBRARY ASSOCIATION, OCTOBER 14, 1846. Boston: William D. Ticknor & Co., 1846. 31,[1]pp. Large octavo. Original pale blue printed wrappers, sewn. Wrappers lightly sunned and smudged, light use at edges, tiny chips at crown and toe of spine, otherwise a very good copy. Bookplate of Byron Price. Linen wrappers and cloth covered slipcase. First edition. A presentation copy, inscribed by Holmes in the upper corner of the upper wrapper: “Theophilus Parsons Esq With the Author’s Respects.” Currier and Tilton report the first printing consisted of 1500 copies, a significant portion of which were bound up as the “Second edition.” The recipient, Theophilus Parsons, Jr. (1797-1882), served as Professor of Law at Harvard from 1848 to 1870. In addition to his legal publications, he wrote in support of Swedenborgian doctrines. Currier & Tilton, p.38. BAL 8745. $1500. 207. Holmes, Oliver Wendell: CURRENTS AND COUNTER-CURRENTS IN MEDICAL SCIENCE. WITH OTHER ADDRESSES AND ESSAYS. Boston: Ticknor and Fields, 1861. Dark gray-green cloth, decorated in blind (BAL’s binding variant A, but with pale peach/yellow – colored endsheets rather than brown). Endsheets with a few scattered dust marks, short, closed crack in front pastedown, a few pencil annotations, otherwise a very good copy. First edition. A significant presentation copy, inscribed on the front free endsheet: “Rev. Charles Beecher With the kind regards of O.W.Holmes.” While the majority of the constituent pieces had earlier publication, chiefly as pamphlets, three appear here for the first time in book form. This copy includes an undated terminal ad leaf. BAL 8803. $2000.

208. Holmes, Oliver Wendell: THE IRON GATE, AND OTHER POEMS. Boston: Houghton, Mifflin and Co., 1880. Gilt medium brown cloth, t.e.g. Portrait. Decorated endsheets a bit foxed, otherwise a very good, or better, bright copy. First edition, first impression (2048 copies printed). Inscribed by the author on the front free endsheet: “Austin Dobson With the kind regards of Oliver Wendell Holmes.” Dobson’s bookplate appears on the front pastedown. The same year, Dobson’s Vignettes in Rhyme was published in the U.S., bearing Dobson’s dedication to Holmes. An excellent association copy. BAL 8949. CURRIER & TILTON, pp.177-8. $1500.

The Dedication Copy 209. Hornung, E[rnest].W[illiam].: DENIS DENT. London: Isbister & Co., 1903. Original pictorial blue cloth, stamped in black and yellow. Spine dull and extremities quite worn and frayed, endsheets foxed, bookplate and modern ownership signature on front pastedown, foxing to edges; just a sound copy. First edition. The dedication copy, inscribed by the author on the front free endsheet: “P.M. Martineau, Esq. from E.W. Hornung. 1903.” In the printed dedication, Hornung writes of Martineau: “The little picture of the past attempted in this tale owes more than one touch to your kindness. I only wish that the whole were nearer the mark aimed at, and so worthier to bear you name upon this page.” Mounted to the rear pastedown is an ALS (3pp, 8vo, 9, Pitt Street, Kensington, 17 November 1903) from the author to Martineau, presenting this volume: “This is the book in which I have ventured to inscribe your name a coram populo. I hope you will forgive the liberty. I could have said much more, had I not known it would be distasteful. But at least I may say here ... that Littleworth was the first place in England that my writings were read (as I believe) for their own sake & that there is still no good opinion that I am prouder to earn than any of the Littleworth opinions. I can say honestly that I have never had such encouragement anywhere -- & that I shall never cease to appreciate it ....” Philip Meadows Martineau (d. 1911), a partner in the sugar refinery, David Martineau & Son, was the President of the Esher Cricket Club in Surrey from 1873 until 1910, after the death of his son, Lionel, the Club’s first President. A novel about mining and military adventures by the author best known as the creator of Raffles, reflecting his two years of experiences in Australia $1500. 210. Houplain, Jacques [illustrator]: AMANTE DES FONTAINES. By Paul Leclère. Paris: [Chez l’auteur], 1954. Small octavo. Loose signatures laid into pictorial wrappers. Fine, in lightly worn birch paper board and cloth chemise and slipcase. First edition. Illustrated with nine original engravings by Jacques Houplain. From a total edition of 101 copies (including ten copies hors commerce), this is one of only twelve deluxe copies printed on Japon Nacre, with an additional suite of the engravings on China paper (before letters, and including an additional three planches refusées), and a second suite of the engravings in their final state printed on Japon ancien, one of the original copperplates, one of the original drawings preliminary to the same etching as the copperplate, and a manuscript poem by the author. Houplain is best known for his masterful illustrations for Lautréamont’s Maldoror (1947), but his delightfully sensual engravings in this work result in a polished gem of an entirely different nature, particularly in this enhanced deluxe issue. Houplain’s work as illustrator comes in for frequent praise by Strachan. MONOD 6997. $2500. 211. Hudson, W. H.: EL OMBÚ. London: Duckworth, 1902. Green cloth, printed in black. Endsheets tanned, as usual, spine a trace darkened, otherwise an unusually nice copy. First edition, clothbound issue. One of 1960 copies thus, supplementing 1250 copies bound in wrappers. Published in Duckworth’s Greenback Library. PAYNE A21b. $125. 212. Hudson, W. H.: GREEN MANSIONS: A ROMANCE OF THE TROPICAL FOREST. London: Duckworth, 1904. Gilt forest green cloth. Binding somewhat rubbed, with several small flecks of spotting and finger smudging, otherwise a good, sound copy. First edition, second impression. Warmly inscribed by Hudson on the free endsheet, in Spanish, to one Abel Pardo, and reinscribed by the recipient as a gift on 8 April 1909. The 1959 film adaptation, which does not serve the source novel well, was directed by Mel Ferrer, and starred Audrey Hepburn, Anthony Hopkins, Sessue Hayakawa, et al. PAYNE A23a(ref). SADLEIR 1233. $650.

Association Copy “One of the Most Horrible Ideal Cultures Ever Imagined” 213. Hudson, W.H.: A CRYSTAL AGE. London: T. Fisher Unwin, 1906. Elaborately decorated pictorial cloth, t.e.g. Slight foxing early and late, cloth a bit rubbed, but otherwise a very good copy. Second edition, significantly revised, with a new preface, and bearing Hudson’s name for the first time. The first edition appeared anonymously in 1887. An important presentation copy, inscribed by the author in the month of publication: “John Galsworthy from W.H. Oct. 3. 1906.” Hudson “never became a popular author and never had a best seller until John Galsworthy introduced him to the American public in Alfred A. Knopf’s edition of Green Mansions in 1916” – Payne. “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 A2b. BLEILER, SCIENCE FICTION THE EARLY YEARS, pp.376-7. $1000. 214. Hudson, W. H.: GREEN MANSIONS: A ROMANCE OF THE TROPICAL FOREST. London: Duckworth & Co., [1911]. Gilt medium blue green cloth. Edges of two consecutive gatherings tanned due to text stock quality, otherwise a very good copy in like dust jacket with shallow chips at crown and toe of spine panel. Second impression in the “Reader’s Library” format. Inscribed by Hudson on the free endsheet: “To Saturiano Restrepo from W.H. Hudson.” An early pencil note suggests that the recipient was one of Hudson’s Spanish translators; however, none of the translations listed by Payne are ascribed to the recipient. PAYNE A23d. $500. 215. Hudson, W. H.: MEN, BOOKS AND BIRDS ... WITH NOTES, SOME LETTERS, AND AN INTRODUCTION BY MORLEY ROBERTS. London: Eveleigh Nash & Grayson, [1925]. Large octavo. Medium green cloth, stamped in gilt. First edition, first issue. Trace of foxing to fore-edge, else fine and bright, in a very good, modestly dust-soiled example of the dust jacket. PAYNE A50a. $125. 216. Hudson, W. H.: FAR AWAY AND LONG AGO A HISTORY OF MY EARLY LIFE. London, Toronto & New York: Dent / Dutton 1931. Quarto. Full parchment vellum over boards, gilt label. Illustrated with wood-engravings by Eric Fitch Daglish. Boards a bit bowed, with some natural mottling to the parchment, otherwise a very good copy. First revised, and first illustrated edition of Hudson’s autobiography, his most widely read work apart from Green Mansions. Introduction by R.B. Cunninghame Graham. This is the limited issue, being copy #106 of 110 numbered copies printed on handmade paper and specially bound, with an original wood-engraving, signed by the artist in the margin, laid in. PAYNE A34e. $400. Association Copy 217. Hudson, W. H., and Keith Henderson [illus]: THE PURPLE LAND: BEING THE NARRATIVE OF ONE RICHARD LAMB’S ADVENTURES IN THE BANDA ORIENTÁL IN SOUTH AMERICA, AS TOLD BY HIMSELF. London: Duckworth, 1929. Large octavo. Cloth and decorated boards. Frontis, plates and illustrations. Spine sunned, as often, otherwise a very good copy in near fine (obviously supplied) dust jacket. First illustrated edition, British issue, of the author’s first book. The edition consisted of 3000 copies, which may or may not have included those shipped to the U.S. for publication with a cancel title-leaf. Illustrated with fifty-two woodblocks by Keith Henderson. This copy is inscribed by Henderson on the front pastedown: “To Her from Him with all his love.” The

form of the inscription mirrors that by Henderson to his wife in her copy of the limited issue of his illustrated edition of Green Mansions. A duplicate or proof of the jacket illustration is pasted to the front free endsheet. PAYNE A1i. $375. 218. [Hughes, Langston]: ... MARTIN JONES TAKES PLEASURE IN PRESENTING THE DRAMA “MULATTO” AT THE AMBASSADOR THEATRE ... [caption title]. New York. [1936]. Small pictorial publicity card (14.5 x 9cm). Accompanied by a related item, as noted below. Both fine. A publicity card, printed on postcard stock, for Hughes’ play, then in its 9th month at the Ambassador Theatre. Attendee’s are requested to write a comment about the play on the verso, address it to a friend, and the theatre will then post the card for them. Accompanied by another card bearing a character portrait of Mercedes Gilbert, who assumed the role of Cora Lewis in the play on short notice after Rose McClendon fell ill and later died of pneumonia. The card bears the caption of the “Postal Telegraph Guide’s Autograph Club,” and specifically refers to the production. Uncommon ephemera. $65. 219. Hughes, Thomas: THE OLD CHURCH; WHAT SHALL WE DO WITH IT? London: Macmillan and Co., 1878. Medium brown fine grain cloth, ruled in black, lettered in gilt. Front inner hinge cracking slightly (but perfectly sound), spine a trace darkened, light rubbing at extremities, prelims lightly foxed, else a very good copy. Half morocco slipcase, with gilt morocco bookplate on the chemise. First edition. Inscribed by Hughes on the half-title: “Arabella Roberts with kindest regards from the author & his wife. Salisbury 1878.” A significant representation of Hughes’s liberal thought, in part assembled from his public addresses, published just two years prior to embarking on his American utopian scheme at Rugby. NCBEL III:934. PARRISH, p. 134. $450. 220. Hunt, Leigh: THE MONTHS DESCRIPTIVE OF THE SUCCESSIVE BEAUTIES OF THE YEAR. London: C. & J. Ollier, 1821. 136pp. Small octavo. Full blue crushed levant, by the French Binders, gilt inner dentelles, t.e.g., others rough trimmed. Occasional minor foxing or smudges, upper joint faintly rubbed, with bit of discoloration to upper board toward spine crown, bookplate, otherwise very good. First edition in separate form, expanded considerably from the texts first published in the annual Literary Pocket-Book. NCBEL III:1218. BREWER, p.106-8. $500. No One Ever Expects the Holy Inquisition 221. [Inquisition]: [Baron, Richard (ed)]: A FAITHFUL ACCOUNT OF MR. ARCHIBALD BOWER’S MOTIVES FOR LEAVING HIS OFFICE OF SECRETARY TO THE COURT OF INQUISITION; INCLUDING ALSO, A RELATION OF THE HORRID TREATMENT OF AN INNOCENT GENTLEMAN, WHO WAS DRIVEN MAD BY HIS SUFFERINGS, IN THIS BLOODY COURT; AND OF A NOBLEMAN WHO EXPIRED UNDER HIS TORTURES: TO BOTH WHICH INHUMAN AND SHOCKING SCENES THE AUTHOR WAS AN EYEWITNESS. WITH THE DIFFICULTIES HE MET WITH ESCAPING FROM THENCE. London: Printed for R. Griffiths, 1750. [4],16pp. Octavo (signed in 4s). Extracted from bound pamphlet volume. Decorative head and tail-pieces. Closed tear at upper gutter of half-title, externally dusty, with some faint marginal discolorations, but a good copy. One of at least four printings in 1750, this being the variant of the printing without Baron’s editor’s preface, with C 1-2 correctly signed, and press figure ‘1’ on p. 7 (3 copies reported by ESTC). Bower, a native of Dundee and a Jesuit, fled his post in Perugia for England in 1726 due to the events and tortures described in this pamphlet. The editor, Richard Baron, based the text on an account Bower supposedly provided to the Archbishop of Canterbury. Bower published his own narrative in 1757, in the midst of the various

controversies surrounding the “Six Letters” attributed to him. This text was reprinted through the following year, and in Belfast and Dublin. All printings are uncommon. ESTC T86846. $375. 222. Irving, Washington: KNICKERBOCKER’S HISTORY OF NEW YORK. New York & London: G.P. Putnam’s Sons, 1894. Two volumes. Royal octavo. Publisher’s faun calf, decorated in gilt, gilt labels, t.e.g. Plates, illustrations by E.W. Kemble. Pictorial margin embellishments. Two bookplates in each volume, modest rubbing and shelfwear at tips and shelf edges, offset from tissue guards to facing text-leaves, but a very good set. The “Peter Stuyvesant Edition,” limited to 281 numbered copies in this large-paper format, with the plates in proof state on Japan tissue. The numbering of each set corresponds to a year since the founding of New Amsterdam – this is set #1632. The deluxe issue of the configuration published in more modest format as the “Van Twiller Edition.” $550. 223. Irving, Washington: THE SKETCH-BOOK OF GEOFFREY CRAYON, ESQ. New York & London: G.P. Putnam’s Sons, 1895. Two volumes. Royal octavo. Publisher’s faun calf, decorated in gilt, gilt labels, t.e.g. Plates, pictorial margin embellishments. Two bookplates in each volume, light rubbing at tips and shelf edges, three small ink spots on one spine, offset from tissue guards to facing text-leaves, but a very good set. The “Westminster Edition,” limited to 175 numbered copies in this large-paper format, with the illustrations in proof state on Japan tissue. The illustrators include Arthur Rackham (four plates), Darley, Barraud, et al, as well as plates from photographs. The deluxe issue of the configuration published in more modest format as the “Van Tassel Edition.” $ 450. 224. Jacob, Max: LE LABORATOIRE CENTRAL POESIES. Paris: Au Sans Pareil, 1921. Blue-green printed wrappers. Usual slight tanning to text-block, 1933 ink note on upper wrapper referring to the poem on page 107 in an unknown hand, otherwise very good. First edition, ordinary issue, after 750 numbered copies on various fine papers. Inscribed by the author on the first blank: “à Paul Lombard Souvenir et cordialement Max Jacob.” $500. 225. [James, Henry]: Carter, Randolph [adap]: EUGENIA A PLAY IN THREE ACTS AND SIX SCENES...(BASED ON THE EUROPEANS BY HENRY JAMES). New York: The Author / John C. Wilson Prod., [1957]. A small archive relating to the short-lived Broadway production of this James adaptation, consisting of the following: a) Mimeographed typescript (pre-production), [4],38,[1],35,[1],25,[2] leaves. Printed on rectos only, in mimeographed Rialto Service Bureau binder, with John C. Wilson production label on upper wrapper. Closed tear to wrapper spine and small chip to label; very good. b) Carbon typescript, denoted on upper wrapper in manuscript: “Revised copy 1/30/57 New York Version.” [4],34,[1],28,[1],22 leaves clean carbon typescript, on rectos only, bradbound in mimeographed Rialto Service Bureau binder. c) A moderate file, ca. 75 pages, of documents (cost-estimates, etc), contracts and retained/received correspondence about the production, its financing, and its brief run in New York after opening in New Haven. The play starred Tallulah Bankhead as Eugenia, and had a total Broadway run of 12 performances at the Ambassador Theatre. Two copies of the program are also present, along with clipped reviews, and poignantly, a carbon of the producer’s memo to the company pulling the plug on the production. This adaptation appears to be unpublished; OCLC locates one copy of the script (draft unspecified), at NYPL. $850. 226. James, Henry: THE MADONNA OF THE FUTURE. San Francisco: The Arion Press, 1997. Large quarto. Cloth. Illustrated with an original photogravure by Jim Dine. Fine, with prospectus laid in.

First edition in this format. One of 125 copies for separate sale, from a total edition of 226 copies, signed by the artist. The first seventy-five copies of this edition, and the lettered copies, accompanied a portfolio of the Dine photogravures published at $3500. $750. 227. James, William (American psychologist & advocate of Pragmatism, 1842 – 1910): [CLIPPED AUTOGRAPH SIGNATURE]. Np. Nd. Original ink signature, “Wm. James,” clipped from canceled check. About fine, and suitable for framing. One of a small lot of such examples of the signature of the American psychologist/ philosopher, retained by James descendants until very recently. $300. 228. [Janus Press]: Johnson, Walter Ralph: NARCISSUS. [Newark, VT: The Janus Press, 1990]. Quarto. Stiff paper construct, consisting of seven leaves joined via a paper strip, with printed text and laser-printed illustrations. The whole enclosed in a specially constructed clamshell folder of pinewood and board, in cloth and board slipcase. First edition. One of 120 numbered copies, designed by Claire Van Vliet and assembled with Linda Wray, with the images printed at the Sarabande Press. With a manuscript limitation statement, signed by Van Vliet, on the construct, and a printed colophon within the folding case. $650. 229. Janvier, Thomas A.: IN GREAT WATERS FOUR STORIES. New York and London: Harper & Bros., 1901. Green cloth, decorated in gilt. Frontis and plates by Lucius Hitchcock. Spine a bit cocked, fore-corners bumped, a few spots to cloth, but a good, sound copy. First edition. A good association copy, inscribed by the author on the front free endsheet: “To: Robert Murray Gilchrist from his affectionate pseudo uncle Thomas A. Janvier January 1902.” Gilchrist (1868 – 1917) is, after a period of eclipse, now highly regarded for his fantasy and gothic short stories, particularly those collected in The Stone Dragon. BAL 10857. SMITH J-58. $375. 230. Jefferies, Richard: THE STORY OF MY HEART MY AUTOBIOGRAPHY. London: Longmans, Green and Co., 1883. Pale green cloth, stamped in black and gilt, edges untrimmed. First edition, primary binding. Trace of minor hand soiling to cloth, endsheets faintly faded at edges, otherwise a rather nice copy, very good or perhaps better. Half morocco slipcase (a bit sunned) and chemise. WOLFF 3625. SADLEIR 1315. $175. 231. Jeffers, Robinson: DESCENT TO THE DEAD POEMS WRITTEN IN IRELAND AND GREAT BRITAIN. New York: Random House, [1931]. Quarto. Quarter vellum and printed boards. Fine in very good slipcase with cracks at fore-corners. First edition. One of 500 numbered copies, signed by the author. As usual, the slipcase is too tight. $400. 232. Jeffers, Robinson: SOLSTICE AND OTHER POEMS. New York: Random House, 1935. Cloth. Fine in dust jacket with small nick at crown of spine. First edition, trade issue. Inscribed and signed by Jeffers on the front endsheet. $450. 233. Jeffers, Robinson [foreword to]: VISITS TO IRELAND TRAVEL DIARIES OF UNA JEFFERS. Los Angeles: Ward Ritchie Press, 1954. Small quarto. Cloth and marbled boards. First edition. Cuts by Paul Landacre. One of 300 copies designed by Ritchie. Light offset to boards from slipcase, else about fine, in somewhat battered slipcase. $225. 234. Jewett, Sarah Orne: BETTY LEICESTER A STORY FOR GIRLS. Boston and New York: Houghton Mifflin and Company, 1890. Gilt rose cloth, with pictorial white cloth side panels, t.e.g. Cloth somewhat faded and hand-soiled, morocco bookplate on pastedown

with shadow offset on opposite free endsheet, paper clip dent to fore-edge of prelims, but a good copy. Half morocco slipcase and chemise. First edition, first (or later?) printing, with final signature in 8s. BAL notes six printings between late 1889 and 1890, but was able to distinguish between only three of them. A presentation copy, inscribed by the author on the front free endsheet: “To Mrs Holland / With best Christmas wishes / from Sarah O. Jewett / 1889.” The inscription is somewhat affected by the shadow of the bookplate. BAL 10895. PETER PARLEY TO PENROD, P.93. $450. 235. Jewett, Sarah Orne: THE COUNTRY OF THE POINTED FIRS. Boston: Houghton Mifflin Co., 1897. Small octavo. Green cloth, decorated in gilt with three stylized mayflowers by Sarah Whitman. Spine faded, rubbed and a bit frayed at crown, a bit of foxing to endsheets, else a good, sound copy. An early but unidentified reprint following the first printing of 1896. A good presentation copy, inscribed by Jewett on the front free endsheet: “To E.L. Burlingame with best Christmas wishes from S.O. Jewett 1896.” The recipient, Edward Livermore Burlingame (1848-1922), was “one of the literary advisers of the publishing house of Charles Scribner’s Sons ... When Charles Scribner, the son of the founder of the house, formulated a plan for Scribner’s Magazine in 1886, Burlingame became the editor from the first number (January 1887) until his resignation in 1914” – DAB. After the October 1896 first printing of 2524 copies had been exhausted, the publisher had a second printing of 984 copies (also dated 1896) printed on 5 Dec. and bound by the 11th, obviously just in time for Christmas. The date of this inscription implies either a 3rd printing very shortly thereafter, or the release of some copies of the 2nd printing with title-leaves dated 1897. BAL 10910. WRIGHT III:2974. $350. 236. Johnson, James Weldon: SELF-DETERMINING HAITI. [New York: The Nation, ca. 1920]. 48pp. Printed self wrappers. Very slightly dusty, otherwise near fine. First separate printing of four articles reprinted from The Nation, based on Johnson’s fact-finding investigation for the NAACP of the U.S.’s “sandbagging of a friendly and inoffensive neighbor....” Uncommon. $450. 237. Johnson, James Weldon: THE RACE PROBLEM AND PEACE [caption title]. [Washington, DC: Women’s International League for Peace and Freedom, 1924]. 7,[1]pp. Octavo. Printed self wrappers. A couple small rust marks to rear wrapper, else fine. First separate printing of this address, given by Johnson at the VI International Summer School of the Women’s International League for Peace and Freedom. Uncommon. $450. Inscribed First Book 238. Johnson, Owen: ARROWS OF THE ALMIGHTY. New York: Macmillan Co., 1901. Pictorial grey cloth, elaborately decorated in gilt, green, white and black (signed ‘B.S.’), t.e.g. Spine and extremities darkened, a bit rubbed, extreme upper fore-corner of front free endsheet clipped, but a good, sound copy. First edition of the author’s first book, published during his senior year at Yale. A fine association copy, inscribed by the author upon publication: “To Richard Watson Gilder, with timidity and in awe from his kindergarten aspirant Owen Johnson April 11th 1901.” Johnson, who achieved fame as the author of the Lawrenceville School stories, was the son of Robert Underwood Johnson, who worked with Gilder on staff at the Century Monthly Magazine, and succeeded him as editor upon his death in 1909. SMITH J-109. $750. 239. Johnson, Owen: THE TENNESSEE SHAD CHRONICLING THE RISE AND FALL OF THE FIRM OF DOC MACNOODER AND THE TENNESSEE SHAD. New York: Baker

& Taylor Company, 1911. Pictorial red cloth, stamped in black and white. Frontis. Gilt morocco collector’s bookplate on front pastedown (offset to free endsheet), otherwise fine and bright, in a somewhat dust darkened pictorial white dust jacket with minuscule loss at the extreme crown of the spine and a few other small edge nicks and tears. Half morocco slipcase and chemise. First edition. Perhaps the best known of the sequence of Johnson’s Lawrenceville stories. Uncommon in dust jacket. PETER PARLEY TO PENROD, p. 129. $500. 240. Jolas, Eugene [ed]: [Prospectus for:] VERTICAL A YEARBOOK FOR A ROMANTICMYSTIC-REVOLUTION. Prairie City, IL: Black Faun Press, [prior to 1941]. [4]pp. leaflet (15.3 x 9 cm). Fine. A bibliographically curious prospectus, announcing the forthcoming publication by the Black Faun Press – an affiliate of the Press of James A. Decker – of the anthology eventually printed at the Walpole Printing Office and published under the imprint of the Gotham Book Mart in 1941 under a slightly variant title. The prospectus calls for both the limited and trade issues that were actually published, but any actual involvement of the Black Faun Press in the published book seems not to have come about, or to have fallen apart in the planning stages. $15. 241. Jolas, Eugene [ed]: VERTICAL A YEARBOOK FOR ROMANTIC-MYSTIC ASCENSIONS. New York: Gotham Bookmart Press, [1941]. Black cloth, stamped in gilt (after a design by Calder), printed spine label. Fine, without glassine wrapper. First edition, deluxe issue. One of one hundred copies specially printed and bound, signed by Jolas. Contributions by Boyle, Eberhart, Apollinaire, Claudel, Gustafson, Fargue, Jouve, Larsson, Masson, Bataille, Jolas, et al. $250. 242. Jouffroy, Alain: LE SEPTÌÈME CHANT LA MORT D’ISIDORE DUCASSE JEUDI 24 NOVEMBRE 1870 7 RUE DU FAUBOURG MONTMARTRE A 8 HEURES DU MATIN. Paris: Société Internationale d’Art e Siècle, [1974]. Small folio (38 x 28.5 cm). Folded, gathered sheets, laid into printed wrappers. Fine in cloth slipcase and chemise. First edition. Illustrated with four original full-page engravings by André Masson. From an edition of 235 copies (including 35 hors commerce) printed on vélin d’Arches, this is one of one hundred copies signed by the author and the artist. MONOD 6440. $1250. 243. Joyce, James: CHAMBER MUSIC. London: Elkin Mathews, 1918. Small octavo. Gray wrappers, printed in black. Tiny spot on front wrapper, front endsheet slightly dusty, a few minor nicks at overlap edges of wrappers, but a very good copy. Second edition of Joyce’s first collection of verse, issued in January 1918 in an unspecified edition. The first edition was published in 1907, and clothbound copies (the remaining copies of the first printing in its last binding state) are still offered in the terminal ads in this edition. From the library of poet/novelist James Stephens, with a couple marginal pencil highlights, but unfortunately no other markings establishing the provenance. SLOCUM & CAHOON A4. $450. 244. Junge, Carl S.: [Original Watercolor And Ink Cover Design for:] PRINTED SALESMANSHIP. [Chicago. nd. but before December 1929]. Quarto. 30.6 x 23 cm. Original watercolor and ink cover design, on sheet of heavy art paper. Some flaking to white ink used for some outlines, otherwise very good. An original watercolor and ink design for the December 1929 issue of Printed Salesmanship by the Chicago commercial artist and bookplate designer (1880 – 1972), executed in black, orange, green, white and the natural stock. With Junge’s studio stamp and some pencil

preliminary sketches on the verso. Printed Salesmanship was published by Dartnell in Chicago from 1925 until 1935, when it was folded into its sister publication, Printing Art Quarterly. $250. 245. Junge, Carl S.: [Original Watercolor And Ink Cover Design for:] AMERICAN PRINTER. [Chicago. nd. but ca. 1940s]. Quarto. 29.5 x 21.8 cm. Original watercolor and ink cover design, on sheet of heavy orange art paper. Light use and creasing at one corner, otherwise very good. An original watercolor, ink and pencil design for Volume 118, No.2 of American Printer by the Chicago commercial artist and bookplate designer (1880 – 1972), executed in black, blue and the orange stock via reverse stencil. With Junge’s studio stamp on verso. $250.

246. Junge, Carl S.: [Original Watercolor And Ink Cover Design for:] THE INLAND PRINTER. [Chicago. nd. but before June 1943]. Quarto. 30.5 x 23.5 cm. Original watercolor and ink cover design, on sheet of heavy art paper. Light use and creasing at a couple edges, one inset excised and reinserted with extra margin, else very good.

An original watercolor, ink and pencil design for June 1943 issue of The Inland Printer by the Chicago commercial artist and book plate designer (1880 – 1972), executed in black, orange and the natural stock via reverse stencil. Signed in ink on the verso by Junge, with his address and telephone number. The Inland Printer is justly famous for having inaugurated in 1883 the custom of featuring a different cover design for each issue. $275. 247. Kemp, Matthew Stanley: BOSS TOM THE ANNALS OF AN ANTHRACITE MINING VILLAGE. Akron, OH; New York & Chicago: The Saalfied Publishing Co., 1904. [4],412pp. Rose cloth, stamped in white, decorated in green and gilt. Frontis and three plates by A.B. Chute. Edges slightly foxed, white lettering partially flaked away (but still legible), a few small spots to cloth; still, a good, sound copy. First edition. An uncommon and interesting fictional treatment of life in the Pennsylvania coal fields, particularly that of immigrant miners, dedicated by the author to his father, a miner. OCLC locates only 9 copies of the printed book. SMITH K-105. HANNA 2003. $125. 248. Kenny, Maurice: WITH LOVE TO LESBIA A SHEAF OF POEMS [wrapper title]. [New York]: Aardvark Press, [1958]. 12mo. Stiff printed wrappers. A few leaves trimmed askew, otherwise a very good or better copy of this mimeographed chapbook. First edition. Introduction by Ed Corley. A relatively early and uncommon collection by the Mohawk poet/playwright/prose writer. $350. 249. Kent, Rockwell: A NORTHERN CHRISTMAS BEING THE STORY OF A PEACEFUL CHRISTMAS IN THE REMOTE AND PEACEFUL WILDERNESS OF AN ALASKAN ISLAND. New York: American Artists Group, [1941]. Decorated boards. Frontis and illustrations. Bookplate, minor rubbing at edges, otherwise near fine in lightly edgeworn dust jacket. First edition in this format, as the first of the American Artists Group gift books. Signed by Kent on the free endsheet. The text and illustrations were abstracted from Wilderness. $300.

250. Kernan, Michael: THE DOLL NAMED SILVIO. [New York]: Didymus Press, 2007. Small folio. Brocade over boards, paper label. Frontis and illustrations by Robert Andrew Parker. New, with a copy of the prospectus laid in.

First separate edition of this ghost-story, winner over Christmas 1974-5 of first place in a competition for the best original ghost story hosted by The Times of London. One of one hundred numbered copies printed by letterpress on Hannemuhle Biblio paper, with all of the full-page illustrations, one of the text illustrations, and the colophon illustration handcolored by the artist, and with the colophon signed by him. A charming production, at publication price. $500. 251. King, Edmund M.B.: VICTORIAN DECORATED TRADE BINDINGS 1830 – 1880 A DESCRIPTIVE BIBLIOGRAPHY. [London & New Castle]: British Library / Oak Knoll Books, [2003]. Quarto. Blue cloth, stamped in blind and lettered in gilt. 210 illustrations, including color plates. As new in acetate wrapper. First edition. “This ground-breaking study deals with the creative explosions of book cover designs in Victorian Britain from 1830 to 1880. Due to new technical developments many practitioners such as Owen Jones, Walter Crane and John Leighton broke new ground in artistic styling. Edmund King, Head of the Newspaper Archives at the British Library, describes and indexes over 750 books with great detail. Many covers are beautifully illustrated in full color or black-and-white. This volume is an essential reference work for students of Victorian art as well as 19th-century publishing and binding practices ...” – Publishers’ blurb. $98. 252. Kipling, Rudyard: THE OUTLAWS [caption title]. [Garden City: Doubleday, Page & Co., 1914]. Broadside, 27.2 x 18cm. Printed in black, on brown stock. Fine, in half morocco slipcase. First separate edition of this important war poem. One of fifty copies printed for U.S. copyright purposes. The poem appeared in the UK in the anthology, King Albert’s Book. RICHARDS A273. STEWART 451. LIVINGSTON 385. REILLY (WWI), p.189. $450. 253. Kipling, Rudyard: THE FRINGES OF THE FLEET. Garden City: Doubleday, Page & Co., 1915. Six volumes. Cream wrappers, printed in green. A fine set, enclosed in a lightly rubbed half brown niger morocco slipcase and chemise. A complete set of the U.S. copyright printings of the installments in this series, including: a) I. The Auxiliary Fleet; b) II. The Auxiliary Fleet; c) III. Submarines; d) IV. Submarines; and e) VI. Patrols. Each pamphlet was printed in an edition of seventy-five copies, preceding by one day the appearances of the articles in the press, and constitute the first appearances in book form (or otherwise). RICHARDS A282. STEWART 394a-e. $550. 254. Kipling, Rudyard: DESTROYERS AT JUTLAND [Parts I through IV]. Garden City: Doubleday, Page & Co., 1916. Four volumes. Cream wrappers, printed in green. Upper wrapper of first volume shows slight tan offsetting, otherwise a very good set. First editions, each one of seventy copies printed for copyright purposes. These articles appeared in both The Daily Telegraph and The New York Times in October, and the first, third and fourth also include a poem. These copyright printings precede the collection of the texts in Sea Warfare. RICHARDS A287. STEWART 402a-d. $500. 255. Kipling, Rudyard: THE NEUTRAL. Garden City: Doubleday, Page & Co., 1916. Cream wrappers, printed in green. Near fine. Cloth slipcase and chemise. First U.S. printing of this war poem. One of one hundred copies printed for copyright purposes. According to Richards, after the U.S. entered the war, Kipling retitled this poem “The Question,” and Doubleday printed a handful of copyright copies bearing the new title, still dated 1916. RICHARDS A288. STEWART 403. $250.

256. Kipling, Rudyard: “THE HOLY WAR.” Garden City: Doubleday, 1917. Cream wrappers, printed in green. A bit dusty, but about fine. First (American) edition, printed for copyright purposes, and preceding the British pamphlet printing. RICHARDS A300. STEWART 429. $200. 257. Kipling, Rudyard: MESOPOTAMIA. Garden City: Doubleday, 1917. Cream wrappers, printed in green. A fine copy. First U.S. edition of this war poem, one of 114 copies printed for copyright purposes. RICHARDS A298. STEWART 455. REILLY (WWI), p.189. $225. 258. Kipling, Rudyard [trans]: THE GREEK NATIONAL ANTHEM RENDERED INTO ENGLISH. Garden City: Doubleday, 1918. Cream wrappers, printed in green. A few small spots to wrappers (likely inherent in the paper stock), else a very nice copy. First separate edition in book form, one of seventy-five copies printed for U.S. copyright purposes. RICHARDS A310. STEWART 475. $200. 259. Kirkup, James: TOKONOMA TWENTY HAIKUS AND TANKA...WITH WOODCUTS BY NAOKO MATSUBARA. [Hinton Charterhouse, Bath]: The Old School Press, 1999 Twenty-five leaves, plus errata slip. Quarto. Laid into publisher’s cloth display case with folding stand and Plexi lid. Slipcased. One corner of slipcase bumped else about fine. First edition. One of twenty lettered collaborator’s copies, in addition to eighty-five numbered copies, signed by the author, the artist, and the printers, Alan Flint and Martyn Ould. The twenty original multi-color woodcuts by Naoko Matsubara are printed one per sheet, each accompanied by a haiku by Kirkup, and the whole designed so that any single sheet may be set up for display. Offered at the publisher’s price for numbered copies current at time of cataloguing: $900. 260. [Laguna Verde Imprenta]: [Dreyfus, John]: SAUL MARKS AND HIS PLANTIN PRESS. [Laguna Beach: Laguna Verde Imprenta for Jacob Zeitlin, 1975]. Octavo. Cockerell paper wrappers, printed label. Bookplate, else about fine in half morocco slipcase and chemise. First printing in this format. One of ca. fifty copies printed by hand by Ward Ritchie on handmade paper as the first venture under his new imprint. Title wood-engraving by Eric Gill. $350. 261. Laine, Henry Allen: FOOT PRINTS. Richmond, KY: Daily Register Press, [1924]. 80pp. Small octavo. Gilt dark blue cloth. Tipped-in portrait of the author. Extremities rubbed and tips a little frayed, private ownership stamp on front free endsheet and rear pastedown, and once in text, otherwise a good, sound copy. Second edition, enlarged, of the author’s collected verse (and a few prose pieces), following an edition under the Richmond imprint of “Cut Rate Printing,” dated 1914. Two of the prose pieces at the end are dated subsequent to 1914. Laine (1870-1955) was founder and first president of the Madison Colored Teachers Association (1910), and was the first African American appointed as a country extension agent in Kentucky. This collection was reprinted in 1947, and again in 1988. OCLC/Worldcat locates 7 copies each of the first and second editions. FRENCH, et al, p.121. $225. 262. Larronde, Olivier: RIEN VOILA L’ORDRE. [Décines]: Marc Barbezat / L’Arbalète, [1961]. Printed wrappers. Crown of spine very slightly frayed, otherwise near fine, largely unopened, in slightly marked glassine wrapper. First ordinary edition of the poet’s second collection, preceded by the illustrated limited

edition of 1959. This is an unnumbered copy, designated hors commerce. With the author’s rather sprawling pencil presentation inscription to French diplomat/author Gaston Bergery. Larronde, a literary protégé of Cocteau, Genet, and Giacometti, died in 1965 (aged 38) partially as a consequence of his bohemian excesses. He was, posthumously, the recipient of the first Prix Littérature, and subsequent critical attention to his life and career has accelerated. $350. 263. Lauder, William, [and Samuel Johnson]: A LETTER TO THE REVEREND MR. DOUGLAS, OCCASIONED BY HIS VINDICATION OF MILTON. TO WHICH ARE SUBJOIN’D SEVERAL CURIOUS ORIGINAL LETTERS FROM THE AUTHORS OF THE UNIVERSAL HISTORY, MR. AINSWORTH, MR. MACLAURIN, &C. London: Printed for W. Owen, 1751. 24pp. Quarto. Unlettered red linen. Small marginal spot to four leaves, title and verso of terminal leaf a bit tanned, soft crease to upper corner, old pencil notations in upper margin of title, but a good to very good copy. First edition. When John Douglas effectively destroyed Lauder’s attempts to prove Milton a wholesale plagiarist, Samuel Johnson, who had contributed a preface and postscript to Lauder’s An Essay on Milton’s Use and Imitation of the Moderns... (1750), dictated and compelled him to publish the confession which introduces this work. The remainder of the text includes examples of his interpolations, and some half-hearted explanations and equivocations, as well as some testimonials to Lauder’s character which demonstrate by their inclusion that he was, in the main, unrepentant. Although well-represented institutionally in the ESTC, a scarce book in commerce of late. COURTNEY & SMITH, p.37. CHAPMAN & HAZEN, p.135. ROTHSCHILD 1312. FLEEMAN 51.1LLD ESTC T38357. $2500. 264. [Lawrence, D.H.]: Clarke, Thomas E. B. [screenwriter]: D.H. LAWRENCE’S “THE LOST GIRL” SCREENPLAY BY .... [Hollywood]: Jerry Wald Productions, 19 June 1961. [1],189,A-D leaves. Quarto. Mimeographed typescript, printed on rectos only. Plain flexible plastic wrapper. Title lettered on spine, a few tiny spots to fore-edge, otherwise very good or better. Denoted a “Revised” draft of this unproduced screen adaptation of Lawrence’s novel. Clarke had shared an Oscar with Gavin Lambert for the screenplay for the 1960 adaptation (also produced by Wald) of Sons and Lovers, but it seems the momentum from that success was not sufficient to carry this project beyond development. The lettered leaves at the end are possible alternates for scenes earlier in the script. $350. 265. Le Corbusier, et al: PLANS REVUE MENSUELLE. Paris. Janvier 1931 through Janvier 1932. Whole numbers one through eleven. Large octavo. Printed wrappers. Plates. Usual tanning to text stock, moderate wear and occasional soiling to wrappers, chipping or neat repairs to a few spine ends; good, sound copies. Edited by Jeanne Walter, and others, including Le Corbusier. A significant, forward-looking periodical devoted to innovation in architecture, film, literature, and other arts, and the aesthetics of technological development. Among the contributors are Le Corbusier (frequently), Leger, Gropius, Grohmann, Duhamel, Marinetti, Picart le Doux, et al. Developments in the US and the Soviet Union come under frequent scrutiny. These are the ordinary issues; there were also 25 numbered superior copies on vélin. $500. Fine Presentation Copy 266. Le Gallienne, Richard: ENGLISH POEMS. London & New York: Elkin Mathews & John Lane / Cassell, 1892. Octavo. Paper boards, paper spine label, untrimmed. Boards darkened and rather handsoiled, wear to tips and spine extremities, some foxing, bookplate tipped to front endsheet over earlier small private ownership stamp, still, for this title, a good copy. First edition, ordinary issue (one of 800 copies thus). This copy is inscribed by the author

to Herbert S. Stone, the Chicago publisher, with an amusing inscription (signed “R.Le G.”) on the half-title, incorporating 8 lines of original verse, beginning: “There is a stone in which no blood is found, / There is a stone in which the nose is ground, / There is a class of stone at prophets thrown -- / But none of these is / Herbert Stuart Stone ....” The poet’s Prose Fancies Second Series (1896) was the first book to be published under the Herbert S. Stone & Co. imprint after the original partnership of Stone & Kimball was dissolved. LINGEL 11. $750. 267. Le Nestour, Patrik, and Audie Bock [text by]: THE MYSTERY OF THINGS EVOCATIONS OF THE JAPANESE SUPERNATURAL SEVENTEEN NATURAL-DYE CALLIGRAPH PAINTINGS BY AKEJI SUMIYOSHI. New York & Tokyo: John Weatherhill, Inc., [1972]. Small folio (43 x 36 cm). Quarter maroon goatskin, stamped in gilt, and black hemp cloth, with cryptomeria wood label. Very fine in matching cloth folder with label and bamboo clasps. First edition, deluxe issue. One of only 183 numbered copies (175 for subscribers), printed on handmade Japanese Imperial Vellum in handset Perpetua type after a design by Meredith Weatherby, with seventeen original calligraph paintings on various colors of handmade mulberry Kozo paper by Akeji Sumiyoshi. Each of the deluxe copies is signed in ink by the artist, accompanied by his pictograph chop, and as well by Le Nestour. A beautiful production, with text based in part on tales related by the artist himself. $1000. 268. [Lea, Tom]: Hjerter, Kathleen G.: THE ART OF TOM LEA. College Station: Texas A&M University, [1989]. Oblong small quarto. Full gilt publisher’s leather. Heavily illustrated throughout with plates in color and b&w. James S. Copley Collection bookplate on front pastedown, otherwise fine in matching leather slipcase with small label residue in corner of one panel. First edition, deluxe limited issue. Introduction by William Weber Johnson. One of 150 numbered copies, specially bound, signed by Lea, Hjerter and Johnson, accompanied by a separate offset print commissioned for the edition, signed by Lea in ink in the margin. The best retrospective of Lea’s career as artist, including ample representation of his standout work as war correspondent artist for Life during WWII, some surprising early student work (Tom Lea as Vorticist?), his exemplary work as a muralist in the 1930s, and, of course, his trademark later work as painter, portrait artist and illustrator. $1000. 269. [Leland, Charles Godfrey]: HANS BREITMANN’S PARTY. WITH OTHER BALLADS. Philadelphia: T. B. Peterson, [1868]. 32pp. Original tan wrappers, printed in black and red. Early non-authorial ink gift inscription in upper margin of title, offset from gilt morocco collector’s bookplate (now loose and laid in), spine rather chipped, with lower wrapper detached; an internally near very good copy of a fragile book. First edition of the first collection of Leland’s comic ballads rendered in an approximation of English as spoken/written by a German emigrant. Leland first started publishing the ballads as filler while editor of Graham’s Magazine, but their rapid rise in popularity elevated them to a much more significant status, and the income derived from their sales assisted Leland in the pursuit of some of his more arcane undertakings. They were particularly popular in Britain, where authorized editions were published by Trübner and were famously challenged in the stalls by competing editions from Hotten. BAL 11554. $275. 270. Leland, Charles Godfrey: HANS BREITMANN ABOUT TOWN. AND OTHER NEW BALLADS ... SECOND SERIES OF THE BREITMANN BALLADS. Philadelphia: T. B. Peterson, [1869]. 32pp. Original tan wrappers, printed in black and green. Offset from gilt morocco collector’s bookplate (now loose and laid in), spine rather chipped, with upper wrapper detached and first three gatherings loose; an internally near very good copy of a fragile book.

First U.S. edition (in part) of another selection of Leland’s comic ballads rendered in an approximation of English as spoken/written by a German emigrant. Leland first started publishing the ballads as filler while editor of Graham’s Magazine, but their rapid rise in popularity elevated them to a much more significant status, and the income derived from their sales assisted Leland in the pursuit of some of his more arcane undertakings. Three ballads appear here for the first time in book form in the U.S.; others had appeared in the Lippincott collection, Hans Breitman in Politics a few weeks earlier. BAL 11565. $125. 271. Leonard, Elmore: STICK REVISED FIRST DRAFT SCREENPLAY ... BASED ON HIS NOVEL. Universal City: Universal City Studios, 5 August – 15 September 1983. [3],106 leaves. Quarto. Photographically reproduced typescript, on blue paper, bradbound in stiff green printed studio wrappers. Neat ink ownership signature in upper corner of upper wrapper, some corners creased, otherwise about fine. An original studio-generated pre-production script of Leonard’s adaptation of his own novel, offering a version of the text significantly revised from that presented in a copy of the first draft we handled some time ago. Burt Reynolds directed and starred in the 1985 film, along with Candice Bergen and George Segal. In this draft, the pages conforming to the September revisions are so denoted. Up to this point, Leonard had rarely undertaken the screen adaptation of his own novels, with the notable exception of The Moonshine War. $250. 272. Lewis, Sinclair: SINCLAIR LEWIS ON THE VALLEY OF THE MOON. [Np: Privately Printed at the Harvard Press for Harvey Taylor, 1932]. French folded leaflet. A bit darkened, with short split at toe of spine fold, but a good copy of this ephemeral item. First separate edition of Lewis’s review of London’s book. One of 100 numbered copies signed by Taylor. Inscribed by the author on the title, and uncommon thus: “To Margery Warner -- / this long book / which I’ve never / seen before / Sinclair Lewis / San Francisco / Feb. 3, 1938.” TAYLOR XXI. $475. 273. Lewis, Wyndham [ed]: BLAST ... REVIEW OF THE GREAT ENGLISH VORTEX NO.1. London, New York & Toronto: John Lane, the Bodley Head, June 1914. Large quarto. Deep pinkish purple wrappers, printed in black. Illustrations and twenty plates. Inevitable foxing at edges, to prelims and endleaves and occasionally in the text, spine tanned, with natural creases, neat mend toward toes of spine folds, with small nicks and tiny chips at crown and toe of spine, but generally a very good copy. Edited by Wyndham Lewis. The first issue (of two) of the original incarnation of Blast, the central literary and artistic organ of British Vorticism. The first number includes the important “Blast Manifesto,” along with work by Lewis, Hueffer, West, Wadsworth and Pound, and illustrative work by Wadsworth, Lewis, Etchelles, Roberts, Epstein, GaudierBrzeska, Hamilton and Gore. This copy has the censor’s stamped deletions of the lines in Pound’s poem, “Fratres Minores.” While far more frequently seen than the second issue, due to its physical aspect this issue is increasingly more uncommon in agreeable condition. MORROW & LAFOURCADE C1. GALLUP (POUND) C148-9. $1500. 274. Lindsay, Vachel: GENERAL BOOTH ENTERS INTO HEAVEN AND OTHER POEMS ... WITH AN INTRODUCTION BY ROBERT NICHOLS. London: Chatto & Windus, 1919. Gilt cloth. Binding edges a bit sunned and dust-darkened, usual offset from endsheets to prelims, else very good. First U.K. issue of the author’s first trade book, comprised of U.S. sheets, with the prelims and Nichols’s Introduction inserted as a separate signature. From the library of Nichols’s friend, Siegfried Sassoon, with the posthumous monogram library dispersal label. $ 100.

Important Association Copy 275. Lindsay, Vachel: THE LITANY OF WASHINGTON STREET. New York: Macmillan Co., [1933]. Small quarto. Cloth backed decorated boards. Frontis, plates and illustrations. Edges and fore-tips a bit shelfworn, but a very good copy, without dust jacket. First edition. With a full-page presentation inscription from the author on a prelim which reads: “2318 West Pacific / Spokane Washington / March 31, 1929. / My Dear W.J. Cameron: -- / Thank you for making / this book possible, by / first publishing these papers / in the Dearborn Independent. / Thank you for my big / time in Dearborn and / Detroit, for the many / friends you have made / for me there and all over / America. Thank you / for all your continued / fraternal cooperation -- / With every good wish / Vachel Lindsay.” On the opposite page, Lindsay has also drawn an elaborate pen-and-ink sketch which he has captioned: “Design for wall-paper / or a rug or something.” On p. [ix] Lindsay states: “The bulk of these papers appeared in The Dearborn Independent through the year 1927. Acknowledgment is hereby made of the permission to reprint, and of the special consideration given the papers in the Independent.” The Dearborn Independent (also known as The Ford International Weekly) was a weekly newspaper established in 1901, but published by Henry Ford from 1919 through 1927. During Ford’s ownership the paper was printed on a used press purchased by him and installed in his tractor plant in The Rouge. William J. Cameron (formerly with the Detroit News) became editor of The Dearborn Independent in April 1920. The paper reached a circulation of 900,000 by 1925 (only the New York Daily News was larger in this respect), mainly because of promotion by Ford dealers compelled by a quota system. Lawsuits regarding anti-Semitic material caused Ford to close the paper, the last issue appearing in December of 1927. While Lindsay was anything but parsimonious with inscriptions to parties both known and unknown, this is a particularly significant one. $1500. 276. Linton, E. Lynn: WITCH STORIES. London: Chapman and Hall 1861. Original pale rose-colored bead-grain cloth, lettered in gilt, decorated in blind. Spine a bit faded and slightly frayed at crown, covers a bit discolored at edges, (possibly, and if so, very neatly) recased, just a good, sound copy. First edition in book form of these records of witch activity in the British isles and other supernatural anecdotes, first published in All The Year Round. BLEILER, p. 124. SADLEIR 1438. WOLFF 4150. NCBEL III:944. $225. 278. Longfellow, Henry Wadsworth: THE SONG OF HIAWATHA. Boston: Ticknor and Fields, 1855. Original brown ribbed cloth, elaborately decorated in blind, spine lettered in gilt. Gilt morocco bookplate on pastedown, small patch of surface fraying at toe of spine, lower foretips worn, bit of foxing to catalogue and facing pastedown, otherwise a very good, bright copy. Half gilt morocco slipcase and chemise (spine a bit sunned). First U.S. edition, first printing. With the inserted 12pp. catalogue, dated “November, 1855,” at the rear. Although the generous first printing consisted of 5250 copies, those remaining in agreeable condition are hardly the norm. BAL 12112. GROLIER AMERICAN HUNDRED 66. $750. 279. Lowell, Robert: 4 BY ROBERT LOWELL. [Cambridge, MA: Printed by Laurence Scott, 1969]. Quarto. Marbled wrapper over stiff wrappers, printed label. Frontis. Pencil erasure on free endsheet, otherwise fine, accompanied by the suite of four broadsides (48 x 23.5 cm), as issued. First edition. One of one hundred numbered copies (of 126), signed by the poet, and by the artist/printer. Each of the broadsides is also signed and numbered by Scott beneath his illustration. Four poems by Lowell on timely themes, including his tribute to Robert Kennedy. Copies shorn of their broadside component seem to be almost the norm these days. $450.

280. Lubbock, J. G.: ART AND THE SPIRITUAL LIFE. New York: The Chiswick Bookshop [1967]. Folio. Gilt decorated cream paper over boards, edges untrimmed. Fine. First edition, U.S. issue, of the first in the sequence of Lubbock’s interesting artist’s books, limited to a total of 150 numbered copies, designed by Will Carter and printed at the Stellar Press on Barcham Green handmade paper, and signed by the author/artist. The illustrative matter consists of a multitude of double-page, single-page and half-page handprinted intricately worked copperplate engravings and etchings by Lubbock, with colors applied by intaglio and relief, with additional color highlighting applied by hand. $800. 281. [Lucas, E.V.]: GOD AND THE TYPIST A GUESS AT THE ORIGIN OF IT ALL [wrapper title]. [Np]: Printed for Private Circulation, [nd. but ca. 1915]. xv,[1]pp. 12mo. Sewn printed wrappers. Pencil authorship ascription on upper wrapper, otherwise very good or better. First edition of this scarce anonymously published pamphlet. The date assigned above is based on the BL entry in OCLC; not in NCBEL. $150. 282. Machen, Arthur: WAR AND THE CHRISTIAN FAITH. London: Skeffington & Son, Ltd., 1918. 12mo. Boards. Minor foxing, trace of removal of bookseller’s (?) sticker from corner of front pastedown, otherwise a fine copy in dust jacket of a very fragile book. First edition in book form. Originally appeared serially in The Evening News, 7 November through 7 December, 1917, under the title “God and the War.” Includes Machen’s critique of Blavatsky and Doyle’s advocacy of spiritualism. GOLDSTONE & SWEETSER 17. $250. Mini Archive 283. Machen, Arthur: THE COLLECTOR’S CRAFT. London: Privately printed for Subscribers only [by] The First Edition Bookshop (R. Townley Searle), [1923]. Quarto. Pictorial self wrappers, sewn. Illustrations. One loop of sewing broken, light foxing, but a very good copy, accompanied by related items, noted below. First edition in book form. One of 250 numbered copies, signed by the author. Accompanied by two sets of long galleys of the text, one signed by the author at the end. These galleys correspond to an entirely different setting of the text, most likely for its appearance as a three page supplement to Catalogue 6 of the First Edition Bookshop. Accompanied by a set of page proofs of the printing in book form, denoted on the colophon in Machen’s hand: “Author’s Copy,” and bearing his 1930 signed inscription for Fytton Armstrong (a.k.a. “John Gawsworth”). GOLDSTONE & SWEETSER 24a & 24b. $750. 284. Mackenzie, Compton: EXTRAORDINARY WOMEN THEME AND VARIATIONS. London: Martin Secker, [1928]. Large octavo. Cloth and decorated boards. Lower edges of boards and fore-tips a bit shelf-rubbed, usual slight offset to endsheets from jacket flaps, otherwise a very good or better copy in lightly tanned and worn dust jacket with a few small, shallow chips at edges. First edition, signed issue. From a total edition of 2100 copies, this is one of one hundred numbered copies signed by the author. A roman a clef, set in a fictional analogue of Capri, focusing on a group of lesbians visiting the island. Uncommon in dust jacket. GRIER A***. NCBEL IV:650. $375. 285. Mackenzie, Compton: WATER ON THE BRAIN. London: Cassell and Company, [1933]. Gilt lettered green textured boards. Trace of tanning to endsheet gutters, otherwise about fine in an uncommonly nice example of the dust jacket which exhibits only a trace of the usual spine fading. First edition of Mackenzie’s bitter fictional attack on the British Secret Service, prompted by his prosecution for Greek Memories (1932) under the Official Secrets Act. $250.

286. Mamet, David: AMERICAN BUFFALO. San Francisco: The Arion Press, 1992. Small quarto. Gray-green cloth, foil labels, inlaid buffalo nickel. Fine. First edition in this format, illustrated with wood-engravings by Michael McCurdy, and with a prefatory note by Mamet concerning the origins of the play. One of four hundred numbered copies (of 426), signed by the author and artist. $500. 287. Mann, Thomas: A CHRISTMAS POEM ... IN AN ENGLISH ARRANGEMENT BY HENRY HART.... New York: Equinox, 1932. Sewn printed wrappers. Woodcuts. Slight tanning at wrapper edges, top edge slightly dusty, but a very good copy. First edition, published as Number Three of the Equinox Press Quarters. Illustrated with woodcuts by Lynd Ward. Accompanied by an a.l.s., on Equinox Cooperative Press stationary, New York, 3 December 1932, from Henry Hart to C.P. Rollins, thanking him for his review of the Equinox Powys title, noting several sales had resulted from it, and further mentioning the Faulkner and Aiken titles, as well as this title, in the Quarter series. $250. First Book 288. Manning, Frederic: THE VIGIL OF BRUNHILD A NARRATIVE POEM. London: John Murray, 1907. Gilt decorated cloth. Cloth a bit smudged and handsoiled, endsheets foxed, but a good or better copy. First edition of the author’s first book. It has been alleged that it was his familiarity with the style of this book that allowed T.E. Lawrence to deduce the identity of the author of Manning’s anonymously published magnum opus, The Middle Parts Of Fortune. An author’s presentation copy, inscribed on the free endsheet: “To Mrs. Fowler with the author’s love 29.7.1908.” With the bookplate of the recipient’s husband, Alfred Fowler. Manning was introduced to the Eva Fowler circle in 1908 by fellow Australian writer, James Griffyth Fairfax. Mrs. Fowler was to become his “most loyal and most generous friend – from 1890 she opened both her London and country homes to various literati; most notably Ezra Pound and W.B. Yeats. Except for his mother, [Manning] spoke of no one else with such active affection ... It was ‘Mrs. Taffy’ who really mattered, who read his work with ‘a delicate sensibility,’ who devoted many hours to typing his poems and stories, and who was always concerned with his well-being. . . “ (Jonathan Marwil, Frederic Manning -- An Unfinished Life. 1988, pp. 91-4). $850. 289. Martin, Thomas: THE CARPENTERS’ AND JOINERS’ INSTRUCTOR IN GEOMETRICAL LINES, THE STRENGTH OF MATERIALS, AND MECHANICAL PRINCIPLES OF FRAMED WORK. London: Printed for Thomas Tegg; J. Cumming, Dublin; and R. Griffin and Co. Glasgow, 1826. vi,[2],337,[1]pp. Large octavo. Modern three quarter calf and marbled boards, raised bands, gilt label. Illustrated with 35 engraved plates (bound at variance from the ‘Directions to the Binder’ but present). Some offsetting and handsoiling to the text block, with tanning and occasional old tide marks to the plates. Just a good, sound copy, handsomely bound, with the half-title. First (and only) edition of this uncommon book. Martin was the author of the more widely known and somewhat more eclectic work, The Circle Of The Mechanical Arts (1813), and according to an unsigned editor’s “Preface,” this work is a considerable expansion of Martin’s article on the topic from the earlier book. The continuing success of Thomas Tredgold’s Elementary Principles Of Carpentry, first published in 1820, may have eclipsed this book, as this seems to have been its sole edition. OCLC/WORLDCAT currently locates only eight copies, and it is not recorded in NSTC (CD-Rom). $400. The Dedication Copy 290. Masefield, John: KING COLE AND OTHER POEMS. London: William Heinemann, [1923]. Gilt cloth. Some tan offsetting to endleaves, light rubbing at extremities, else a very good, bright copy.

First edition, preceded by the limited and trade editions of the title poem (only). The dedication copy, inscribed by the author, “For Con from Jan” above and beneath the printed dedication “To My Wife” on p. [v]. Masefield married Constance Crommelin in 1903. He wrote of her in a letter to a friend: “She is my genius ... I am only a pen. Her pen at my best, I hope; but all my talent comes from her” (quoted in John Masefield: A Life by Constance Babington Smith). “Jan” was Masefield’s preferred nickname. WIGHT 57. SIMMONS A63a. NCBEL IV:307. $750. 291. Mason, Bobbie Ann: SHILOH AND OTHER STORIES. New York: Harper & Row, [1982]. Cloth and boards. Fine in dust jacket. First edition of the author’s first book. Publisher’s review slip, letter and photo laid in. With the author’s signed inscription on the title “with great appreciation....” $200. 292. [Masson, André]: Leiris, Michel: SIMULACRE. Paris: Editions de la Galerie Simon, [1925]. Small quarto. Original pictorial wrappers. Spine glue dried out, otherwise a fine copy. First edition of the poet/editor/ethnographer’s first book, and the second book featuring illustrations by his mentor, André Masson. The illustrations consist of six original full-page lithographs accompanying the text, and a seventh lithograph on the upper wrapper. One of ninety numbered copies on vérge d’Arches, from a total edition of 112 copies, each signed by the author and the artist. An important work in the first wave of surrealist book illustration. ARTIST & THE BOOK 191. MONOD 7071. $6500. 293. [Masurovsky, Gregory (illus)]: Butor, Michel: COMME SHIRLEY [wrapper title]. [Paris: La Hune, 1966]. Narrow octavo. Printed wrappers. Illustrations by Gregory Masurovsky. One faint corner crease to wrapper, else about fine. First edition, deluxe issue. One of thirty-five numbered copies (of one thousand) accompanied by an original engraving by Masurovsky, numbered and signed by him in the margin. Masurovsky studied at Black Mountain College in 1947-8, and subsequently settled in Paris. He collaborated with Butor on at least one other book, and in 2004 was featured in an exhibition and workshop at Black Mountain College Museum and Arts Center marking the publication of Black Mountain College Dossier No. 8: Gregory Masurovsky. $300. 294. [Masurovsky, Gregory (illus)]: Sandburg, Carl: SEVEN POEMS. New York: Associated American Artists, 1970. Small quarto. Loose signatures laid into printed wrappers. Fine. Enclosed in cloth over boards chemise and slipcase (the later very lightly soiled and rubbed). First edition in this format. Illustrated with seven original etchings by Gregory Masurovsky. One of 150 numbered copies on BFK Rives, signed by the artist, and with each etching signed and numbered by the artist in the margin, from a total edition of 190 copies printed in Paris by Pierre Jean Mathan, with the etchings printed at Atelier Georges Leblanc. Masurovsky studied at Black Mountain College in 1947, and subsequently settled in Paris. In 2004, he was featured in an exhibition and workshop at Black Mountain College Museum and Arts Center marking the publication of Black Mountain College Dossier No. 8: Gregory Masurovsky. $350. Norman Douglas’s Copy 295. Maugham, W. Somerset: THE BOOK-BAG. Florence: G. Orioli, 1932. Large octavo. Half canvas and blue boards. Boards a bit dust marked, some offsetting to endsheets and light foxing to edges, otherwise a good copy, mostly unopened, in somewhat foxed and soiled dust jacket with some small chips and tears. First separate edition, published as number 9 in the “Lungarno Series.” Apparently one of 25 copies (this, no. 712) “not for sale” from a total edition of 725 copies printed on handmade paper, signed by the author beneath the frontispiece portrait. An important

association copy, inscribed on the limitation leaf by the publisher: “To Norman Douglas / from Pino Orioli / with love. / 12 June 1932.” Orioli published a number of Douglas’s books in the same series. Stott reports that formal publication took place in July, three months after the story was first published in 20 Best Short Stories In Ray Long’s 20 Years As An Editor, New York, April 1932. Curiously, Long had originally rejected the story because he thought it might be offensive to Cosmopolitan’s readers, but made amends by including it in the anthology, which Stott eccentrically elevates to an ‘A’ item. STOTT A43b. ROTHSCHILD 179. $1500. 296. McMurtry, Larry: IN A NARROW GRAVE ESSAYS ON TEXAS. Austin: The Encino Press, 1968. Large octavo. Cloth, paper spine label. Fine in near fine dust jacket marred only by a small rub at the top edge of the rear panel. First edition, corrected printing, trade issue. Inscribed by the author, most likely ca. the late 1970s: “For Lee Nobody knows the truth about this book – Larry.” The sentiment expressed in the author’s inscription remains appropriate today, in light of several descriptions associated with copies of the uncorrected and corrected printings currently listed online. In fact, copies of the uncorrected printing did enter trade distribution, although genuine efforts were made by the publisher to retrieve them, and a good number of other copies were distributed through other channels. $1500. 297. McMurtry, Larry: MOVING ON. New York: Simon & Schuster, [1970]. Cloth and boards. A couple mild smudges to fore-edge, otherwise fine in dust jacket. First edition. Inscribed by the author sometime in the decade following publication to Dallas reviewer/editor/collector Lee Milazzo: “For Lee – my longest & it would seem least popular. There are 23,000 remainders, at least....” $400. 298. McMurtry, Larry: MOVING ON. London: Weidenfeld and Nicholson, [1971]. Cloth and boards. A few marks and smudges to fore-edge, else about fine in dust jacket. First edition, British issue, consisting of (contrary to the imprint on the verso of the title) U.S. sheets with a cancel title and prelim, in the U.S. binding, still bearing the Simon & Schuster imprint. Inscribed and signed by the author. $400. 299. McMurtry, Larry: SOMEBODY’S DARLING. New York: Simon & Schuster, [1978]. Narrow quarto. Padbound printed yellow wrappers. Wrappers very slightly dust smudged, otherwise a nice copy, very good or better. Uncorrected proofs of the first edition. Inscribed and signed by the author to Dallas book reviewer/editor Lee Milazzo: “For Lee – the characteristic yellow galley – Larry.” $350. 300. McMurtry, Larry: THE DESERT ROSE. New York: Simon & Schuster, [1983]. Cloth. First edition, limited issue. One of 250 numbered copies, differently bound and signed by the author. Fine in slipcase. $250.

301. Melville, Herman: AUTOGRAPH SIGNATURE. [Np. nd]. Clipped full signature, on slightly irregular slip of heavy paper (2 x 6.8 cm), in brown ink. Trace of minor foxing, otherwise near fine. A very good example of Melville’s full signature, clipped from family papers or documents and retained by the family and passed on by descent. Suitable for framing and exhibition. $6500.

302. Meredith, George: SELECTED POEMS. Westminster: Archibald Constable and Co., 1897. Original medium brown polished buckram, lettered in gilt, untrimmed. Upper joint torn toward top, two tasteful bookplates on pastedown, inner hinges cracking; a good copy, in cloth slipcase and chemise. First edition. With the author’s presentation inscription on the half-title: “To Mrs. Alfred Lyttleton [sic] from her servant George Meredith.” Mrs. Alfred Lyttelton, a novelist and playwright, wrote under the name of “Edith Hamlet.” One of the two bookplates is Edith Lyttelton’s. COLLIE XLIVa. $875. 303. Meredith, William: [A SELECTION OF NINE PRIVATELY ISSUED HOLIDAY POEMS]. Uncasville & New London. 1962, 1963, 1964, 1966, 1968, 1969, 1973, 1975 and 1976. Six small quarto folded leaflets, and three cards, various sizes. Very good to fine. A good representation of the poet’s annual poetry leaflets, reproduced from type or in facsimile of the author’s manuscript, all but one inscribed and signed (“William” or “Bill”), and the exception simply signed. $300. 304. [Merrill, Frank T. (illus)]: Fuller, Hulbert: Original Publisher’s Promotional Poster for VIVIAN OF VIRGINIA. Boston, New York & London: Lamson, Wolffe & Co., Publishers, 1897. Folio (36.5 x 64 cm) pictorial broadside. Text in black & orange. Folded across middle (as issued), some minor marginal spotting, a few creases and closed tears at edges, otherwise very good. Laid on board and shrink wrapped. A publisher’s promotional poster for Fuller’s novel of colonial Virginia. The book featured ten full page plates by Frank T. Merrill, one of which is the dominant feature of this broadside. WRIGHT III:2082 (ref). $100. 305. Miller, Arthur: DEATH OF A SALESMAN CERTAIN PRIVATE CONVERSATIONS IN TWO ACTS AND A REQUIEM ... WITH FIVE ETCHINGS BY LEONARD BASKIN. New York: The Limited Editions Club, [1984]. Quarto. Full medium brown morocco by Gray Parrot. Bookplate on front pastedown, otherwise fine in board slipcase with small sticker shadow at lower corner of one panel. First printing in this format. With five original etchings by Baskin printed from the plates by Bruce Chandler at the Heron Press. One of 1500 numbered copies printed at the Wild Carrot Press, and signed by the author and the artist. For this edition, Miller wrote a special Foreword. $650. 306. Miller, Arthur: THE PRICE A PLAY. San Francisco: The Arion Press, 1999. Large octavo. Cloth, paper labels. Fine in slipcase. First edition in this format, illustrated with duo-tone offset lithographs by Stan Washburn. One of three hundred numbered copies (of 326), signed by the author and the artist. $425. 307. Milne, A.A.: NOW WE ARE SIX. London: Methuen, [1927]. Maroon cloth, stamped in gilt, t.e.g. Illustrations by E.H. Shepard. First edition of the third major title in the Christopher Robin cycle. Usual slight offset from free endsheets to gutters of adjoining text leaves, tips faintly rubbed, otherwise very good and bright in darkened, smudged and lightly chipped dust jacket. $550. 308. Milne, A. A.: THE SECRET AND OTHER STORIES. New York & London: Fountain Press/Methuen, 1929. Cloth, paper spine label. Small gilt morocco bookplate on pastedown, otherwise fine in worn tissue dust jacket. First edition. In addition to 742 numbered copies, printed at the Spiral Press and signed by the author, this is one of an unknown number of signed copies marked out-of-series. Two of the constituent stories, “Mullins” and “The Return,” have direct relevance to the Great War. $650.

309. Milnes, Richard Monckton: THE POETICAL WORKS OF ... LORD HOUGHTON COLLECTED EDITION .... London: John Murray, 1876. Two volumes. xx,319;ix,[1],323,[1] pp. 12mo. Original cloth, decorated in black and gilt. Portrait in first volume. Cloth edgeworn and a bit soiled; early color pencil inscription on second half-title (partially erased); just a good, sound set. First collected edition. Affixed to the half-title of the second volume is a clipped inscription, in ink, signed “Houghton,” leading to the colored pencil inscription above it, “Presentation copy.” From the library of Siegfried Sassoon, with the posthumous library dispersal label in each volume, and a short list of page references, in his hand in pencil, on the terminal page of the second volume. NCBEL III:539. $185. 310. Mitchell, Joseph: JOE GOULD’S SECRET. New York: The Viking Press, [1965]. Large quarto. Comb-bound plain wrappers, with publisher’s label. Wrapper lightly used and sunned, with residue of another label on upper wrapper (now absent), one corner bumped; very good. Uncorrected page proofs of the first edition. Rare format for Mitchell’s superb New Yorker profiles of the Greenwich Village enigma, memorably filmed in 2000, starring (and directed by) Stanley Tucci, with Ian Holm playing Gould. $75. 311. Miura, Kerstin Tini: MY WORLD OF BIBLIOPHILE BINDING. Berkeley: Univ. of California Press, [1984]. Small folio. Purple silk over boards, decorated in blind. Profusely illustrated with color plates (some folding), illustrations. Bookplate on front pastedown, errata affixed to free endsheet, otherwise fine in slipcase with pictorial onlays (small sticker residue in corner of one panel). First U.S. edition, and first edition in English. signed by the author/binder on the titlepage. Foreword by Bernard Middleton. A retrospective of both technique and stunning accomplishment. An edition in Japanese appeared in 1980. $250. First Book 312. Moore, George: FLOWERS OF PASSION. London: Provost & Co., 1878. Sq. octavo. Original black cloth, decorated with skull, crossbones, lyre and vines in gilt on upper board, a.e.g. Rebacked at an early date, with the original backstrip laid down, with attendant reinforcement at endsheet gutters. Edges a bit worn, faint ringmark on upper board, still a good copy of a book most often seen in less than spectacular condition. Early cloth slipcase (a bit worn at tips) First edition of the author’s first book (the existence of the chimerical Worldliness having long eluded reliable confirmation). This copy is the variant with all edges gilt (no priority established). From the library of collector Thomas Hutchinson, with his book label. Tipped in is a very good literary autograph letter, signed, (3pp, 8vo, 5 Kings Bench Walk, Temple, 14 April, 1893) from Moore to an unidentified recipient (presumably Hutchinson), writing out three stanzas of verse from Moore’s “The Strike at Arlingford” at the recipient’s request, complimenting his correspondent’s poetry and berating his own, including this book: “I am sorry that you possess my earliest literary sin. The ideal man of letters ought only to publish three or four books, and to spend ten years upon each. I am entirely out of sympathy with this scribbling century ... I have long since given up writing verse; but the other day I had to write some for my play ‘The Strike at Arlingford’. ‘The night’s as soft as a girl / And the old trees gently incline / To her...’ ... I am afraid the verse I write now is no better than the verse I wrote when a boy ... But since you have the wretched volume, I shall feel obliged if you’ll copy out the poem entitled ‘A Ballad of a Lost Soul’ and send it to me ....” Flowers Of Passion was never reprinted and according to Hone (p. 69), following highly unfavorable reviews and on the advice of a friend, Mrs. William Rossetti, Moore withdrew the book, which had been published at his expense. Five of the poems are reprinted in Pagan Poems, three in revised form (see Gilcher p. 2). GILCHER A1. $1250.

Inscribed Before the Recipient Micturated on His Doorstep 313. Moore, George: MUSLIN. London: William Heinemann, [1915]. Slate blue cloth, stamped in gilt and blind. Spine gilding patinated, slight foxing to endsheets and edges, otherwise a very good copy, from the library of Herbert Boyce Satcher, with his book label on the pastedown. New edition, and the first edition under this title, published originally in 1886 under the title, A Drama In Muslin. A very good association copy, inscribed by Moore on the halftitle: “To Susan Mitchel [sic] (my biographer) with her subject’s kind regards George Moore September 1915.” The recipient, the Irish poet and occasional secretary to, and protégé of, George Russell, had, in 1908, in her first book, gently lampooned Moore (and several others), ascribing to him authorship of The White Flower Of A Blameless Life An Autobiography. Moore was evidently impervious to that barb, for Mitchell went on write an early biography of Moore for the Irishmen of To-Day series. Moore was not pleased with the finished product, and after its publication in 1916 by Maunsel, he fell out with Russell for a time because of his loyalty to Mitchell, christening him the “Donegal Dauber.” Several of their contemporaries tried to make peace between them, but in a letter to John Eglinton (quoted by Colbeck), Moore wrote: “Object! I never object except when D.D. holds up the little bitch’s petticoats that she may do a pea [sic] on my door-step.” It would seem unlikely that Moore inscribed too many more books to her in the following years. GILCHER A34a. COLBECK II:560 (ref). $450. Presentation Copy 314. Morris, William: LOVE IS ENOUGH; OR, THE FREEING OF PHARAMOND A MORALITY. London: Ellis & White, 1873. Dark blue cloth, decorated in gilt after a design by Philip Webb. Endsheets foxed and a bit discolored, inner hinges cracking but sound, foretips a bit worn, but a good or better copy. Two collectors’ booklabels, and a bookplate on front pastedown. First edition. Inscribed by the author on the front free endsheet: “To James Davies from William Morris. Dec. 19th 1872.” The recipient, of Moor Court, Herts., was a land-owner, J.P. and Inspector of Schools. His bookplate is on the pastedown, along with the small booklabels of Simon Nowell-Smith and Judith Adams Nowell-Smith. SCOTT, p.4 BUXTON FORMAN 37. TINKER 1608. $2500. 315. [Morris, William]: Jackson, Holbrook: WILLIAM MORRIS CRAFTSMAN – SOCIALIST. London: A.C. Fifield, 1908. Cloth backed printed boards. Foretips bumped, light soiling to boards; a good copy. First edition. No. 3 in the Social Reformers Series. Presentation copy, inscribed by the author on the front free endsheet: “To Samuel Hales who opened for me the magic casement through which I first looked upon the wonderland of Walt Whitman. Holbrook Jackson. Liverpool. Jan. 23, 1909.” With the bookplate of H.W. Edwards on the front paste-down and a small magazine photo of Jackson tipped to the rear free endsheet. Laid in is a folded flyer for an exhibition at Fulham Public Libraries of Morris’s works, with lectures by Jackson, May Morris, et al. NCBEL IV:1061. $150. 316. [Mossa, Adolphe Gustave]: Samain, Albert: XANTHIS OU LE VITRINE SENTIMENTALE. Paris: A. & F. Ferroud, 1920. Large octavo. Three quarter crimson morocco and marbled boards, t.e.g., original wrappers bound in (by P. Affolter). Minor rubbing at tips, otherwise about fine. First edition thus, with plates, illustrations and decorations by Moffa colored by Eugène Charpentier. One of 750 numbered copies on vélin d’Arches, from a total edition of 1025. Mossa’s highly detailed illustrations range from politely mannered, through cautiously erotic, to grotesques. MONOD 10127. $400.

317. Motley, John Lothrop: THE RISE OF THE DUTCH REPUBLIC A HISTORY. New York: Harper & Bros., 1856. Three volumes. Large octavo. 19th century three quarter gilt calf and marbled boards, spines gilt extra, edges marbled. Boards and corners a bit rubbed, but a very good set. First U.S. edition, following the London edition by a couple of weeks. Conscious of the need to publish first in London in order to preserve copyright, Motley submitted his manuscript to John Murray, who considered it but politely declined to undertake it. Motley then arranged for its publication by Chapman, and within the first year, over 17,000 sets were sold, a measure of success that was replicated in kind upon its publication in the United States. This is a characteristic binding for this work, and may very well be the publisher’s calf binding reported, but not described, by BAL. BAL 14575. GROLIER ENGLISH HUNDRED 94. $450. 318. [Mottram, R.H.]: NEW POEMS. By “J. Marjoram” [pseud]. London: Duckworth & Co., 1909. Gilt cloth. Minor rubs at corners, otherwise a nice, bright copy. First edition of Mottram’s second book, inscribed by him to John Galsworthy’s sister, Violet Sauter: “Mrs. Sauter with the author’s kind regards, 25 June ‘09.” John Galsworthy contributed an introduction to Mottram’s 1924 masterpiece, THE SPANISH FARM. NCBEL IV:678. $225. 319. [Nash, John Henry]: FauntLeRoy, Joseph: JOHN HENRY NASH PRINTER LEGEND AND FACT IN THE DEVELOPMENT OF A FINE PRESS INTIMATELY REVIEWED. Oakland: The Westgate Press, 1948. Linen and Japanese paper over boards, paper spine label, edges untrimmed. Tipped-in photogravure portraits. Colored initial. Small bump at top edge of lower board, foretips a bit worn, bookplate, else a very good copy. First edition. One of 235 numbered copies printed by Alfred and Lawton Kennedy, and Joseph FauntLeRoy, on handmade paper specially watermarked with Nash’s name. $100. 320. Neruda, Pablo: BESTIARY / BESTIARIO A POEM... New York: Harcourt, Brace & World, 1965. Quarto. Cloth-backed pictorial boards. Illustrated throughout with woodcuts by Antonio Frasconi. About fine in defective glassine wrapper and slightly smudged slipcase. First edition, limited issue. Translated by Else Neuberger, with a prefatory note by Angel Flores. In addition to three hundred numbered copies printed on Rives mouldmade paper in Emerson type at the Spiral Press, signed by the artist and printer, this is one of an unknown number denoted as an “artist’s copy.” The frontispiece in these deluxe copies is an original woodcut, printed in three colors, and signed in the margin by Frasconi. This copy bears the artist’s 1994 gift inscription, signed in full, on the title-page. $850. 321. Nugent, Frank S., and Jerry Sackheim [screenwriters]: “THE GOLDEN TOUCH” SCREENPLAY BY.... Beverly Hills: Twentieth-Century-Fox Film Corporation, 13 May 1941. [2],164 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in printed studio wrappers. Wrappers lightly used, with several short tears at overlap edges, script department check-out coupon clipped from first prelim, otherwise very good. Denoted a “temporary script.” A very early, and evidently unproduced, collaborative script by Nugent, dating from the year after he left New York and his job as critic at the New York Times for Hollywood and a career as screenwriter. This was his own copy, and bears his ownership signature on the front wrapper. The script weaves an intricate tale, set in 1939, profiling a ruthless stock manipulator who finds some measure of redemption when his schemes are derailed by international events and the authorities. It would be seven years before Nugent earned his first screen credits, for Fort Apache and 3 Godfathers, the first two of many films scripted by Nugent that were directed by John Ford. $650.

322. O’Neill, Eugene: THE PLAYS OF EUGENE O’NEILL...WILDERNESS EDITION. New York: Scribner, [1934- 1935]. Twelve volumes. Large octavo. Gilt cloth, t.e.g. Photogravure portrait and frontispieces. About fine in slipcases (one with crack at lower edge mended). First collective edition in this format, limited to seven hundred and seventy numbered sets, signed by the author in the first volume. $1850. 323. [Officina Bodoni]: Mardersteig, Giovanni: L’OFFICINA BODONI I LIBRI E IL MONDO DI UN TORCHIO 1923 – 1977. Verona: Edizioni Valdonega, [1980]. Two volumes. Quarto. Half morocco and cloth. t.e.g. Portrait, plates, illustrations and facsimiles. Fine, in somewhat rubbed and soiled slipcase with split at one joint. First edition, limited issue. With an introduction by Hans Schmoller. One of 99 numbered copies, specially bound, in addition to the trade issue, all printed at the Stamperia Valdonega. Accompanied by a second volume containing specially presented specimen leaves or bifolia from productions of the press. There was also an edition in English translation. $1350. 324. Ohtake, Shinro: AT LANTA 1945 + 50. [Atlanta, GA: Nexus Press, 1996]. Octavo. Glossy pictorial boards, lettered in gilt and blind. Contents comprised of high-quality printings of collages, photographs and graphics, in color and black & white, with numerous original inserts and insets. Fine with string-secured small color booklet inset. First edition. One of 1500 copies. From the artist’s web site: “Commissioned as one of five contemporary world artists selected for the Cultural Olympiad Artist book project for the 1996 Atlanta Olympic games ... Ohtake`s richly-imaged _ATlanta 1945 + 50_ is a document that travels from the visual rhythm and density of a Tokyo street to a direct and intense scrutiny of Atlanta`s cultural encrustation. Endless Japanese and American ephemera are juxtaposed, overlapped and manipulated to create complex crosscultural visions – the printing of this artist`s book involved as a many as 150 runs on the press. Each copy is unique: the printing incorporated paper from a variety of sources including Atlanta billboards and throwaway sheets from previous printings in Japan.” $275. 325. Oliver, Mary: THE RIVER STYX OHIO AND OTHER POEMS. New York: Harcourt, [1972]. Quarto. House logo printed wrappers, with printed and typed publisher’s label, with publication date in manuscript. Uncorrected page proofs of the first edition of the poet’s uncommon second book. Remnants of filing label across bottom edge, publisher’s label affixed to lower wrapper rather than upper wrapper, otherwise quite fine. $350. 326. Olmos, Edward James: AMERICAN ME SCREENPLAY BY .... [Universal City]: Universal Studios, 5 April – 29 May 1991. [1],110 leaves. Quarto. Mechanically reproduced typescript, printed on rectos only. Bradbound in hand lettered wrappers. Title lettered on spine and bottom edge, relevant annotations (see below), upper wrapper loose from brads, else a very good copy. Denoted a revised third draft, but with later revises on colored stock spanning the dates above. In this draft, Olmos is given sole credit for the screenplay, noted as based on earlier collaborative drafts cowritten with Floyd Mutrux and Desmond Nakano. The 1992 film also marked Olmos’ debut as a feature film director, and the production is regarded as a significant element in the history of contemporary Chicano filmmaking. This copy bears the ink ownership signature and annotations of Theo Mayes, the chief hair stylist for the film, who has included on the verso of the title-leaf a character list, broken down into the chronological periods of the film, with notes on hair styles. $275. 327. [Omlette Press]: Major, Mary Jo, and Faith Gillespie: POEMPRINTS. London: Omlette Press, 1980. Quarto (33 x 26.2 cm). Loose signatures laid into printed wrappers. Fine in cloth chemise and slipcase.

First edition. Illustrated with ten original etchings (two colored) and a title-page decoration by Major. One of a total edition of forty-two numbered copies printed on French handmade paper in Centaur types, and signed by the poet and the artist. The first publication of the press, combining the talents of a Canadian artist and an American poet working in London. The press later relocated to Calgary. $500. First Imprint 328. [Overbrook Press]: THE OVERBROOK PRESS RIVERBANK, STAMFORD, CONNECTICUT THE TYPES, BORDERS, RULES & DEVICES OF THE PRESS ARRANGED AS A KEEPSAKE. Stamford: Overbrook Press, 1934. Small octavo. Marbled boards, paper label. Minor rubbing at extremities, but a fine copy. First edition. The first book publication to bear the imprint of the Overbrook Press, printed in an edition of only one hundred and fifty copies. Frank Altschul’s Overbrook Press acquired the hardware of the Ashlar Press, as well as the services of designer/compositor, Margaret Evans. This item marked the debut of the new imprint. Uncommon. CAHOON, p.3. $300. One of Fifteen on Bristol Board 329. [Overbrook Press] A SPECIMEN BOOK OF TYPES, ORNAMENTS AND MISCELLANY. Stamford: The Overbrook Press, 1948. [4],77,[1] leaves, printed on rectos only. Small quarto. Loose, unbound sheets of Bristol board, printed in a variety of types and a few colors. Upper board (functionally the half-title) a bit tanned and smudged, otherwise a nice set. First edition, special issue. The second and considerably expanded specimen book of the press. The formal book was issued in an edition of fifty copies only, printed on handmade paper. The copy in hand is one of fifteen impressions made on loose sheets of Bristol board suitable for display. Rare in this format. CAHOON, p.57. $850.

330. [Pasta]: Rovetta, Renato: INDUSTRIA DEL PASTIFICIO STORIES – FABRICAZIONE – IMPASTAMENTO .... Milan: Ulrico Hoepli, 1908. xiii,[3],240pp. plus substantial inserted catalogue (a bit late, dated April 1910). Small octavo. Elaborately decorated medium orange cloth, stamped in blue, green and yellow, with appropriate pasta-related motifs. Illustrations and plates (including four in color). Cloth lightly rubbed, inconspicuously and professionally recased, but a very good copy. First edition, later state or binding lot (as per the dated inserted catalogue). A substantial and detailed account of pasta making from the technical side, including illustrations of machinery, racks, factories and more, published in the Manueli Hoepli series. Rovetta expanded the text in 1929 to encompass macaroni, and in 1951 another revised edition, edited by Camillo Traversa, was published in Milan. Uncommon: OCLC/Worldcat reports only one holding of this original edition, and that in Switzerland. $250. 331. Paulhan, Jean: SUR UN DÉFAUT DE LA PENSÉE CRITIQUE. Paris: Hors Commerce, [ca. 1928]. Small quarto. Printed orange wrappers. Wrappers somewhat tanned and creased, foxed throughout, just a good copy. First edition, as a separate from Commerce XVI (1928). Warmly inscribed by the author, and signed with initials, recipient unnamed (“Cher ami ...”). $175. “And what is thy decision, son Gutenberg; wilt thou prepare for us new copies of the ‘Biblia Pauperum’?” 332. Pearson, Emily C.: GUTENBERG, AND THE ART OF PRINTING. Boston: D. Lothrop and Company, [1879]. v,[1],304pp. Tan cloth, decorated in brown, lettered in gilt. Frontis, plates and illustrations. Cloth somewhat handsoiled, and a bit rubbed at edges, modest foxing to endleaves, but a good, sound copy. Third (and first illustrated) edition of this rather melodramatic and profoundly histrionic fictional romance extrapolating on the life of Gutenberg. A note to this edition indicates that it has been updated by the inclusion of the illustrative matter. The first edition appeared in 1871. WRIGHT II:1857. $75. 333. [Phillipps, Sir Thomas]: Munby, A. N. L.: PHILLIPPS STUDIES NO. I [through] NO. V [series title]. Cambridge: At the University Press, 1951 – 1960. Five volumes. Gilt cloth. Photographs. Cloth a bit marked and faded, bookplates, endsheets of two volumes a bit foxed; still, a good, sound set. First edition. Volume I and V are inscribed presentation copies from “the author.” A complete set of the primary studies of the formation, as well as the eventual dispersal of the Phillipps collection of manuscripts and printed items. $375. 334. [Photogravures]: Bartlett, Mrs. N. Gray: MOTHER GOOSE OF ‘93. Boston: Joseph Knight Company, 1893. [10] leaves. Oblong small quarto. Elaborately silver-decorated cloth and floral paper over boards. Forecorners and edges shelfworn, inner hinges cracking (as often), small chip from edge of paper on rear board, internally very good or somewhat better. First edition. The letterpress and the accompanying photogravures are printed on tissue, then tipped to the heavier textblock stock. The photographs feature children in costume recreating scenes from Mother Goose, and were printed by the NY Photogravure Co. About this work, the Hanson Collection Catalogue (Online) notes: “This is possibly the most exquisite use of tissue photogravure in the United States ... The luminosity of these plates is superb ....” HANSON COLLECTION CATALOGUE, p.117. $200. 335. [Plantin Press]: Robinson, W.W., and Lawrence Clark Powell: THE MALIBU I. RANCHO TOPANGA MALIBU SEQUIT: AN HISTORICAL APPROACH ... II. PERSONAL

CONSIDERATIONS: ESSAYS .... Los Angeles: Dawson’s Book Shop, 1958. Small quarto. Linen and decorated boards, paper spine label. Bookplate on front pastedown, two shallow, creased snags in top edge of front free endpaper, tiny ink dot at extreme top edge of lower board, otherwise a very good copy. First edition. Colored illustrative chapter headings and monochrome in-text illustrations by Irene Robinson. One of 350 numbered copies printed at the Plantin Press. This copy is signed by Saul and Lillian Marks, Powell, and the Robinsons. A fine evocation of the area, and among the most significant of the Plantin Press’ productions. $750. 336. [Plantin Press]: Marks, Lillian: SAUL MARKS AND THE PLANTIN PRESS THE LIFE & WORK OF A SINGULAR MAN. Los Angeles: The Plantin Press, 1980. Small quarto. Cloth and marbled paper over boards. Photographs and facsimiles. Bookplate on front pastedown, a couple minor rubs to spine label, otherwise near fine in slipcase (small label shadow at corner of one panel). First edition. Prefatory essay by Lawrence Clark Powell. Introduction by Richard F. Docter. One of 350 numbered copies printed by Lillian Marks, Patrick Reagh, et al. $150. 337. Plomer, William: AT HOME MEMOIRS. London: Jonathan Cape, [1958]. Gray cloth, stamped in purple and silver. A couple small spots on top edge, otherwise a very good copy, in typically sunned dust jacket with a few small tears to top edge. First edition. A presentation copy, with the author’s inscription to the art critic, John Russell, and his wife on the front free endsheet: “for / J.R. & V.R. / from W.P. / March 1958.” NCBEL IV:705. $150. 338. [Pochoir]: “Marianna” [pseud of Marian Foster Curtis]: THE JOURNEY OF BANGWELL PUTT. [New York]: The F. A. R. Gallery, [1945]. Small quarto. Quarter linen and decorated boards. Fine in near fine slipcase with slightly smudged paper label. First edition. One of five hundred numbered copies. A lovely little book, with the text (in facsimile of manuscript) and illustrations printed in collotype by Meriden Gravure, with the illustrative component hand-colored in pochoir by the Martha Berrien Studio. The narrative involves fanciful interaction between antique dolls resident in a museum. A trade edition was published in the 1960s. “Marian Curtis Foster was born in 1909 in Cleveland, Ohio ... She studied art at Sophie Newcomb College in New Orleans and Grand Chaumiere in Paris. During the Depression, she worked for the Works Progress Administration drawing old toys and dolls in museums. It was her interest in old toys and dolls that led her to write and illustrate books for children using the dolls as characters in her books. Her illustrations are done in watercolor and gouache using a Chinese ink stick” – USM Library introduction to her gift to the library. $400. 339. Porter, Katherine Anne: FLOWERING JUDAS AND OTHER STORIES. New York: Harcourt, [1935]. Cloth. About fine, in near very good, modestly frayed and tanned dust jacket with a few short edge-tears. First collective edition of the author’s short fiction to date, expanded from the text collected in the limited edition of 1930. A lovely association copy, inscribed by the author on the front free endsheet: “To Monsieur Gabriel Marcel With best wishes Katherine Anne Porter Paris 1936.” With a Shakespeare & Company book label affixed to the rear pastedown. $450. Private Edition 340. Potter, Beatrix: THE TAILOR OF GLOUCESTER. [London: Privately Printed for the Author], December 1902. 12mo. Original pictorial pink boards. Color frontispiece and plates by the author. Trace of dust-spotting to boards and minor foxing/offsetting to endsheets, otherwise a fine copy. Half morocco fleece-lined clamshell case.

First edition. One of five hundred copies printed. Both The Tale Of Peter Rabbit (1901) and The Tailor Of Gloucester were first privately printed for Beatrix Potter; trade editions of each were later produced by Warne. In the privately printed Tailor Of Gloucester the text is considerably longer than that in the first trade, and, the cover contains a vignette illustration which was never used again. According to Margaret Lane, The Tailor Of Gloucester “remained Beatrix Potter’s own favourite among all her books.’’ QUINBY, p.32. $7500. 341. [Quixotiana]: LE DESESPOIR AMOUREUX, AVEC LES NOUVELLES VISIONS DE DON QUICHOTTE. HISTOIRE ESPAGNOLE. Amsterdam: Chez Josué Steenjouwer, & Hermanus Uytwerf, 1715. [6],320pp. 12mo. Full modern red morocco, raised bands, spine lettered in gilt. Six engraved plates (plus frontis). Title printed in red and black. Slight tanning to text block, otherwise a very good copy. First (?) edition. A similar edition appeared in 1715, bearing the same imprint, but paginated at 399pp. and with different typographical decorations and head and tail pieces. The frontis is signed “Sehijhvoet.” The work is presented in two parts, and collects six prose pieces in imitation of Don Quixote in French translation. The collection was again reprinted in 1734 and 1742. OCLC/Worldcat locates 9 copies of this edition, and three copies of the 399pp. edition. The prefatory advertisement announces: “We are indebted to Spanish writers for the histories contained in this volume, which are merely a translation from their works, and particularly from those of the author of Homicidio de la Fidelitad, &c, printed at Paris in 1609, for John Richer, but known in the original Spanish over a century before Miguel Cervantes, who produced the celebrated Romance of Don Quixote, came into the world” (translation from The Philobiblion, May 1862). A “very rare work in two parts; imitation of the Quixote, inspired by Homicidio de la fidelidad y la defensa del honor (Paris, 1609)” – Proyecto Cervantes (online), in reference to the 1734 edition. FORD & LANSING, p.126. GAY-LEMONNYER, p. 871. RIUS 477. $600.

342. Racz, Andre: REIGN OF CLAWS. New York: [Published by the Artist], 1945. [4]pp. plus eight copper plate engravings and interleaves. Folio (53.5 x 37 cm). Loose sheets laid into wrappers, enclosed in a folding cloth portfolio, stamped in black. Small spot in lower corner of upper portfolio board, some creases to tissue interleaves, else about fine. One of only fifty numbered sets, signed by the artist on the justification, and with each individual print signed and numbered as well. The upper wrapper incorporates yet another engraving (not signed). A sequence of striking engravings (one in color), ranging from 4 x 16 to 14 x 10 inches, printed by the artist on Chatham handmade paper, with the prelims printed on Japanese handmade paper. A fine, early work by the Rumanian-born artist, published contemporary with his studies at Atelier 17 and the New School under Stanley Hayter. The images are strong and angular depictions of crustaceans and shells, and were engraved while Racz summered at Vinalhaven, off the coast of Maine. The somewhat literal depictions of the some of the subjects are none the less made captivating by the style and techniques characteristic of Racz’s early influences by Hayter, Picasso and the surrealists, while others are far less literal and assume an almost monstrous appearance. $2250. 343. Reavey, George: THE COLOURS OF MEMORY. New York: Grove Press, [1955]. Printed stiff wrappers (with a design by Roy Kuhlman). Spine rather used, old price erased from upper wrapper, internally very good. First edition, wrapperbound issue, after 276 copies specially bound. An association copy of the first order of Reavey’s first American poetry collection, signed by him on the title, and inscribed by him on the half-title to novelist Jerzy Kosinski: “To Jerzy – In all the strange patterns of our minds – the best of many worlds George.” Reavey’s claim (never definitively established) that he was intimately involved in the production of the English text of Kosinski’s novel, The Painted Bird, attended the general controversy about Kosinski’s writing methods catalyzed by the June 1982 Village Voice report by Geoffrey Stokes and Eliot Fremont-Smith. $300. 344. [Red Hen Press]: Jones, Shirley: SOFT GROUND HARD GROUND & A LITTLE LIGHT RELIEF. [Croydon, Surrey: The Red Hen Press, 1989]. Large oblong quarto (29 x 35 cm). Folded signatures and loose sheets laid into clamshell box with paper spine label. Fine. First edition. One of forty numbered copies, printed on Barcham Green handmade paper, signed by the author/artist/printer and the slipcase maker/binder. Illustrated with twelve original color etchings (soft ground & hard ground). Laid in is an a.l.s. from Jones, along with a receipt for this copy. $2000. 345. [Reed Pale Press]: Lamb, Charles: THE CHILD ANGEL A DREAM. London. 1928. 12mo. Publisher’s full medium-brown niger morocco, stamped in gilt, t.e.g. by Sangorski & Sutcliffe. Color initials. A bit of darkening to edges and endsheets, bookplate, otherwise a very good copy. First printing in this format. One of a total edition of 160 copies printed at the Reed Pale Press, of which forty copies were on handmade paper and twelve on “special antique paper,” of which this copy is likely one of the latter. An inscribed presentation copy from Edmund W. Brooks, the publisher. Brooks farmed out more ambitious subsequent projects to commercial printers, but the implication of the colophon is that this was printed by the proprietor. Ordinary copies were bound in linen and boards. Not in Ridler or Tomkinson. $275. 346. Rhodes, Eugene Manlove: PENALOSA. Santa Fe: Writers’ Editions, [1934]. Small octavo. Stiff printed wrappers. Wrappers sunned at edges, else very good. First separate printing of this chapter from West Is West, printed at the Rydal Press in an edition of five hundred numbered copies, signed by the author. $200.

347. Rhys, Jean: GOOD MORNING MIDNIGHT. London: Constable & Co., [1939]. Pale green metallic-finish cloth, lettered in purple, front blank conjugate with half-title utilized as pastedown. First edition, in a variant publisher’s binding (most likely a secondary binding batch). Edges a bit foxed, otherwise a very good, bright copy, in slightly darkened and nicked, price-clipped dust jacket. Scarce in dust jacket. $750. 348. [Ricketts, Charles]: Bottomley, Gordon: A VISION OF GIORGIONE THREE VARIATIONS ON A VENETIAN THEME. London: Constable and Co., 1922. Small quarto. White cloth, decorated in gilt with an elaborate design by Charles Ricketts on the upper board, t.e.g.. Light scattered foxing (a bit more pronounced to endsheets), light hand-smudging to binding, a very good copy. First edition in this format, limited issue. One of fifty numbered copies, specially bound and signed by the author, in addition to ten lettered copies. $275. 349. Riggs, Lynn: RECKLESS ... [caption title]. [New York: Samuel French, 1928]. [2],[105]115,[1]pp. Octavo. Partially untrimmed sheets, string-tied in hand-lettered marbled wrappers. Small chip from top edge of upper wrapper, a bit dusty, otherwise about very good. Sheets (just possibly proof sheets) of the play’s first appearance in book form, in One-Act Plays For Stage And Study, Fourth Series, bound up by the author for presentation. The sectional title is inscribed by him to his advocate, Barrett Clark: “To Barrett – This small -and surprising book – Lynn New York June 6, 1930 -.” A pencil note in a hand closely resembling Riggs’ appears above the inscription: “Dummy Proof 1 copy only of 1 Act Plays for Stage & Study, N.Y., 1928.” The play was subsequently revised and became the first act of Roadside (produced 1930). Riggs, the Oklahoma-born, part-Cherokee gay playwright, screenwriter and poet, is most widely known for his play, Green Grow The Lilacs, which was immensely popular in its musical adaptation, Oklahoma!. His work in the 1920s and 1930s was central to the development of American regional theatre. $450. 350. Riggs, Lynn: THE ARID LAND [caption title]. [Santa Fe or Taos: Laughing Horse, nd. but ca 1920s – 1930s]. Folded oblong sheet, text on one inner panel only. Slight creasing, otherwise very good. A proof setting of Riggs’ poem for its appearance in Spud Johnson’s periodical, Laughing Horse. Inscribed on the upper blank panel by Riggs: “Oh here’s this one too! From The Laughing Horse. The fourth line of Spring Morning – Santa Fe appeared without an irregular long line as written. It should be: A mockingbird sang shrilly from a nest of wood.” Riggs contributed frequently to Laughing Horse, and due to a temporary lack of copies at hand, we’re unable to identify in which issue this poem appeared. The implication of the inscription is that it was sent to an anthologist reviewing Riggs’ work for inclusion, possibly Alice Henderson for her anthology, The Turquoise Trail An Anthology Of New Mexico Poetry (1928). $250. 351. Riggs, Lynn: DARK ENCOUNTER A PLAY .... New York: Samuel French, [no later than May 1946]. [3],49,[1],48,[1] leaves, numbered in act/scene format. Quarto. Carbon typescript, punched and bradbound in Samuel French playscript wrappers. Some old tape reinforcement around the edges of the verso of the wrappers has offset to the blank endsheets, wrappers frayed at edges and with small chips and clean splits at the spine fold; internally very good. A Samuel French playscript, produced in fairly limited numbers, preceding the play’s formal publication in the collective Four Plays (French, 1947). This copy bears Riggs’ presentation inscription on the first blank: “For Walter – The least I can do – Affection Lynn. New York May 9, 1946.” One of Riggs’ late plays, a drama set in the context of Naval and Coast Guard operations on and off Cape Cod in June of 1944. $900.

352. Riggs, Lynn: TWO TYPED LETTERS, SIGNED, AND ONE AUTOGRAPH LETTER, SIGNED. Provincetown, [np], and Chapel Hill. 22 August 1944, 26 March [1945], and 3 May 1954. Typed letters two pages, quarto, and autograph letter, two pages, octavo. Earliest typed letter and the autograph letter, in pencil, show old discolorations and stains from moisture, but are intact and perfectly legible; small coffee drop to second typed letter, otherwise very good. Three warm and personal letters from Riggs to his friends, Ellie and/or Walter Trampler, New York pianist and violist respectively, addressed individually and jointly. In the 1944 typed letter Riggs writes Ellie in regard to both personal and professional matters: “...I was out in Cleveland for an open air Green Grow ... Walter may have told you about the curiosity about Dark Encounter, my new play: that it has a most conspicuous German boy in it, who used to play the piano in a night club ...It’s not the lad’s story, but something of Walter got into it ... I’m stuck here until the play is finished – which I hope will be soon. But I had hoped then to swim, raise hell in the sun, etc., before coming back ... Regards, Lynn. P.S. ... Laughter from a Cloud, the other play, is temporarily stymied, because I can’t cast it – though I have two offers for its production – with me directing ....” The autograph letter, again to Ellie, continues in the same vein: “... Of course I want Walter to see the play -- and I hastened to get it over to Bernstein (seems kind of bulky to lug across – I hope he doesn’t mind) ... Doris rehearsing (starts Tuesday) – in Common Ground. I’m deep in the musical (maybe you saw it in the papers?) – I’m making E. Caldwell’s Tragic Ground – (Music by Aaron Copland, dances by de Mille) – See you! Lynn.” The final, typed letter, is to the Tramplers jointly, and is an attempt to catch up: “ ...Added to my usual reluctance to write has been the fact that I haven’t felt very well. I’m better now, in fact I’m in the hospital! They’ve removed a few things and I feel more or less fine.” He continues, outlining his schedule, and trying to arrange a visit: “...I hope we can say hello/ goodbye before you hasten out to the mountains. But if I weren’t so tired out I’d hasten out with you, uninvited as I am. I could finish the novel in between trips to the garbage dump with Ellie .... Love to you all, Lynn.” Less than two months later, Riggs died of stomach cancer in a New York hospital. $350. 354. [Ritchie, Ward]: Barr, Rev. William P.: THE PAGEANT OF MAN’S REDEMPTION AN INTERPRETATION OF THE CHOPINEAUX TAPESTRY. Los Angeles: [Privately Printed for Mrs. Edward Laurence Doheny], 1948. Cloth, paper label. Color frontispiece. Printed in red and black. Two bookplates, very slight tanning, but a very good or better copy. First edition. Copy #3 of one hundred numbered copies printed by Anderson & Ritchie. This copy was presented to the James S. Copley Library by the Curator of the Doheny Collection, and a pencil note in an unknown hand asserts this was “Mrs. Doheny’s Personal Copy.” A trade edition in wrappers appeared the following year. $75. 355. [Ritchie, Ward]: BIBLES OF THE ESTELLE DOHENY COLLECTION .... Camarillo: The Edward L. Doheny Memorial Library, 1952. Gilt cloth. Frontispiece. Two bookplates, small ink date on free endsheet, otherwise fine. First edition, limited issue. Copy #13 of one hundred numbered copies printed by Anderson & Ritchie. This copy was presented to the James S. Copley Library by the Curator of the Doheny Collection. A trade edition in wrappers appeared the same year. The annotated handlist of an exhibition in commemoration of the 500th anniversary of the Gutenberg Bible. This deluxe issue is uncommon. $75. 356. Rivera, Diego [illus], and Bertram D. Wolfe: PORTRAIT OF MEXICO. New York: Covici – Friede, [1937]. Large, thick octavo. Cloth. 249 plates. Trace of tanning to endsheets, slight ripple along extreme edges of plates (no signs of damp, however), otherwise about fine, in a very good example of the pictorial dust jacket (price-clipped, a couple of short internal mends). First edition. The expansive selection of photographs of Rivera’s murals and other paintings and drawings are the work of Tina Modotti, Manuel Alvarez Bravo, and Lupercio. $175.

357. Roditi, Edouard: PRISON WITHIN PRISON THREE ELEGIES ON HEBREW THEMES. Prairie City: The Press of James A. Decker, 1941. Printed wrappers. Wrappers and top edge faintly dust soiled, but a near fine copy. First edition of the author’s second book, illustrated with a frontispiece by Kurt Seligmann. Like many of the Decker Press titles by significant authors, an uncommon book. $250. 358. [Rosenbach, Dr. A.S.W.]: THE COLLECTED CATALOGUES OF DR. A.S.W. ROSENBACH 1904 – 1951. New York: McGraw-Hill Book Company, [1967]. Ten volumes. Gilt blue cloth. Near fine, without dust jackets, as issued. Indexed by Don Ward. A reprinting of more than 70 catalogues issued by Rosenbach over the span of 47 years, with bibliographical descriptions and original prices. To Doctor R, a festschrift in honor of Rosenbach’s 70th birthday in 1946, is reprinted as Volume 9. $650. 359. Rosenberg, Isaac: MOSES A PLAY. London: Printed by the Paragon Printing Works, Stepney Green, 1916. 12mo. Original printed yellow wrappers. Wrappers darkened and a bit frayed along spine, with narrow chips to the fold, otherwise a very good copy of a scarce and fragile book. Half morocco slipcase and chemise. First edition of the poet/painter’s third separate publication, like its predecessors printed at his own expense and privately distributed. As often, this crudely printed pamphlet bears some manuscript corrections in the text. The title is slightly deceptive, as a small group of poems, including war poems, are appended. With a presentation inscription inside the front wrapper from Sydney S(chiff) to Lydia Sherwood, January 24, 1926. Schiff (18681944), translator (of Proust), patron (of Joyce and Wyndham Lewis), and friend (of Eliot and Max Beerbohm), published novels under the pseudonym “Stephen Hudson.” His wife, Violet, nee Beddington, was the younger sister of Wilde’s friend Ada Leverson (“The Sphinx”). Rosenberg met Schiff in the spring of 1915. “Like [Edward] Marsh, Schiff became Rosenberg’s ‘absentee patron’, in the sense that he put no pressure on him to produce works in return for occasional support, and was available whenever Rosenberg needed him ... His new friendship with Schiff also contributed to his growing consciousness of being a Jew. They communicated easily ... To Schiff Rosenberg could say things which would have been inappropriate to Marsh. ....” “Moses” evolved from Rosenberg’s exposure to anti-Semitism during his military service. Schiff was an important Jewish friend at the time and was instrumental in helping distribute copies of the play in literary circles. Lydia Sherwood (d. 1989) was a British actress (both stage and film) from the 1920s to 1960s. See Joseph Cohen, Journey To The Trenches: The Life Of Isaac Rosenberg 1890 – 1918 (New York, 1975). REILLY (WWI), p.279. $3000. Presentation Copy 360. Rossetti, Dante Gabriel: POEMS. London: F.S. Ellis, 1870. Dark blue-green cloth, elaborately decorated in gilt, decorated endsheets, edges untrimmed. Binding lightly rubbed, clean 4.5cm tear to gutter of half-title at top, old bookseller’s description tipped to first leaf of terminal ads, otherwise a very good, bright copy. Half morocco slipcase. First edition of Rossetti’s first published collection of original poems, preceded by two private printings in 1869 and 1870. Early binding state, before the spine block was recut, with an unsigned signature of 8 blank leaves at the back, after two leaves of publisher’s adverts. The floral endsheets are printed on cream paper. Inscribed by the author on the half-title page: “To Theodore Martin Esq with DG Rossetti’s friendly regards April 1870.” Theodore Martin (1816-1909), English poet, biographer, translator of Dante, and the husband of the actress, Helen Faucit, was among those in the list Rossetti sent to his publisher to receive presentation copies of this book. Stetz and Lasner, in England in the 1880s, note: “This book, by the circumstances of its publication, by its contents, and by its design, secured Rossetti’s reputation. When his wife, Elizabeth Sidal Rossetti, died in February 1862, Rossetti placed the original manuscripts of his poems in her coffin. In 1869 these were exhumed secretly from her grave and published in this volume in 1870

with other, more recent work. The book opens with ‘The Blessed Damozel,’ Rossetti’s most famous poem, which had first appeared in the Pre-Raphaelite magazine, The Germ, in 1850; among the other contents are the sonnet sequence called ‘The House of Life’ and a group of poems about paintings that show Rossetti’s abiding interest in unifying the sister arts ... Poems (1870) was perhaps most remarkable for being one of the first books to be designed throughout by an author. Over a period of nine months, Rossetti supervised the printing of the proofs while painstakingly designing the covers and endsheets. The result had a great influence upon writers and designers of the 1880s. Oscar Wilde’s Poems (1881) and several of Walter Pater’s books clearly were modeled upon Rossetti’s unique volume.” STETZ & LASNER 52. HAYWARD 283. NCBEL III:491. $3500. Presentation Copy 361. Rossetti, Dante Gabriel [ed & trans]: DANTE AND HIS CIRCLE: WITH THE ITALIAN POETS PRECEDING HIM (1100-1200-1300). A COLLECTION OF LYRICS, EDITED, AND TRANSLATED IN THE ORIGINAL METRES .... London: Ellis and White, 1874. Original dark blue cloth, ruled and lettered in gilt, edges untrimmed. With the bookplate of John Quinn on the front pastedown. Shallow chipping at extreme crown of spine, front inner hinge cracked (but sound), foretips slightly bumped, but otherwise a very good, bright copy. Folding clamshell box, bearing the bookplate of another distinguished collector. First revised edition, following the 1861 collection entitled The Early Italian Poets From Ciullo D’alcamo To Dante Alighieri. A fine presentation copy, inscribed on the title-page: “To Moncure D. Conway from his friend DG Rossetti 1875.” Moncure Daniel Conway (18321907) was a prominent American Unitarian minister whose anti-slavery views caused him to move to London at the time of the Civil War. He became a close friend of the Rossettis and the other Pre-Raphaelites, was instrumental in arranging for the first English edition of Whitman, and officiated at the funerals of many writers and artists, including Oliver Madox Brown and Ford Madox Brown. NCBEL IV:491. QUINN SALE 8158. $2500. Family Copy 362. Rossetti, Dante Gabriel: POEMS A NEW EDITION. New York: Thomas Y . Crowell & Co., [nd. but ca. 1884?]. xi,[1],294,[2], plus 8pp. inserted catalogue. Medium green cloth, with elaborate pictorial decorations in gilt and black, a.e.g. Cloth a bit darkened and rubbed, endsheets lightly foxed, otherwise a good copy. Probably the second American edition (a piracy). According to various sources, the first American edition (after an American issue from English sheets) was published by Roberts Brothers, Boston, in 1882. The Library of Congress dates this edition “1884?” and there seems no reason to doubt their information, especially given the following inscription on the front free endsheet: “W.M. Rossetti from Christina 1884.” The inscription is in William Michael Rossetti’s handwriting, and is his recording of the receipt of this copy from his sister Christina. It is also worth noting that this is the dedicatee’s copy; the printed dedication reads: “To William Michael Rossetti, these poems, to so many of which, so many years back, he gave the first brotherly hearing, are now at last dedicated. 18701881.” An evocative association copy, linking the three Rossettis in one book. $850. 363. [Rydal Press]: Klah, Hasteen (recorded by Mary C. Wheelwright): NAVAJO CREATION MYTH THE STORY OF THE EMERGENCE. Santa Fe: Museum of Navajo Ceremonial Art, 1942. Large octavo. Cloth. Portrait. Plates. Thumb-tip size smudge in blank portion of prelim, but a very good copy, in smudged and somewhat soiled white dust jacket with short closed edge tear. First edition. One of one thousand copies designed and printed by Walter Goodwin and Hazel Dreis at the Rydal Press. The fifteen color plates of sandpaintings were printed by

Dunewald Printing Company. As with every copy of this book we have handled, the final signature is secured at the gutter with the same cloth binder’s tape utilized elsewhere in the binding. $275. 364. Sala, George Augustus: THE BADDINGTON PEERAGE: WHO WON, AND WHO WORE IT. A STORY OF THE BEST AND THE WORST OF SOCIETY. London: Charles J. Skeet, 1860. Three volumes. Original plum cloth, decorated in blind, stamped in gilt. Some sunning and light spotting to the spines, pencil erasures from rear pastedown of third volume, otherwise a very good, bright, tight set. First edition. In his autobiography, Sala commented on the genesis and limited success of this novel: “ ... Henry Vizetelly told me that he would give me as much work as ever I could undertake on the Illustrated Times; and encouraged me to write in that paper a novel called ‘The Baddington Peerage.’ Of course, James Hannay at once dubbed it ‘The Paddington Beerage.’ It was subsequently published in three-volume form; and I candidly confessed in the preface that it was about the worst novel ever perpetrated; and re-reading it at Brighton more than thirty years afterwards, I saw no reason to alter my original opinion. There was no plot to speak of in ‘The Baddington Peerage;’ although the incidents comprised at least one murder, a duel à mort, an incendiary fire and a suicide. There was no character worth mentioning beyond a felonious medical student and a wicked duchess. This lamentable romance nevertheless obtained one distinctly favourable review in the Athenaeum; and I subsequently learned that the reviewer was Miss Geraldine Jewsbury, the intimate friend of Mrs Carlyle.” Not in Sadleir. WOLFF 6093. NCBEL III:963. $975. 365. Sala, George Augustus: AFTER BREAKFAST; OR, PICTURES DONE WITH A QUILL. London: Tinsley Brothers, 1864. Two volumes. Forest green morocco-grained cloth, decorated in blind and gilt. Light rubbing at extremities, a couple foretips slightly bumper, pencil erasure from free endsheet, otherwise a very good, bright set. First edition of this collection of pieces which “. . . for the most part already appeared in ‘All the Year Round’ and ‘Household Words,’ and are reprinted by permission of Mr. Charles Dickens.” Scarce in this condition. Not in Wolff. SADLEIR 3025. NCBEL III:963. $875. 366. Salt, Waldo: BEAU BRUMMEL [wrapper title]. Culver City: Metro-Goldwyn-Mayer / Loew’s Inc., 28 November 1939. [1],145 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in printed and variously stamped studio wrappers, printed label. Some small chips and tears to wrapper extremities, 15 x 40 mm piece torn away from fore-edge of upper wrapper, internally near fine. An unspecified – but revised and slightly extended – draft of this unproduced, original (though drawing on precedents) screenplay by Salt, undertaken rather early in his career, at a point when IMDB records he had only one credited and two uncredited produced films under his belt. Another draft, dated 17 days earlier, is 17 pages shorter. In April 1951 Salt was called before the HUAC, and then placed on the Black List. After struggling for a decade and a half with often-pseudonymous television writing and commercial work, in 1969 he wrote the award-winning screenplay for Midnight Cowboy. Subsequent credits included Serpico, The Day Of The Locust, and Coming Home. In 1987, just prior to his death, he received the WGA Laurel Award in recognition of his achievements. The upper wrapper is stamped in succession, noting the transition of this copy from “Temporary Complete” to “Vault Copy.” $750. 367. Saltus, Edgar: THE ANATOMY OF NEGATION. London: Williams and Norgate, 1886. Brown cloth, t.e.g. Corners slightly bumped, usual offsetting to endleaves from endsheets, otherwise a very good, bright copy. First edition of the author’s third book. The U.S. issue was comprised of sheets from this

edition. Inscribed by the author on the first blank: “A.F. de Navarro Eqre with the great good wishes of Edgar Evertson-Saltus Paris 8 March / 8--.” The recipient, an American attorney who practiced in London, was married to the American actress, Mary Anderson. BAL 171312. $250. 368. Sandburg, Carl: ABRAHAM LINCOLN THE PRAIRIE YEARS. New York: Harcourt, Brace & Company, [1926]. Two volumes. Linen and boards, t.e.g., others untrimmed. Illustrated with 105 half-tones from photographs, reproductions of cartoons, letters and documents. Bookplate in each volume on front pastedown, pencil erasure from corner of each free endsheet, a few foxmarks to spines, labels slightly darkened, but a very good or better set, without slipcases or dust jackets. First edition, limited issue. One of 260 numbered sets, printed on Dutch rag paper, specially bound, and signed by the author in the first volume. The first installment in the poet’s biography of Lincoln, which culminated in the Pulitzer Prize-winning sequel, The War Years. Volume one exhibits the corrected reading at 175:9; allegedly, only twelve sets were left uncorrected. $1750. 369. Sandburg, Carl: ABRAHAM LINCOLN THE WAR YEARS. New York: Harcourt, Brace & Company, [1939]. Four volumes. Large, thick octavos. Gilt buckram, leather spine labels, t.e.g., others untrimmed. Illustrated with 414 half-tones from photographs and 249 cuts of cartoons, letters and documents. Bookplate in each volume on front pastedown, pencil erasure from corner of each free endsheet, a few minor rubs to labels, but a very good or better set, without slipcases. First edition, limited issue. One of 525 numbered sets, printed on rag paper, specially bound, and signed by the author in the first volume. The poet’s Pulitzer Prize-winning sequel to The Prairie Years. $1750. 370. Saroyan, William: MY NAME IS ARAM. New York: Harcourt, Brace and Company, [1940]. Cloth, paper labels. Color frontis, and illustrations by Don Freeman. Shallow bruise across top edge of boards, slight darkening at edges, otherwise a very good copy, in good, somewhat darkened and chipped dust jacket. First edition. A presentation copy, inscribed by the author on the front free endsheet to the noted theatre critic: “To Leonard Lyons Greetings: William Saroyan Xmas 1940”. Mounted on the front paste-down endsheet is a t.l.s. (“Bill”, 1 1/4pp, 4to, 1821 15th Avenue, San Francisco, 31 May 1941) from Saroyan to Leonard Lyons, which reads in part: “I have been enjoying a lot of loafing in Fresno – and San Francisco too – and the idea of sitting at a typewriter has been very remote in my mind ... It seems like every time we get all set for the big poker session something happens, but next visit I hope we’ll all make it. In the meantime if you see the Judge, give him my best. The same for Mr. Lewis (Red); did you notice the way Kronenberger filched Lewis’s remark from your column? About my plays? Well, I answered Kronenberger’s piece, but PM didn’t print it. Heck, it’s O.K. ... Did you read about the mouse in the Brooklyn courtroom that tried to eat the shoe of a reporter? And have you noticed the interest in many magazines in hummingbirds? I have a story about one hummingbird in the current issue of Harper’s Bazaar.” $575. 371. Saroyan, William: NOT DYING. New York: Harcourt, Brace & World [1963]. Cloth. With drawings by the author. A near fine copy, in good dust jacket with large chip from crown of spine. First edition. A presentation copy, inscribed by the author to the noted theatre critic, Leonard Lyons, on the free endsheet: “For old Leonard Chagall’s great friend with admiration for both of you Young Bill NYC July (only 1908) 1963”. With a pen-and-ink sketch (a scribble very much in character with the illustrations in the book) initialed by Saroyan on the halftitle. $225.

Double Association 372. [Sassoon, Siegfried]: Beddoes, Thomas Lovell: THE POETICAL WORKS OF THOMAS LOVELL BEDDOES. London: J.M. Dent & Co., 1890. Two volumes. Parchment and boards, edges untrimmed. Frontispiece in each volume etched by Herbert Railton. Spines worn, with some surface cracks, cloth a bit foxed and soiled, with some streaking on one board; still, a sound set, internally very good. First edition of this collected edition, edited, with a memoir, by Edmund Gosse. Copy #19 of 125 sets for sale in the UK, from a total edition of 225 sets printed at the Chiswick Press. An interesting double association copy: 1) with the bookplate in the first volume of Ramsay Colles (who edited the Muses Library edition of 1907, and his scattered annotations in the text, and his inscription (“Carefully compared with the Original Editions – Ramsay Colles March, 1907”); then subsequently, b) from the library of Siegfried Sassoon, with his unflattering ink caricature of Colles next to the inscription, and his later pencil inscription: “I bought this edition in 1909 and was for many years unaware that R.C. had edited the ‘Muses Library’ Edition (the disrespectful drawing represents an imaginary pedant)! [signed with his monogram].” With the posthumous monogram labels from the library dispersal sale. NCBEL III:409. $350. 373. [Sassoon, Siegfried]: Douglas, Norman: FOUNTAINS IN THE SAND. London: Martin Secker, [1921]. Small octavo. Gilt cloth. Cloth a bit handsoiled, endsheets tanned, but a good copy. Second edition. One of 1000 copies printed, of which 300 were exported to the U.S. Siegfried Sassoon’s copy, with his contemporary ownership signature on the front pastedown. Sassoon preserved a number of late clippings about Douglas which he folded and laid in front, and affixed Compton Mackenzie’s tribute to the free endsheet, dating it “10-2-52” in pencil. With the posthumous monogram library dispersal label on the front pastedown. WOOLF A14b. $150. 374. [Sassoon, Siegfried]: Beddoes, Thomas Lovell: THE WORKS OF THOMAS LOVELL BEDDOES [with:] THOMAS LOVELL BEDDOES THE MAKING OF A POET. By H.W. Donner. London & Oxford: Oxford Univ. Press / Basil Blackwell, 1935. Two volumes. Large, thick octavos. Near uniform plum cloth, plates. First volume very good in lightly worn dust jacket; second volume somewhat rubbed, with light foxing to edges, but a good copy without dust jacket. First editions, the former edited by H. W. Donner as well. Siegfried Sassoon’s copies, with the posthumous library dispersal label in each volume. Laid into the first volume is a one page a.l.s. to Sassoon from J.R. Ackerley, on a small octavo sheet of letterhead of The Listener, “5/12/35,” signed “Joe Ackerley,” working out the details for Sassoon to prepare a review of the two volumes, as well as the associated The Browning Box (not present). Sassoon’s review appeared in the issue of 24 December (Keynes C250). Ackerley writes: “...I don’t know whether you will be doing his work or his life or a pattern of both, but ... Degen [Konrad Degen, Beddoes’ protégé] might deserve a mention if convenient. The Times Lit. Supp., in their long front page review & sketch of Beddoes’ life, entirely ignored him as though he didn’t matter: but he mattered to Beddoes, didn’t he?” Sassoon accumulated a sheaf of other contemporary press reviews, and they are neatly folded and preserved herein. With the posthumous Sassoon library dispersal sale label in each volume. $375. 375. Sassoon, Siegfried: SIEGFRIED’S JOURNEY 1916 – 1920. London: Faber and Faber, [1945]. Gilt rose cloth. Frontis portrait. Title-page decoration by Reynolds Stone. Extremities lightly rubbed, else a very good copy in dust jacket with fading at edges and shallow chips. First edition of one of the central works in Sassoon’s cycle of war memoirs. Inscribed on the front endsheet: “Sent to Ash from her beloved Siegfried 19 December 1945” – formal publication took place on the 7th. “Ash” is one of the affectionate family diminutives for

Sassoon’s mother, Theresa (Thornycroft) Sassoon. In the 1975 Christie’s sale catalogue of the first posthumous dispersal from Sassoon’s library (lot 281), the inscription is asserted to be in the recipient’s hand. However, the format and hand bear a resemblance to one of Sassoon’s own several modes for embellished inscriptions of a less formal sort, as well as for satirical annotations in the books of others. KEYNES A51. $650. 376. Saxe, John Godfrey: THE MASQUERADE AND OTHER POEMS. Boston: Ticknor and Fields, 1866. Original terra-cotta cloth, lettered in gilt. Very slight darkening to spine and a bit of spotting to coated endsheets, otherwise an unusually nice copy. First edition. Inscribed by the author in the month of publication on the front free endsheet: “To Hon. J.V.L. Pruyn, with regards of John G. Saxe. April 1866.” The recipient was a New York state senator, accepting the nomination on condition that no money should be used for the election. At the end of his term (1862-63), he distributed his salary among the poor of Albany. In May 1844 Pruyn was appointed a regent of the University of the State of New York, and in 1862 he was elected chancellor. BAL 17304. $350. 377. [Scargill, William Pitt]: THE PURITAN’S GRAVE. London: Saunders and Otley, 1833. Three volumes. Contemporary three quarter blue calf and marbled boards, spines decorated in blind, gilt labels. Bindings a bit rubbed, binder’s endsheets foxed, otherwise a very good set, possibly bound without half-titles or adverts. First edition of this anonymously published novel, dedicated by Scargill to Bulwer Lytton. Scargill (1787 – 1836) was a Unitarian minister, and “in 1812 he succeeded Thomas Madge as minister of Churchgate Street Chapel, Bury St. Edmunds, and held this charge for twenty years. His ministry was not successful, and he turned to literature as a means of augmenting a narrow income, contributing to periodicals, and producing original tales and sketches ... He made a precarious living by his pen, yet his sketches are brisk and readable, with a curious vein of paradox” – DNB. According to his entry in NCBEL, Scargill averaged almost a novel a year in the decade prior to his death. Not in Sadleir or Wolff. NCBEL III:760. $475. First Book 378. [Schreiner, Olive]: THE STORY OF AN AFRICAN FARM A NOVEL. By “Ralph Iron” [pseud]. London: Chapman & Hall, 1883. Two volumes. Original cocoa-brown cloth, pictorially decorated in darker brown, spines lettered in gilt. Tiny nicks to spine crowns, light occasional spotting and soiling to cloth, one rear inner hinge cracked (but sound), spines slightly darkened, but a very good set. First edition of the author ’s first and most widely known book, originally published pseudonymously in a relatively small edition, suggested by some to have consisted of as few as three hundred copies. An important feminist novel, containing perhaps the first “New Woman” in British fiction. The publication of The Story of an African Farm caused a sensation in the literary world, with the result that much of the edition was read to pieces by patrons of the circulating libraries. Copies in the original binding – in any condition – are therefore extremely uncommon. From the collection of Mrs. J. Insley Blair, with her “Blairhame” leather book label. Not in Sadleir, and Wolff lists only one of the later yellowback editions. OCLC/Worldcat locates 9 sets of the first edition, 4 in the US (Yale, Morgan, UCLA and Illinois), 3 in South Africa, and two in the UK (BL and Cambridge). A contemporary review from the St. James Gazette (20 March 1883) is laid in. NCBEL III:1077. $8500. 379. Shakespeare, William: THE POEMS OF SHAKESPEARE.... Stamford: The Overbrook Press, 1939. Folio. Printed in black and burgundy on gray handmade paper, untrimmed. Elegantly bound in half burgundy morocco, with matching morocco fore-edges and natural linen mid-panels, six raised bands and a gilt lettered black spine label. Housed

in a matching natural linen covered slipcase, with morocco top and bottom panels and gilt spine label. Fine. An elegantly bound copy of one of the most ambitious productions of the press, limited to one hundred and fifty copies, printed in handset Lutetia type on Cromwell handmade gray paper, with decorative initials drawn by Bruce Rogers. The text was based on that established by Kittredge. The press offered copies for sale, though many were given as gifts by the proprietor. Ordinary copies offered for public sale were bound in three quarter morocco and slipcased, but a considerable portion of the edition was left unbound, suitable for custom binding, as here. CAHOON, p.24. $750. 380. Sharp, William: EARTH’S VOICES, TRANSCRIPTS FROM NATURE, SOSPITRA, AND OTHER POEMS. London: Elliot Stock, 1884. Gilt decorated deep blue cloth. Light rubbing at edges and a few faint marks to cloth, but a very good, or better, bright copy. First edition of Sharp’s first collection of poems, predating his debut as “Fiona Macleod” by a decade, and dedicated to Walter Pater. This copy is inscribed by the author on the title-page: “To D.M. Main in memory of a pleasant hour. William Sharp Jan: ‘85.” He has also included two manuscript quotations: the first on the verso of the first sectional title, reading: “’There are so many kinds of voices in the world, and none of them is without signification.’ St. Paul,” and the second on page [163]: “’For, God wot, not the less a thing is true, Though every wight may not if chance to see.’ Chaucer.” COLBECK II:738. $750. Inscribed to One of the Immortals 381. [Shaw, George Bernard]: Henderson, Archibald: CONTEMPORARY IMMORTALS. New York: D. Appleton and Company, 1930. Gilt red cloth. Frontis and portraits. Spine gilding a bit dull, light handsoiling to cloth, else a good, sound copy. First edition. A fine association copy, inscribed by the author on the front free endsheet: “For George Bernard Shaw -- one of these Contemporary Immortals Himself -- In Person -- with cordial regards from a friend of long standing. Archibald Henderson Fordere [?] -- 1930.” An essay on Shaw, subtitled “The World’s Greatest Living Writer,” appears on pp. 83-96 of this book. Other subjects include Einstein (to whom the book is dedicated), Gandhi, Edison, Curie, Kipling, Mussolini and Marconi. Henderson (1877 – 1963), was an ardent American admirer of Shaw, admiration which evolved into friendship, and a sequence of critical and biographical works. $450. 382. [Simms, William Gilmore]: GUY RIVERS: A TALE OF GEORGIA. New York: Harper & Brothers, 1835-4. Two volumes. Original green cloth, paper spine labels. Second edition, revised. Bookplates, early ink name on each title, tiny chip to one label, but a very nice set. WRIGHT I:2421. BAL 18055. $225. Sassoon’s Copies 383. Sitwell, Edith [ed]: THE PLEASURES OF POETRY A CRITICAL ANTHOLOGY ... FIRST SERIES MILTON AND THE AUGUSTAN AGE [with:] ... SECOND SERIES THE ROMANTIC REVIVAL. London: Duckworth, 1930 & 1931. Two volumes. Gilt lettered orange cloth. Some foxing at edges, top edges dust marked, but a good set, without dust jackets. First editions (each one of 2000 copies printed). From the library of Siegfried Sassoon: the second volume is inscribed “For Siegfried Sassoon from Edith Sitwell,” and the first has an author’s compliments slip laid in. Both bear the posthumous Sassoon library dispersal label on the front pastedowns. Sassoon has annotated two pages in the first volume, one being a comment exuding his characteristic sarcasm, and pasted a clipped design from another work on the rear pastedown. Sassoon and Edith Sitwell connected as early as 1917, when through Robert Ross, she wrote to him at Craiglockhart to commend him on his anti-war statement. There ensued a long acquaintance, made difficult by Sassoon’s animosity toward Osbert. In 1930, she wrote him in the wake of a lapse in their friendship:

“...you were one of my most intimate friends, and I have missed you more than I can say....” The following year she dedicated Jane Barston, one of her poems in the original Ariel Poems series, to him. FIFOOT EB16. $750. 384. Smith, Patti: GOING UNDER [caption title]. [Norwich, NY]: SOOJ, 2006. Oblong small folio broadside (21.8 x 33.4cm). Illustration after a painting by Path Soong. As new. First edition. One of 110 numbered copies for sale, printed on Arches and signed by poet/ musician Smith and calligraphic painter Soong. $250. 385. Snyder, Gary: SIX SECTIONS FROM MOUNTAINS AND RIVERS WITHOUT END. London: Fulcrum Press, [1967]. Gilt cloth. First U.K. edition, limited issue. One of one hundred numbered copies, specially printed and bound, and signed by the author. Fine in near fine dust jacket (price-clipped, as issued, for this issue). $350. 386. Southcott, Joanna: AN ANSWER TO THOMAS PAINE’S THIRD PART OF THE AGE OF REASON, PUBLISHED BY D. I. EATON; LIKEWISE TO S. LANE, A CALVINISTIC PREACHER, AT YEOVIL, IN SOMERSETSHIRE; AND TO HEWSON CLARKE, EDITOR OF THE SCOURGE, AND LATE OF EMANUEL COLLEGE, CAMBRIDGE. London: Printed by Marchant and Galabin, [1812]. 66pp. Octavo. Printed self-wrappers, bound up in modern paper boards. Light foxing early and late, but a very good copy. First edition of Southcott’s attack on Paine’s work, Examination Of The Passages In The New Testament...(New York, 1807), under the title applied to its English edition of 1811. Eaton, the publisher of that edition, was prosecuted in a well-known trial, and Southcott’s opening to this work asserts it was the trial that first led her to consider Paine’s destructive influence. She claims to “point out his folly, and the darkness of his understanding concerning the scriptures, knowing that his former publications hurt many weak minds, and have made many become atheists; because his reasoning is so artful, and wickedly contrived to make mock of the scriptures, and which men, by carelessly reading, may not discern his folly; and therefore they are carried away with his pernicious doctrines.” Her attack on Hewson Clarke is motivated by more personal reasons, as she had been the object of a report in The Scourge that she “attended Carpenter’s chapel... dressed in diamonds, and fell in love with the candle-snuffer, a comely youth, and went away with him....” The recipient of Southcott’s dictation is identified as Ann Underwood, witnessed by Jane Townley. WRIGHT 56(1). GIMBEL (PAINE) 25:So8a. $600. 387. Spalding, A.G.: AMERICA’S NATIONAL GAME HISTORIC FACTS CONCERNING THE BEGINNING EVOLUTION, DEVELOPMENT AND POPULARITY OF BASE BALL WITH PERSONAL REMINISCENCES OF ITS VICISSITUDES, ITS VICTORIES AND ITS VOTARIES. New York: American Sports Publishing Company, 1911. xix,[1],[1]-542pp. Thick octavo. Bright blue ribbed cloth, lettered in gilt, and with gilt depiction of Uncle Sam at bat on the upper cover. Portrait, frontis, illustrations, photographs and plates (some folding). Bookplate on front pastedown, very slight tanning to edges of text block, as usual, early ink name neatly erased from front free endsheet, trivial tiny crack at crown of rear inner hinge -- all relatively minor detractions for an unusually bright, tight copy of a book most often seen in dodgy condition. First edition. Illustrated with ‘cartoons’ by Homer C. Davenport. One of the key works in the literature of baseball, by one of the prime movers in its codification and development. In addition to his pitching career (which began in 1865), Spalding helped organize the National League, cofounded the Spalding sporting goods company, and published the first official rules guide for the game. This book was published four years prior to his death. $2750.

388. [Stanbrook Abbey Press]: Craihead, Meinrad: THE MOTHER’S BIRDS IMAGES FOR A DEATH AND A BIRTH. Worcester: Stanbrook Abbey Press, 1976. Small oblong quarto. Full black morocco, decorated in blind. Illustrated with monochrome plates reproduced by offset lithography at Skelton’s Press. Fine in acetate wrapper and slightly marked slipcase. First edition, deluxe issue. One of thirty copies printed on handmade paper, numbered in Roman, and signed by the printer and author/artist, from a total edition of 240 copies. Accompanied by a copy of the separate printing of John Dreyfus’ memoir of Dame Hildreth and the revived Press from The Book Collector, inscribed by Dreyfus. $600. 389. Stein, Gertrude: WHAT ARE MASTERPIECES? Los Angeles: The Conference Press, [1940]. Cloth. Portrait. A fine, unfaded copy in very faintly edgeworn dust jacket. Half morocco clamshell box. First edition, limited issue. One of fifty numbered copies, with a special inserted limitation leaf signed by the author. Based on having encountered copy #58, the bibliographer notes that the number may have been larger. The original prospectus and order slip are laid in. WILSON A 35b. $750. 390. Stein, Gertrude: PARIS FRANCE A MEMOIR. [Covelo, CA]: The Yolla Bolly Press, [2000]. Oblong quarto. Pictorial boards. Illustrated with drawings by Ward Schumaker. Very fine in slipcase, with prospectus and other promotional material. One of two hundred numbered copies, signed by the artist, and by George Plimpton, who contributed an afterword. Set in Gill Sans by Michael and Winfred Bixler, and printed by Aaron Johnson and Sarah Granatir on Somerset paper. $450. 391. Stevens, Wallace: THE COLLECTED POEMS OF.... New York: Knopf, 1954. Large octavo. Cloth. Portrait photograph by Sylvia Salmi. Trace of sunning at edges, otherwise very good to near fine, in slightly nicked and frayed, modestly tanned and soiled dust jacket. First edition of this multiple award-winning collection. One of twenty-five hundred numbered copies. Includes a concluding section of poems, caption titled “The Rock,” of which some twenty or so are collected here for the first time. This copy bears Stevens’ year of publication presentation inscription to a Hartford friend: “To ol’ Frank Handley from Doctor Stevens Wallace Stevens Xmas 1954.” The book was published in October. On January 1955, Stevens accepted the National Book Award for the collection, and it received the Pulitzer Prize shortly thereafter. EDELSTEIN A23.a.I. $3000. 392. Stevenson, Robert Louis: A CHILD’S GARDEN OF VERSES. London: Longman’s Green, and Co., 1885. Small octavo. Blue cloth, lettered in gilt, bevelled edges, t.e.g., others untrimmed. Binding darkened and worn, with chipping to spine ends, old (and now elapsed) repairs to inner hinges between endsheets and text block, endsheets darkened (and rear pastedown bubbled), shaken, one leaf carelessly opened, with marginal chip; a heavily used and traveled copy, with fine provenance. “Second edition” (i.e. second printing of the first edition). A fine family association copy, inscribed by Stevenson’s mother on the half-title: “John Balfour from his affect Grand Aunt M.I. Stevenson October 1885.” Margaret Isabella (Balfour) Stevenson (1829-1897), or “Maggie” (as she was known to her family), married Thomas Stevenson in 1848 and gave birth to RLS in 1850. She had a strong and loving relationship with her son. Although quarrels between RLS and his father about religion, his career and his marriage were upsetting to the family, the family remained close. After her husband died in 1887, Maggie went with RLS and Fanny on their travels to America and the South Seas and even settled with them in Vailima. She returned to Edinburgh to live with her sister after RLS died. BEINECKE 195. HAYWARD 297. PRIDEAUX A35. $2750.

Presented to His Mother 393. Stevenson, Robert Louis: VIRGINIBUS PUERISQUE AND OTHER PAPERS. London: Chatto & Windus, 1887. Small octavo. Original polished brick-red buckram, t.e.g., others untrimmed. From the collection of Arthur H. Houghton, with his book label on front pastedown. Cloth evidently treated at an early date with some sort of shellac-like fixative, a bit faded and worn, with offsetting to endsheets and short crack at toe of front inner hinge, otherwise a good, sound copy. Second edition, regular English issue. Presentation copy, inscribed by the author on the half-title: “To my mother Robert Louis Stevenson.” According to the Chatto and Windus stock book, 1000 copies of this edition were printed. The first edition appeared in 1881. Margaret Isabella (Balfour) Stevenson (1829-1897), or “Maggie” (as she was known to her family), married Thomas Stevenson in 1848 and gave birth to RLS in 1850. She had a strong and loving relationship with her son. Although quarrels between RLS and his father about religion, his career and his marriage were upsetting to the family, the family remained close. After her husband died in 1887, Maggie went with RLS and Fanny on their travels to America and the South Seas and even settled with them in Vailima. She returned to Edinburgh to live with her sister after RLS died. BEINECKE 74. $6500. 394. [Stieglitz, Alfred]: MSS. New York. April 1922. Whole number three (of six published) Quarto. Typographically decorated self-wrappers. Modest dust tanning at edges, a few minor spots, otherwise a very good copy. Edited by Paul Rosenfeld and Herbert Seligmann, with Alfred Stieglitz serving as patron/ advisor (copyright is taken in the name of “291”). A highly important periodical: the sixth and last issue appeared in May of 1923. The number of copies printed of each issue ranged from two to three thousand. This number is turned over to the topic “What is True Art” and prints an exchange catalyzed by an editorial in the Freehold New Jersey Transcript between J.B. Kerfoot and W. R. Moreau. “For the cover design: apologies to ‘Dada’ (American) and Marcel Duchamp, Man Ray, and acknowledgement to ‘Anonymous.’” $450.

395. [Stone House Press]: Bertin, Charles: CHRISTOPHER COLUMBUS. [Providence & Roslyn]: John Carter Brown Library / The Stone House Press, 1992. Quarter morocco and silk over boards, stamped in gilt, t.e.g. Illustrated with wood-engravings by John de Pol, as well as illustrations from historical sources. Fine, with folding portfolio, the whole enclosed in folding clamshell box. First illustrated edition of William Jay Smith’s translation of Bertin’s play, here present in the deluxe issue of twenty numbered copies, specially bound, and signed by the illustrator, the printer/publisher and the binder, Deborah Evetts, and accompanied by an extra suite

of the six original wood-engravings, each signed by the artist. The regular issue consisted of two hundred copies. Laid in is a t.l.s. about the book from the printer/publisher, Morris Gelfand, to the original subscriber for this copy. $850. Proof Copy 396. [Surtees, Robert Smith]: HILLINGDON HALL; OR, THE COCKNEY SQUIRE; A TALE OF COUNTRY LIFE. By The Author of “Handley Cross.” London: Henry Colburn, 1845. Three volumes. Original forest green cloth, decorated in blind, spines lettered in gilt, edges untrimmed. Bindings faintly spotted and edgeworn, toe of first spine badly snagged (2 cm, with no loss), some marginal smudges and such as consistent with editorial use, else a good, bright set, in half morocco slipcase. Ownership signature of Rebecca Lightup in each volume. A proof copy of the first English edition, occasionally marked “Author’s Proof,” but in fact an in-house set of sheets, marked up by a proof-reader, with corrections to spelling, punctuation, pagination, imperfect leading and more, on about 75 pages. This, the third of Surtees’ popular sporting novels, features once again his most famous creation, the ‘jolly, free-and-easy, fox-hunting grocer,’ Jorrocks, who buys a manor and runs for Parliament. The novel, a satire on the Anti-Corn League, had been serialised in 1844 in the New Sporting Magazine, a publication Surtees had helped found, and also appeared in a New York edition in that year. Proof copies of Victorian three-deckers survive only infrequently. In this set, some gatherings are marked “R” as read, two noting more specifically “Read Sept. 22 F.W.” A further gathering bears the head-note “M.W. Author’s proof. read back.” The changes in this gathering are more substantial than elsewhere, altering for example “an order was despatched” to “a messenger was despatched” (vol. II, p. 116), and modifying the spellings of the name “Tompkins” (p. 105). Though the hand is that of a proof-reader, it is most likely that it reflects authorial corrections made to another proof set. SADLEIR 3163. $7500. With a Fine -- and Relevant -- Letter 397. Sutphen, W.G. Van T., and A.B. Frost [illustrator]: THE GOLFER’S ALPHABET ILLUSTRATIONS BY ... RHYMES BY .... New York & London: Harper & Brothers, 1898. Oblong small quarto. Cloth backed pictorial paper boards. Illustrated throughout. Edges and fore-tips shelfworn and bumped, endsheets a bit foxed, boards a bit dust darkened, but a good copy of a fragile book. First edition. Loosely-inserted is an autograph letter, signed (“Frost”) from the artist, 3pp, 8vo, on the blue printed stationery of Convent, Morris County, New Jersey, 2 May, 1898. To “Frank,” inviting him to play golf at the Morris County course, and to view some art on which Frost is currently employed: “I am at work on some golf caricatures that I would like to have you see, but I wouldn’t let you see unless you saw them in my studio: I think they are pretty good and I see a good scheme [?] in them….” Further, Frost refers to his own prowess as a golfer (“ ... I can’t hit a balloon yet; played Saturday and today and am pretty rank...”) and thanks his correspondent for allowing him to send the “Bicycle drawing” to him, adding: “I feel sure any idea you have for a book is a good idea, and I can almost say I am ready to go with [?] it.” Beneath his signature, Frost has drawn a caricature of himself playing golf, captioned: “This is the way the ball looks so I hit it on its top.” Letter slightly soiled and worn; edges browned; some slight marking on verso, else very good. The recipient of this letter may be the author, Frank R. Stockton, whose property in Morristown, New Jersey, “The Holt,” adjoined Frost’s own property at Convent Station. Frost illustrated a number of Stockton’s stories, and was one of the latter’s few intimate friends. REED, p.158. $3500. 398. [Swift, Jonathan]: TRAVELS INTO SEVERAL REMOTE NATIONS OF THE WORLD. IN FOUR PARTS. BY LEMUEL GULLIVER, FIRST A SURGEON, AND THEN A CAPTAIN OF SEVERAL SHIPS. London: Printed for Benj. Motte, 1726. Four parts bound in two

volumes. xvi,148;[6],164;[6],155,[1 (blank)];[8],199pp. Octavo. Later deep red morocco by Riviere & Son, gilt fillets, raised bands, gilt compartments, gilt inner dentelles, a.e.g. Engraved portrait frontis, six engraved maps and plates. Very careful and unobtrusive restorations to the spine extremities, small booklabel of Robson & Kerslake in first volume, a very good or better set. First edition. Teerink’s “A” edition, with the frontis portrait in the second state, with the inscription within the oval frame rather than on a tablet below it. This copy is of particular interest in that it has bound in to the second volume before the title a leaf with an inset signature by Swift, evidently clipped from the foot of a vellum legal document, signed using the official form of words that he used in his position as Dean of St. Patrick’s Cathedral; it reads: “Jonath: Swift Decan Ecle / Cathdr. Sti Patr Dublin.” This signature is mounted above a paper seal which appears also to be from St. Patrick’s. Bound into volume one is a single leaf, with a poem on the verso in a contemporary manuscript hand, titled “To Quinbus Flestrum an ode by Titty Titt Poet Laureat / to ye Emperor of Lilliput.” It is a version of the poem which was printed, in company with three other poems, in the 1727 pamphlet, Several Copies Of Verses On Occasion Of Mr. Gulliver’s Travels. Those poems were traditionally attributed to Pope, but are now considered by several authorities a collaboration between Pope, John Gay, and Arbuthnot. This particular poem was ascribed to Gay as early as the 1864 collected edition of his works, but the manuscript here presents considerable variation in punctuation from the version printed there, one variation in line order, and the correction of two words. It does not compare favorably to Gay’s hand, but does bear some similarities (none definitive) to Pope’s. Additionally, at the end of the first volume, a sheet of letterpress reprinting the key to the anagrams used in the Lilliputian debates, originally published in The Gentleman’s Magazine .. vol. XIII, [London. 1743], has been bound in. This, Swift’s best known work, was published anonymously. Written in Dublin between about 1720 and 1725, the finished manuscript was brought to England by Swift when he left Ireland for London in March 1726. During his visit he stayed with friends, including Alexander Pope. Pope, along with John Gay and John Arbuthnot, helped Swift arrange for the publication of the book, and it appeared on 28 October 1726. Even after its publication Swift kept up the public pretence of having had no hand in it, but the immediate popularity of the work can be gauged from the fact that there were four printings within a year, as well as translations into French, German, and Dutch. It has an irrevocable claim to a place among the great social and political satires of Western literature, and though occasionally in a bowdlerized form, as well among the classics of children’s literature. PRINTING & THE MIND OF MAN 185. ROTHSCHILD 2104. TEERINK 289. GROLIER ENGLISH HUNDRED 42. $60,000. 399. Swinburne, Algernon C.: A MIDSUMMER HOLIDAY AND OTHER POEMS. London: Chatto & Windus, 1884. Original slate-blue cloth, lettered and ruled in gilt. Endsheets a trifle foxed, otherwise a very good, bright copy. First edition. One of fifteen hundred copies printed. A fine association copy, inscribed on the half-title: “Mary A.B. Gordon from her affectionate nephew A C Swinburne.” Lady Mary Gordon, nee Ashburnham (Swinburne’s mother’s sister), her husband, Sir Henry, and their daughter, Mary, were favorite relatives of Swinburne. At times of duress (for example after the death of his sister in 1863, and after an emotional collapse in 1874), Swinburne would seek out the Gordons and stay with them -- either at their estate at Northcourt or at their seaside home at Niton (both on the Isle of Wight). Beginning as child playmates and continuing over the years, he became quite close with his lively, accomplished cousin Mary -- so close that much has been written about the relationship (such as their mutual interest in flagellation; their shared erotic interests formed the basis for his Lesbia Brandon). WISE 76. $2000.

Inscribed to His Mother 400. Swinburne, Algernon C.: MARINO FALIERO A TRAGEDY. London: Chatto & Windus, 1885. Slate blue cloth, lettered and ruled in gilt. Spine stamping slightly rubbed, pencil notes on front pastedown, otherwise very good, First edition. One of 1250 copies printed. A fine presentation copy, inscribed by the poet to his mother on the half-title: “Jane H. Swinburne from her affectionate son Algernon Ch. Swinburne May 1885.’’ With the bookplate of Francis Colchester-Wemyss. WISE 77. $2500. 401. Swinburne, Algernon C.: ATALANTA IN CALYDON: AND LYRICAL POEMS ... SELECTED, WITH AN INTRODUCTION, BY WILLIAM SHARP. Leipzig: Bernhard Tauchnitz, 1901. 12mo. Original printed wrappers, untrimmed. Wrappers faintly dust soiled, short closed tear in upper wrapper at toe of upper joint, otherwise a very good copy, with the bookplate of Carroll Atwood Wilson. Cloth slipcase and chemise (a bit darkened, with typo on spine). First edition in this format, published as Vol. 3522 in Tauchnitz’ “Collection of British Authors” series. A presentation copy, inscribed by the poet on the half-title: “To Mrs. Mason with kindest regards from A.C. Swinburne.” The recipient was the sister of Swinburne’s friend, Theodore Watts-Dunton; she was the mother of the young “Bertie” Mason upon whom the poet doted in his late years. TODD & BOWDEN 3522a. $1250. Association Copy 402. [Swinburne, Algernon C.]: Hueffer, Ford Madox: ROSSETTI A CRITICAL ESSAY ON HIS ART. London & New York: Duckworth & Co / E.P. Dutton & Co., [1902]. Small octavo. Gilt decorated medium green cloth, t.e.g. Frontis and plates. Spine a shade sunned, a trace of sunning at the extremities, else a very good, bright copy. First edition, British cloth-bound issue. A charming association copy, inscribed on the front free endsheet: “Isabel Swinburne from her affectionate brother A.C. Swinburne.” HARVEY A10. $650. 403. Symonds, John A.: IN THE KEY OF BLUE AND OTHER PROSE ESSAYS. London & New York: Elkin Mathews & John Lane / Macmillan & Co., 1893. Pale blue cloth, elaborately stamped in gilt after a design by Ricketts, t.e.g. Spine a bit darkened, with small nicks at head and toe, endsheets a bit tanned and foxed, bookplate on front pastedown and pencil name, still a very good copy. First edition, ordinary paper issue, in the proper first state of the binding. “A few copies were bound in light blue cloth, and the late Mr. Mathews informed me that the whole of the ordinary issue was to have been so bound, but that Mr. Ricketts came in and objected, making a jest about ‘Ricketts’ Blue,’ [a common commercial dye of the time] and therefore the cream cloth was substituted” – Babington. “Beyond doubt this state is highly uncommon, and there appears every reason to believe these are the earliest copies...” – Colbeck. BABINGTON 56. COLBECK II:815. $750. 404. [Symons, A. J. A.]: A BIBLIOGRAPHICAL CATALOGUE OF THE FIRST LOAN EXHIBITION OF BOOKS AND MANUSCRIPTS HELD BY THE FIRST EDITION CLUB 1922. London: Privately printed for the First Edition Club, 1922. Cloth backed boards, paper labels. Illustrations. Spine label slightly chipped, boards a little soiled and edgeworn, but a very good copy of a handsome book. Spare labels tipped-in at the rear. First edition. No. 46 of 500 copies printed by the Curwen Press. Contains a preface by A.J.A. Symons who was the Director of the Club. With a presentation inscription on the front free endsheet: “For Mrs. Leonard Cohen this copy containing the signatures of the contributors to the Exhibition -- 1922.” Throughout the book are the signatures, some

inscribed and others mounted, of board members and contributors Percy Smith, Max Judge, George Mansell, Ashley Gibson, A.J.A. Symons, John Lane, J.D. Beresford, Elizabeth C. Yeats, Edmond Barclay, H.V. Marrot, H.E. Hooper, Charles Whibley, William Garth, John P. Kellogg, Wyatt Wyatt-Paine, T. Werner Laurie, Harold Fisher, Constant Huntington, Elizabeth Cohen, and F.G. Nutt. Loosely-inserted is an a.l.s. (2pp, small 4to, on printed letterhead of The First Edition Club, 6 Little Russell Street, London, W.C.1, 7 October 1924) from Symons to Mrs. Cohen, presenting the volume: “At last I am able to send you ... the Bibliographical Catalogue containing the signatures of all the exhibitors. It has not been at all easy even to get signatures to put in -- to get them actually written in the book out of the question. Some of those concerned are in America -- some dead -- many out of my reach … This copy has the additional virtue of being the only one -- for my efforts to make up other copies failed and have been abandoned. In its travels this copy has got rather dirty, so I send you a clean ordinary one [no longer present] too….” A second sheet of F.E.C. letterhead contains “A List of the Signatures” written out in Symons’ attractive, calligraphic hand. Folds, else fine. In his “Prefatory Note” Symons states: “The special thanks of the Club are due to Mr. and Mrs. Leonard Cohen, whose kindness in lending their house made this first exhibition possible. . . .” Items contributed to the exhibition by Mrs. Cohen included “The original drawings by Hablot K. Browne (“Phiz”) for Dickens’ novel”, Bleak House [p. 55] and “A Complete Collection of Books illustrated by Hugh Thomson, together with four original drawings by the artist” [pp. (117)-126]. sold Presentation Copy to Edmund Gosse 405. Symons, Arthur: STUDIES IN PROSE AND VERSE. London: J.M. Dent & Co., [nd. but ca 1904]. Original cloth, t.e.g., others untrimmed. Portraits in photogravure. Spine ends a trifle bumped, otherwise a very good, bright copy, with the small book label of Herbert Boyce Satcher. First edition thus, reprinted in part from Studies In Two Literatures (1897). A fine association copy, inscribed by the author on the front free endsheet: “To Edmund Gosse from Arthur Symons Oct: 30: 1904.” In Edmund Gosse A Literary Landscape (Chicago, 1984), Ann Thwaite writes that Gosse met Arthur Symons on 12 April 1891: “Symons, who would be such an influence on Yeats, came from a background very similar to Gosse’s. He had spent his childhood in Devon and Cornwall; his father was a narrow Wesleyan preacher; he had left school at seventeen and had worked at the British Museum. It was not surprising that he was particularly welcome at Delamere Terrace and that Gosse was trying to use his influence to get Heinemann to publish Symons’s poems ...” (see p. 327). NCBEL III:650. DANIELSON 240. $750. 406. Symons, Arthur: WANDERINGS. London & Toronto: J.M. Dent and Sons, Ltd., [1931]. Purple cloth. Frontis and plates by G.E. Chambers. Boards slightly bowed, several humidity spots to sizing along the edges of the cloth, otherwise a good copy in chipped dust jacket. Small booklabel of Herbert Boyce Satcher. First edition. Inscribed by the author: “To Ethel Cendy who copied so many of these pages from Arthur Symons: September 15: 1931.” NCBEL III:650. $250. One of Ten on Japan Vellum 407. Symons, Arthur: A STUDY OF WALTER PATER. London: Charles J. Sawyer, 1932. Small quarto. Blue cloth, lettered in gilt. Portrait. Extremities sunned, slight bubbling to cloth on upper board, endsheets lightly foxed, otherwise a very good copy. With the book label of Herbert Boyce Satcher on the front pastedown. First edition, deluxe issue. One of ten copies on Japanese vellum (not for sale) from a total issue of 460 copies. This copy unnumbered, but signed by the author. $350.

408. Tarn, Nathaniel: OCTOBER: THE SILENCE. [Milan]: M’Arte Edizioni, [1970]. Folio (39.5 x 29 cm). Loose sheets and bifolia laid into printed wrappers. Enclosed in publisher’s board chemise and slipcase. One corner of slipcase bumped, otherwise fine. First edition. Illustrated with two original color lithographs by Kumi Sugai. Tarn’s text is printed in facsimile of the manuscript (and signed by him in pencil at the conclusion), as well as in translation by Roberto Sanesi. Each of the lithographs is signed and numbered by the artist. From a total edition of 130 copies, this is one of seventy-six numbered 31 through 106. BARTLETT A8. $1200. 409. Thomas, Edward: THE DIARY OF EDWARD THOMAS 1 JANUARY – 8 APRIL 1917. [Andoversford, Gloucestershire]: The Whittington Press, [1977]. Large octavo. Full dark brown morocco, spine lettered in gilt, t.e.g. Illustrations, facsimiles. Margins of endsheets darkened from morocco turn-ins, spine a bit sunned, else fine in slipcase. First edition in book form. Foreword by Myfanwy Thomas, and an Introduction by Roland Gant. Illustrated with eight wood-engravings by Hellmuth Weissenborn. One of fifty deluxe copies, specially bound and numbered in Roman, signed by the artist, Gant and Thomas, from a total edition of 575 copies printed on Arches. Thomas kept this diary during his last weeks at the Front, prior to his death on 9 April. Weissenborn’s woodcuts are based on sketches he made at about the same time, on the other side of the lines. $450. 410. Tomlinson, William, and Richard Masters: BOOKCLOTH 1823 – 1980 A STUDY OF EARLY USE AND THE RISE OF MANUFACTURE WINTERBOTTOM’S DOMINANCE OF THE TRADE IN BRITAIN AND AMERICA PRODUCTION METHODS AND COSTS AND THE IDENTIFICATION OF QUALITIES AND DESIGNS. [Stockport, Cheshire, UK: Dorothy Tomlinson, 1996]. xvi,143,[1]pp. plus 11 leaves, each bearing six tipped-on cloth samples. Small quarto. Gilt lettered burgundy cloth, t.e.g.. Portraits, plates and illustrations (some in color). Fine in slipcase. First edition. One of 1500 copies printed. Foreword by Bernard Middleton. A substantial work of economic history, as well as a study of technology and materials. $150. 411. TRANSITION. Paris. August 1927 through March 1928. Whole numbers five through twelve. Eight issues. Bound up in two volumes, contemporary cloth and boards, stamped vellum spine labels, original printed wrappers and index to issues 1-12 bound in. Labels scraped and worn, some modest soiling to spines, usual tanning to margins of text blocks (but no brittleness), otherwise internally very good, externally good and sound. Edited by Eugene Jolas and distinguished associates. A substantial portion of the first volume of the most famous and influential expatriate literary periodical of its times, and with The Little Review and The Dial, one of the cornerstone periodicals nurturing the advent and progress of literary Modernism. In addition to providing the forum for the serial publication of Joyce’s Work In Progress, transition records a virtual who’s who of the literary innovators of the times (with the notable exception of Ezra Pound, whose lack of affinity with one of the most frequent contributors may have led him to steer a separate course). Among the contributors to these eight issues are Joyce (six installments from WIP), Hemingway, Picasso, Benn, Eluard, McAlmon, Boyle, Sage, Imbs, Breton, Coates, MacLeish, Desnos, Stein, Geddes, Man Ray, Solano, Williams, Tate, Rodker, Winters, Riding, Arp, Graves, Crane, Calder, Ernst, Reverdy, D. Powell, Schwitters, Kreymborg, Gide, Lowenfels, Larbaud, Barnes, Josephson, Miro, Cowley, Paul, Tanguy, Kafka, Breton, de Chirico, Roussel, Neagoe, Callaghan, Bowles, Masson, Picabia, Rakosi, and many, many more. HOFFMAN, et al, p.286. $1250. 412. TRANSITION AN INTERNATIONAL QUARTERLY FOR CREATIVE EXPERIMENT. Paris. Summer 1928. Whole number 13. Large octavo. Pictorial wrappers (after a design by Picasso). Plates. Modest tanning, as usual, spine ends slightly frayed, with neat repair at crown, otherwise very good, largely unopened.

Edited by Eugene Jolas and distinguished associates. Among the contributors to this number are Joyce (WIP), Abbott, MacLeish, Neagoe, Stein, Cowley, Williams, Porter, Man Ray, Gilbert, Atget, Boyle, Coates, Riding, et al. HOFFMAN, et al, p.286. $200. 413. TRANSITION AN INTERNATIONAL QUARTERLY FOR CREATIVE EXPERIMENT. Paris. February 1929. Whole number 15. Large octavo. Pictorial wrappers (after a photo by Man Ray). Plates. Modest tanning, as usual, spine ends slightly frayed, title/half-title roughly opened at top edge, a few small dents to lower wrapper, otherwise very good, largely unopened, and with the original printed coverslip still intact. Edited by Eugene Jolas and distinguished associates. Among the contributors to this number are Joyce (WIP), Man Ray, Larbaud, Cowley, Williams, Stein, Desnos, McAlmon, Paul, Crane, Modotti, Boyle, Herrmann, Crosby, Zukofsky, Atget, et al. HOFFMAN, et al, p.286. $200. 414. TRANSITION AN INTERNATIONAL QUARTERLY FOR CREATIVE EXPERIMENT. Paris. June 1930. Double number 19/20. Large octavo. Pictorial wrappers. Plates. Modest tanning, as usual, spine ends slightly frayed, small chip at lower fore-corner of upper wrapper, otherwise very good, with the original printed coverslip still intact, though with a large chip at one corner. Edited by Eugene Jolas and distinguished associates. Among the contributors to this number are Jung, Picasso, Artaud, Masson, Empson, Eberhart, Reavey, Brown, Tzara, Gilbert, Fay, Gris, Döblin, Grosz, Boyle, Williams, Boyle, Beckett, Fitts, Ford, Thoma, Hugnett, Goll, and a special memorial to Harry Crosby by various hands. HOFFMAN, et al, p.286. $200. 415. TRANSITION AN INTERNATIONAL WORKSHOP FOR VERTIGRALIST TRANSMUTATION. The Hague: Servire Press July 1935. Whole number 23. Large octavo. Pictorial wrappers (after a drawing by Paul Klee). Plates. Crown of spine chipped, extending a bit into the upper spine corner of upper wrapper, short creased snags into upper margins of first four leaves, upper portion of lower wrapper soiled, otherwise very good, with the printed wraparound band laid in (a bit chipped), along with the separate Testimony Against Gertrude Stein supplement (the latter quite fine). Edited by Eugene Jolas. Among the contributors to this number are Joyce (WIP), Carpentier, Kafka, Benn, Cowley, Goll, Gabo, Arp, Lipschitz, a special Paramyths section, as well as an “Inquiry on the Malady of Language.” HOFFMAN, et al, p.286. $125. Trollope’s Copies -- And Perhaps The Author’s Own As Well 416. [Trollope, Anthony]: Bell, Robert: TEMPER A COMEDY IN FIVE ACTS. London: T.H. Brown, 1847. [2],73,[3]pp. [bound with]: MARRIAGE: A COMEDY, IN FIVE ACTS, AS PERFORMED AT THE THEATRE ROYAL HAYMARKET, ON THE 27TH JANUARY, 1842. London: Longman and Co., 1842. xii,164pp. [bound with]: MOTHERS AND DAUGHTERS: A COMEDY, IN FIVE ACTS, AS PERFORMED ONCE ... AT THE THEATRE ROYAL, COVENT GARDEN, ON THE 24TH JANUARY, 1843 .... London: John Mortimer, 1844. xxv,[1],128pp. Large octavo. Contemporary black calf (rubbed and worn, with crown of spine chipped away and lacking spine label, hinges split); internally, apart from some foxing and light tanning, very good. First editions of the first and third titles, second edition, “with an explanatory preface” of the second. Anthony Trollope’s copy, with his armorial bookplate (inscribed with manuscript initials “R.B.”), and shelf label (numbered “E/8”) on the front pastedown. Robert Bell (1800-67), prominent English journalist, miscellaneous writer and editor of the Annotated Edition of the British Poets (24 vols., 1854-7), became one of Trollope’s closest friends and literary associates, recruiting him on behalf of the Royal Literary Fund and proposing

him for membership in the Garrick Club. In 1867, Trollope asked Bell to be his sub-editor of St. Paul’s Magazine, but the ill-health which soon led to his death forced him to decline. Trollope wrote a memorial tribute to Bell (published in the Pall Mall Gazette, 13 April 1867) and worked to obtain a pension for his widow. The initials, “R.B.” on Trollope’s bookplate in this volume may have been the novelist’s method of identifying those numerous books in his library which formerly belonged to Bell. N. John Hall in The Letters Of Anthony Trollope (Stanford, California, 1983, p. 382) explains: “Bell’s library had been put up for auction by his impoverished widow, but Trollope went to the executers, had the auction arrangements canceled, and bought the entire library at a price above market value. ‘We all know,’ he said, ‘the difference in value between buying and selling books.’ (Escott, p.307).” $1500. 417. Trollope, Anthony: ORLEY FARM. London: Chapman and Hall, 1862. Two volumes. Original blindstamped brown-purple grained cloth with gilt decorated spines, untrimmed. Illustrations by J.E. Millais. Spines a little faded (as usual), small perforation to rear endsheet gutter of vol. II, some offsetting to pastedowns and light foxing to endsheets, otherwise a fine set in an amateurish half-morocco slipcase with cloth-covered insert. Very scarce in this condition. First edition in book form (originally issued in twenty monthly parts), possibly mixed issues. Sadleir notes that “reprinting of the two volumes was not simultaneous ... and I believe that the numerous combinations of varying volumes which exist are due, not always to careless mixing of sets between 1862 and present day, but often to circumstances of publication.” In this set, the first volume corresponds generally with Sadleir’s first issue, bearing the stabholes of the original bound-together parts, vertically grained cloth, and the printer’s imprints on verso of the title and on p. 320. However, Sadleir calls for two plates to be together between pp. 86 and 87, and in this volume, one of the plates is bound-in facing p. 73, which Sadleir indicates is a second issue trait. In this set, Volume II has vertically grained cloth, as called for in Sadleir’s third issue, but otherwise corresponds with Sadleir’s first issue. No advertisements are included in either volume. However, Sadleir indicates: “the presence of absence of a catalogue ... will, in the case of Orley Farm, have even less than its usual significance, because of the tangled chronology of the novel’s piecemeal issue.” SADLEIR 13. $8500. 418. Trollope, Anthony: MR. SCARBOROUGH’S FAMILY. London: Chatto & Windus, 1883. Three volumes. Original decorated blue-green cloth, lettered in gilt, decorated in red. Some bubbling to cloth of first volume at front joint, endsheets and pastedowns of each volume a bit foxed, otherwise a bright, very good to near-fine set. In a competently produced half-morocco slipcase, cursed with crudely printed leather labels. First edition in book form. Originally published weekly in All The Year Round between 27 May 1882 and 16 June 1883. This edition appeared in May of 1883, and the title was never reprinted as a triple-decker. A 32pp. publisher’s catalogue, dated March 1883, appears at the end of the first volume. As it was Trollope’s debut under the imprint of Chatto & Windus, this title was published in a relatively large edition (for a 3 volume novel). But, it was also a popular novel, so copies in this condition are not the rule. SADLEIR (TROLLOPE) 66. $7500. 419. Trumbo, Dalton [adap]: ...”THE LAST SUNSET”... [Np]: Universal International, 25 April 1961. [158] leaves. Quarto. Mimeographed typescript, printed on rectos only, bradbound at top edge. Near fine. A dialogue continuity script for Dalton Trumbo’s screen adaptation of Howard Rigsby’s novel, Sundown At Crazy Horse. The 1961 release was directed by Robert Aldrich and starred Rock Hudson, Kirk Douglas, Dorothy Malone and Joseph Cotton in a cattle and gunfight driven melodrama set on the Texas-Mexico border. Trumbo had emerged from the shadow of the Blacklist the previous year, with his credits for Exodus and Spartacus, due in part to Douglas’s advocacy. An uncommon script, even in this format. $325.

Important Imaginary Voyage 420. [Tyssot de Patot, Simon]: THE TRAVELS AND ADVENTURES OF JAMES MASSEY. TRANSLATED FROM THE FRENCH. London: Printed for John Watts, 1733. [12],318,[6]pp. 12mo. Contemporary calf, sympathetically rebacked in matching calf, with raised bands and gilt labels. Engraved frontis (signed “G. Van der Guchte”). Early stamped insignia on front pastedown, modest tanning, but a very good copy. First edition in English of a significant imaginary voyage, of particular import for its relation to early conceptions of Australia. The first edition was published under a false Bordeaux, 1710 imprint, and three other editions appeared similarly dated. Recent authorities have sorted out the precedence, with the first edition being identified with some confidence as actually [Rouen, 1714]. The translator’s dedication is signed Stephen Whatley. Tyssot de Patot’s novel “is a carefully written, well authenticated story of travel and adventure in Europe, in Africa, in Asia, and in an unknown land far beyond the Cape of Good Hope. The realism of the setting is based upon a close following of accounts of real travelers, such as Dellon, Tavernier, Mocquet, and Lahontan. There is nothing fantastic, unbelievable or overdrawn in the descriptions of the Austral continent. Tyssot seems to restrain himself consciously in order to write an apparently true story. Indirect criticism by the example of an imaginary and virtuous community is used here as in all the previous novels of the type. The journey to the unknown land is very carefully authenticated, as is the return journey... Discussions of science and religion are fitted into the adventures much more artistically than in the case of the novels of Foigny and Vairasse...From the point of the history of ideas...[it] is a very interesting document.”- Atkinson. It is also notable for a reference to the Wandering Jew, as well as for a well-constructed bee fable. Atkinson, THE EXTRAORDINARY VOYAGE IN FRENCH LITERATURE FROM 1700 TO 1720, pp. [67]-97. NEGLEY 1118. Gove, THE IMAGINARY VOYAGE IN PROSE FICTION, pp. 217-19. $3000.

421. Tzara, Tristan: L’ANTITÊTE. Paris: Éditions des Cahiers Libres, 1933. Printed wrappers. Textblock uniformly tanned (but not brittle), spine darkened, some small nicks, chips and creases at extremities of wrappers; just a good copy. First edition, “S.P.” issue, in addition to 1218 numbered copies on vélin and Japon Nacré. Warmly inscribed on the half-title by Tzara to French diplomat and writer Gaston Bergery. Laid in is the folded prospectus printing a long statement by Rene Crevel about this work. $350. 422. Valéry, Paul: LA JEUNE PARQUE. Paris: Éditions de la Nouvelle Revue Francaise, 1917. Small quarto. Original printed wrappers. About fine in typically tanned, lightly chipped glassine outer wrapper, which has faintly offset to the extreme edges of the endsheets. First edition. One of 575 numbered copies on Vergé d’Arches, in addition to twenty-five copies on Japon. “Here Valéry broke his long silence of twenty years...This, like all his best poetry is about the act of creation” – Connolly. It is reckoned, by some, the most difficult poem in the French language. MODERN MOVEMENT 31a. $1000. 423. Van Gulik, Robert H.: SEXUAL LIFE IN ANCIENT CHINA A PRELIMINARY SURVEY OF CHINESE SEX AND SOCIETY FROM CA. 1500 B.C. TILL 644 A.D. Leiden: E.J. Brill, 1961. Quarto. Gilt cloth. Frontis and plates. First edition thus, a revision and redaction of some of the work first published in the rare 1951 private edition of fifty copies. Edges and endsheets a bit dust soiled, else a very good copy in shelfworn dust jacket with 3cm snag in front panel. $250. With An Original Collage and Two Planches Refusée 424. Verdet, André, and Max Papart: LUBÉRON. [Paris]: Aux Dépens d’un Amateur, [1967]. Small folio (38 x 29cm). Loose sheets laid into folding cloth portfolio. Fine, with minor wear to tips of portfolio. First edition. A collection of twelve poems by Verdet, accompanied by seven original etchings with aquatint (six in color) by Papart. One of one hundred numbered copies on Grand Vélin de Rives, from a total edition of 113 numbered copies and fifteen hors commerce copies, all signed by the author and artist. Although not called for in the justification, this copy is accompanied by an extra folio, enclosing an original watercolor and paper collage (24.5 x 16.5 cm), signed by Papart, two planches refusée, each captioned and signed by Papart, and a broadside printing of a considerably longer version of the poem, “Pour une belle aprés Mort.” $3250. 425. [Vienna Secession]: Hevesi, Ludwig: ACHT JAHRE SEZESSION (MÄRZ 1897 – JUNI 1905) KRITIK – POLEMIK – CHRONIK. Wien: Verlagsbuchhandlung Carl Konegen, 1906. xiii,[1],550pp. Large, thick octavo. Printed textured stiff paper wrappers, edges rough-trimmed. Some foxing and mild creasing, corner creases and a small chip at toe of spine, otherwise a very good copy. First edition of this substantial record by one of the most important chroniclers of the Vienna Secession (Hervesi is credited with the motto on the entrance to the new Sezessionsgebäude, “To the Time its Art – To Art its Freedom”). Much of the material consists of his press contributions at the time. $450. 426. Walker, Alice: MERIDIAN. New York: Harcourt, [1976]. Cloth and boards. First edition of the author’s first novel. Publisher’s review slip laid in. Fine in dust jacket (although the background image of the dust jacket art leaves the incorrect impression that there is some rubbing at the crown of the spine). $400.

427. Ward, Lynd [illustrator]: NOW THAT THE GODS ARE DEAD. By Llewelyn Powys. New York: Equinox, 1932. Small quarto. Striped cloth. Illustrated with four original woodcuts by Lynd Ward. Cloth a trifle foxed at edges, a few spots of foxing to endsheets, small bookplate shadow in corner of front pastedown, else a very good copy. First edition. One of four hundred copies (this copy not numbered), signed by the author and the illustrator. The first book-length publication of the Equinox Cooperative Press, of which Ward was one of the most active principals. $350. Association Set 428. Ward, [Mary Augustus], Mrs. Humphrey: THE HISTORY OF DAVID GRIEVE. London: Smith, Elder & Co., 1892. Three volumes. Original plum cloth, decorated in blind, spines lettered in gilt. A couple inner hinges cracking slightly, otherwise very good or better set, the spines unfaded, in lightly rubbed half morocco slipcase. First edition, and an author’s presentation copy, inscribed by her on the day of publication on the first blank in the first volume: “To the master in our English painting of colour, charm, joy – with the gratitude of the writer. Jan. 22. 1892.’’ The recipient, though unidentified, was most likely Sir John Everett Millais -- a laid in James F. Drake description asserts categorically Millais was the recipient. SADLEIR 3288. WOLFF 7017. $1500. 429. [Ward, Mrs. Humphrey] Jusserand, J.J.: ENGLISH ESSAYS FROM A FRENCH PEN. London: T. Fisher Unwin, 1895. Gilt navy blue cloth. Frontis and plates. Crown and toe of spine show shallow chipping, inner hinges cracking very slightly, otherwise a good, bright copy. First edition. Presentation copy, inscribed by the author on a front blank: “to Mrs. Humphrey Ward with sincerest regards Jusserand.” In addition to his career as a diplomat, Jusserand was a modestly prolific interpreter of Anglo history and arts for French readers, and was the recipient of the first Pulitzer Prize for history, for With Americans Of Past And Present Days (1916). $250. 430. Weber, Carl J.: A THOUSAND AND ONE FORE-EDGE PAINTINGS WITH NOTES ON THE ARTISTS, BOOKBINDERS, PUBLISHERS AND OTHER MEN AND WOMEN CONNECTED WITH THE HISTORY OF A CURIOUS ART. Waterville, ME: Colby College Press, 1949. Small quarto. Cloth, gilt leather spine label. Tipped-in color frontis. Plates. Bookplate on pastedown, otherwise a very good or better copy in dust jacket (very lightly used and foxed). First edition. One of one thousand copies. The first of Weber’s authoritative explorations of the subject. $400. 431. Weber, Carl J.: FORE-EDGE PAINTING A HISTORICAL SURVEY OF A CURIOUS ART IN BOOK DECORATION. Irvington-on-Hudson: Harvey House, Inc., 1966. Small quarto. Gilt cloth. Frontis and plates (some in color). Bookplate, else about fine in faintly rubbed, price-clipped dust jacket. First edition of Weber’s second authoritative, and suitably cautionary, exploration of the subject. $350. 432. Welch, Denton: A LUNCH APPOINTMENT. [North Pomfret]: Elysium Press, [1993]. Cloth, paper spine label. Foreword by Edmund White. Illustrations by Pierre Le-Tan. Fine, though wanting the plain paper shipping wrapper. First edition. One of 150 numbered copies, printed by hand on Arches at the Dartmouth College Graphic Arts Workshop, from a total edition of 170. An excellent association copy, bearing the publisher’s Feb. 1994 presentation inscription to Edmund White, thanking him for his contribution to the book. $300.

Inscribed to Sassoon, with Two Letters 433. Wells, H.G.: THE CROQUET PLAYER A STORY. London: Chatto & Windus, 1936. Cloth, paper spine label. Light foxing to fore and lower edge, otherwise about fine in very faintly dust-smudged Harold Jones dust jacket. First edition. Inscribed by Wells on the half-title to Siegfried Sassoon: “Siegfried from H.G. with love to George.” Laid in are two a.ls.s. from Wells to Sassoon, London, 28 October and 1 November 1933, 5pp. small octavo, relating to the organization of a dinner party, including Cynthia Asquith among the guests. In June of 1917, Sassoon sent a copy of his statement against the war to Wells, among others, and Wells was supportive. Sassoon visited him in 1922, recording that “I am grateful to (and full of admiration for) the bristling pugnacious little man for the way he succeeds in influencing (and creating) public opinion in the direction of sanity...,” and they remained in contact in later years. “George” was Sassoon’s son, born 30 October of 1936, who pursued a career tangent much closer to Wells’s than his father’s. With the Sassoon Library dispersal label on the front pastedown. $2250. 434. Welty, Eudora: “HENRY GREEN A NOVELIST OF THE IMAGINATION” [caption title]. [Austin]: Reprinted from The Texas Quarterly Special Issue: Britain 2, Autumn 1961. Large octavo. Printed wrappers. Upper wrapper a bit tanned at perimeter, else very good or better. First separate issue, as an author’s offprint, retaining the original pagination, but with the recto of the first leaf blank. Signed by the author on the upper wrapper. The number of copies prepared in this format has been reported variously as 25 or 50. POLK C26. $600. 435. Welty, Eudora: THE SHOE BIRD...ILLUSTRATED BY BETH KRUSH. New York: Harcourt, [1964]. Large octavo. Pictorial cloth. Illustrations. Fine in dust jacket. First edition. Inscribed and signed by the author, and with her characteristic insertion of the missing musical stave and lyrics on page 72. POLK A14:1. $600. 436. Welty, Eudora: LOSING BATTLES. New York: Random House, [1970]. Gilt cloth. Fine in slipcase. First edition, limited issue. One of three hundred numbered copies, specially printed and bound, and signed by the author. POLK A16:1c. $500. 437. Welty, Eudora: ONE TIME, ONE PLACE MISSISSIPPI IN THE DEPRESSION / A SNAPSHOT ALBUM. New York: Random House, [1971]. Square octavo. Pictorial cloth. Photographs by the author. Fine in near fine dust jacket with a few minor rubs at edges. First edition, trade issue. Publisher’s review copy, with dated slip laid in. Inscribed and signed by Welty on the half-title. POLK A18:1b. $450. 438. Welty, Eudora: ARTISTS ON CRITICISM OF THEIR ART I. “IS PHOENIX JACKSON’S GRANDSON REALLY DEAD?” II. A WORON PATH [wrapper title]. [Chicago]: Reprinted from Critical Inquiry, September 1974. Stapled printed wrappers. Small spot of offset to lower wrapper, else near fine. First separate issue, as an author’s separate, specially gotten up in printed wrappers, retaining the original pagination from its appearance in I:1 of the periodical. This copy has been signed by Welty. POLK C48 (ref). $600.

439. Welty, Eudora: A PAGEANT OF BIRDS. New York: Albondocani Press, 1974. Small octavo. Pictorial wrapper over stiff wrappers, paper label. Photographs by the author. Fine. First edition in book form. One of three hundred numbered copies (of 326), all signed by the author. This copy also bears the author’s signed inscription. POLK A20:1. $500. Association Copy 440. Welty, Eudora: FAIRY TALE OF THE NATCHEZ TRACE A PAPER READ AT THE ANNUAL DINNER MEETING OF THE MISSISSIPPI HISTORICAL SOCIETY, JACKSON, MISSISSIPPI, MARCH 7, 1975. Jackson: Mississippi Historical Society, 1975. Paper over boards, printed label. Unobtrusive mend at crown of spine, faint mark on lower board, else about fine, enclosed in custom cloth folder with ribbon ties. First edition. One of one thousand copies printed, according to the colophon, but see the note in Polk about a reprinting, evidently without distinction, to replace several hundred copies that were incorrectly bound. A first-rate association copy, inscribed by the author: “For Red [Warren] – it was wonderful to have you in Jackson, and for Eleanor [Clark] – wishing you’d been here too – Both come sooner next time – with love, Eudora April 8, 1976.” POLK A21:1. $1250. 441. Welty, Eudora: WOMEN!! MAKE TURBAN IN OWN HOME! [Winston-Salem]: Palaemon Press, [1979]. Printed boards. Fine, without dust jacket, as issued. First edition in book form. One of two hundred numbered copies, from a total edition of 235 (i.e. 246) copies, all signed by the author. POLK A24:1. $275. 442. Welty, Eudora: THE COLLECTED STORIES OF EUDORA WELTY. New York: Harcourt, [1980]. Cloth. Fine in slipcase with printed label. First Harcourt edition, limited issue (reported to have been preceded by a Franklin Library printing). One of five hundred numbered copies, specially bound and signed by the author. POLK A27:2C. $500. 443. Welty, Eudora: RETREAT. [Winston-Salem]: Palaemon Press, 1981. Small quarto. Linen backed decorated paper over boards, paper spine label. Fine, without dust jacket, as issued. First separate edition in book form. One of forty copies, specially bound, numbered i-xl, for presentation by the author or publisher, from a total edition of 240 copies. This copy is signed by Welty, and bears her additional signed inscription dated the month following publication. POLK A30:1c. $1000. 444. [Welty, Eudora]: Brooks, Cleanth, et al.: EUDORA WELTY: A TRIBUTE 13 APRIL 1984. [Winston-Salem]: Printed for Stuart Wright, 1984. Large octavo. Half Niger morocco and marbled boards. Fine, without dust jacket, as issued. First edition in book form, published in observance of Welty’s 75th birthday. A collective reprinting of essays by Brooks, B. Malamud, W. Maxwell, R. Price, W.J. Smith, E. Spencer, P. Taylor, Anne Tyler, R. P. Warren and R. Wilbur. One of seventy-five copies, signed by each of the authors at the end of their respective contribution. $850. 445. Wheeler [Wilcox], Ella: DROPS OF WATER: POEMS. New York: National Temperance Society and Publication House, 1872. 132,[8]pp. Original cloth, decorated in black and gilt, t.e.g. Some light dust spotting/discoloration to cloth, some scattered spotting in text (thumb smudges, offset from old floral specimens and the like), otherwise an uncommonly nice, bright copy of a book prone to flaws.

First edition of the poet’s first book, acclaimed as a “puerile collection of temperance verse” by Messrs. Papantonio and Kohn. Her next collection, Poems Of Passion, connected with a wider audience after having been rejected by at least one publisher as “too hot to handle.” One of the poems in that collection (“Solitude”) containing the observation, “Laugh, and the world laughs with you; / Weep, and you weep alone ...,” had particular resonance and her fame took root. While known to the wider public for both her popular verse 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. SEVEN GABLES 34:287. $500. 446. White, E.B.: EVERY DAY IS SATURDAY. New York & London: Harper & Bros., 1934. Tan cloth, stamped in green. Spine a bit sunstruck, causing a bit of a mirroring of the jacket spine design, but a very good copy, in good, considerably dust darkened dust jacket with several short closed edge tears and some patches of shallow chipping at edges. First edition. The first edition consisted of 2500 copies, of which 750 copies remaining in sheets were destroyed by the publisher in 1936. A further selection of White’s contributions to the “Notes and Comments” pages of The New Yorker. No longer common in dust jacket. HALL A7. $350. 447. [White, E.B.]: FAREWELL TO MODEL T. By “Lee Strout White” [pseud]. New York: G.P. Putnam’s Sons, 1936. Small octavo. Green cloth, lettered in black. Illustrations by “Alain.” Edges and endsheets a bit foxed, otherwise a very good or better copy in dust jacket with modest offset soiling to lower panel, a small smudge to the upper panel and some modest edge wear. First edition. The pseudonym is a conflation of White’s name, and that of Richard Lee Strout, whose submission to The New Yorker gave White the idea for this essay. “Alain” is the pseudonym of Daniel Brustlein. HALL A8. $350. 448. White, E.B., and Katherine S. White [editors]: A SUBTREASURY OF AMERICAN HUMOR. New York: Coward-McCann, Inc., [1941]. Cloth. Spine tanned, panel of dust jacket affixed to free endsheet, some foxing, offsetting and soiling, paperclip rust mark, but see below. First edition. Louis Untermeyer’s copy, with his ownership signature on the half title, and in characteristic Untermeyer fashion, with an envelope containing a two-page a.l.s. from White (North Brooklin, ME, 11 December, postmarked 1941), to “Dear Mr. Untermeyer – I’m glad the surgeon’s knife hit the right spot – I suppose it sometimes does. And of course my wife and I were delighted to get your approval of the Subtreasury. We both feel that it could have been a lot better if we had been able to give our whole attention to it (instead of about 1/12 attention), but at any rate we’re satisfied that the reader will get his money’s worth. My wife instructs me to say that she hopes you will be sending some verse (parody or otherwise) to The New Yorker. It is still part of her job to stir up the poets. Many thanks for the letter & best wishes for your convalescence and a good Christmas – Sincerely, E.B. White.” Untermeyer is among the contributors. $650. 449. Whitman, Walt: AUTOGRAPH POSTCARD (SIGNED “W.W.”) TO PETER DOYLE. 431 Stevens Street, Camden, NJ. April 9 [ny, ca. 1874 or later]. U.S. penny postcard, addressed and executed in ink in Whitman’s hand. Vestiges of glassine mounting tabs along one edge of printed side, postally used, otherwise very good. Addressed to: “Peter Doyle / M St. South bet. 4 1/2 & 6th/ Washington, D.C.” Whitman’s brief message on the verso reads: “Another pretty bad week – but up & around. WW” (supplemented by his own address). The association is highly significant, for Doyle was for years chief among Whitman’s male friends, and as many maintain, his most important male lover. Their relationship has come to serve as one of the chief points of attention in

considerations of Whitman’s sexuality, and a key to the understanding of Whitmanesque comradeship between males. Whitman first met Doyle in Washington in December of 1865, when Doyle, a paroled eighteen-year-old Irish Virginian Confederate p.o.w., was working as a streetcar conductor. Their relationship continued for many years, and their correspondence was published in 1897 as Calamus A Series Of Letters Written During The Years 1868-80. sold

450. [Whitney, Adeline D. T.]: MOTHER GOOSE FOR GROWN FOLKS A CHRISTMAS READING. New York: Rudd & Carleton, 1860. Forest green blindstamped cloth, lettered in gilt. Frontis and illustrations. Early pencil name on lightly foxed preliminary blank, otherwise an unusually nice copy, and uncommon thus. First edition. Illustrated by Billings. A very attractive copy of this anonymously published collection of verse by the novelist, occasional writer, and author of children’s books (1824 – 1906). Perhaps in accord with its seasonal motif, the text is printed on faintly rose (or perhaps peach)-tinted paper. $250. 451. [Wilson, Carroll A. (compiler)]: FIRST APPEARANCE IN PRINT OF SOME FOUR HUNDRED FAMILIAR QUOTATIONS. Middletown, CT: Olin Memorial Library Wesleyan University, 1935. Folded and gathered unbound sheets. Outer leaves a bit tanned and faintly dusty, otherwise very good, in somewhat dusty folding chemise. First edition. An interesting association copy of this substantial annotated exhibition catalogue, with the pencil ownership signature of Laurance Thompson, who was then on faculty at Wesleyan and was instrumental in advising about the exhibition and is prominently thanked in the acknowledgements. Laid in is a 1 1/2 page t.l.s. from Wilson to Thompson, New York, 5 October 1934, outlining his plans for the exhibition, stating specifically it was a joint brainchild with “Eddie” (i.e. A. Edward Newton), and outlining plans for a visit to Middletown to undertake the first steps of organization. Also laid in is a 3pp. carbon, forwarded by Wilson to Thompson, 28 February 1935, to L.L. Mackail, defending some of the terminology in the catalogue, correcting some errors, and attributing others to the University’s deadline and budget. On a blank prelim, A. Edward Newton has inscribed and signed this copy: “This is Carroll Wilson’s show – not mine. Why the devil should I be asked to sign his damned book? ....” There are a number of small pencil check marks in the text. The published edition consisted of six hundred copies. $250. 452. [Wine]: Rose, R. Seldon: WINE MAKING FOR THE AMATEUR. New Haven: Printed for Members of the Bacchus Club, 1930. Small quarto. Linen backed pastepaper boards, paper spine label. Wood engravings by F.H. Fischer after drawings by W.A. Dwiggins. Label a bit darkened, forecorners worn, offset to front endsheets (see below), else a very good copy. First edition. One of 515 numbered copies designed and printed by Carl P. Rollins at the Sign of the Chorobates. This copy is not numbered, but bears Rollins’s small bookplate on the pastedown. Laid in is a copy of the prospectus for membership and the book, along with a long review (offset to endsheets) from the New Haven paper, captioned in Rollins’s hand. Among the AIGA Fifty Books for its year. AGNER 30.10. WALKER 1021. $250.

453. [Woolrich, Cornell]: Three Publicity Stills for THE CHASE. [Np]: United Artists / Nat’l Screen Service, 1946. Three 8 x 10” black & white glossy stills, with captions. Two margins a trace darkened, with minor corner creases and small Nat’l Screen Service blindstamps in corners, otherwise very good or better. Three original publicity stills for the 1946 film noir adaptation of Woolrich’s 1944 novel, The Black Path Of Fear, based on a screenplay by Philip Yordan, directed by Arthur Ripley, and starring Robert Cummins, Michele Morgan and Peter Lorre, each of whom features in one or more of these stills. $75. 454. [Wright, Frank Lloyd]: THE ARCHITECTURAL FORUM. [New York]: Time Inc./Architectural Forum LXVIII:1, January 1938. Large quarto. Spiral bound stiff decorated wrappers (after a design by Wright). Profusely illustrated, including folding plates, photographs, drawings and folding title-page. A couple tiny surface scrapes at lower edge of upper wrapper, old vertical crease at spine of upper wrapper, two tiny chips at ends, but a very good copy. The first of the special issues devoted to Wright and his works, featuring as well Wright’s own layout and distinctive typography. A high spot of American mass market periodical design and a lavish showcase/retrospective of Wright’s work from 1904 to date. SWEENEY 457. $300. 455. Wylie, Elinor: JENNIFER LORN: A SEDATE EXTRAVAGANZA. COMPLETE HEREIN IN THREE BOOKS. ILLUMINATING EPISODES IN THE LIVES OF THE HON. GERALD POYNYARD AND HIS BRIDE. New York: George H. Doran Company, 1923. Cloth and boards, edges untrimmed. Some handsoiling and edgewear to binding, spine gilding dull, but a good copy in lightly chipped and dust-soiled dust jacket. First edition, first printing, BAL’s issue B, with the corrected cancel title-leaf. A month-ofpublication presentation copy, inscribed by the author on the front free endsheet: “Ada Russell from Elinor Wylie November 1923.” Ada Dwyer Russell (1863-1952), was an American stage actress. She met writer Amy Lowell in 1909, and the two women entered into long-term relationship, beginning in 1912, which would last until Lowell’s death in 1925. Russell was the subject of many of Lowell’s explicit poems, such as “The Taxi.” BAL 23495. $450. Signed and Inscribed 456. Wylie, Elinor: ANGELS AND EARTHLY CREATURES A SEQUENCE OF SONNETS. Henley-on-Thames: The Borough Press, 1928. Printed stiff boards, in decorated wrapper. Minor offsetting from the wrappers to the prelims, otherwise fine in lightly worn decorative paper wrapper (which has a one inch tear at the top of the spine fold). First edition. One of a total edition of fifty-one copies for private distribution. This is copy #10, and is both signed by Wylie, and inscribed by her: “For Thornton with love from Elinor Christmas 1928.” The recipient was, of course, Thornton Wilder, close friend of Wylie and Benet. Wylie intended to sign and number all fifty-one copies, but she died of a stroke on 16 December, while on a Christmas visit to New York, before more than a few copies were signed and numbered. BAL describes one of the copies at Yale inscribed by Wylie to her husband (there is another such inscribed ‘family’ copy at Yale as well), and we know of two other inscribed copies (#16, inscribed to the Colums, and #23, inscribed to Stephen Tennant). We have handled at least four unsigned, unnumbered copies, and the Goodwin copy (I:291) appears not to have been signed as well. The OCLC has thirteen locations (including Yale), and presumably more than a few of these are unsigned and unnumbered, including two there recorded which correspond to unsigned copies we sold. The text of these nineteen sonnets varies from that printed in the larger collection issued under the cover title the following year. Next to Incidental Numbers, the author’s least common book, and when signed and numbered, a marketplace rarity to conjure with among the cognoscenti. BAL 23520. $3500.

Inscribed to “A.E.” 457. Yeats, William Butler: THE HOUR-GLASS. CATHLEEN NI HOULIHAN, THE POT OF BROTH: BEING VOLUME TWO OF PLAYS FOR AN IRISH THEATRE. London: A.H. Bullen, 1904. Cloth backed boards, paper spine label, edges untrimmed. Spine label darkened and soiled, minor soiling to edges, a trace of foxing to endsheets, but a very good copy. Half morocco slipcase. First British edition. An important association copy, inscribed by Yeats in the month of publication on the front free endsheet: “George Russell from his friend the writer -- March, 1904”. During his life, Yeats formed few literary friendships from which he received as much as he gave. One of the foremost was his association with the poet George William Russell. “A.E. was my oldest friend,” he confided to an admirer on Russell’s death in 1935, “We began our work together.” WADE 53. $20,000.

Presentation Copy from Edward Thomas 458. Yeats, William Butler: THE TABLES OF THE LAW AND THE ADORATION OF THE MAGI. London: Elkin Mathews, 1904. 12mo. Original printed wrappers. Light fraying at overlap wrapper edges, as often, properly deaccessioned institutional duplicate (see below), else a nice copy. First public edition, and an interesting association copy, inscribed on the front free endsheet: “To Gordon Bottomley (in hopes of drawing a letter) from Edward Thomas 22. vii. 04.” With the stamps (small, circular, on title-page with shelf numbers elsewhere) and library label (“The Gift of Claude Colleer Abbott,” on verso of half-title) of The Library of East Anglia, and a pencil note “withdrawn 12/85.” For more on the friendship between Thomas and Bottomley see Letters From Edward Thomas To Gordon Bottomley, edited by George R. Thomas, 1968. WADE 25. $1250. One of Fifty – Inscribed 459. Yeats, William Butler: POEMS WRITTEN IN DISCOURAGEMENT...1912 – 1913. Churchtown, Dundrum: The Cuala Press, 1913. Grey wrappers, printed in black, sewn. Fine. Half morocco slipcase. First edition. One of fifty copies only, published in October, hors commerce. Inscribed on the front wrapper: “Mrs. Avery Coonley Ward from WB Yeats, March 30. 14.” The recipient was, no doubt, Lydia Avery Coonley Ward, the prominent suffragette/philanthropist/poet (1845-1924) of Wyoming and Chicago. A collection of five poems, including “To a Wealthy Man, who promised a second subscription if it were proved the people wanted pictures,” the pivotal “September, 1913,” “To a Friend whose Work has come to Nothing,” “Paudeen,” and “To A Shade.” WADE 107. MILLER, p.127. $8500.

Inscribed to Lady Gregory in Collaboration 460. Yeats, William Butler, and Lady Augusta Gregory: THE UNICORN FROM THE STARS AND OTHER PLAYS. New York: The Macmillan Co., 1908. Blue cloth, spine elaborately gilt after a design by Althea Gyles, t.e.g., fore-edges rough-trimmed, lower edges untrimmed. Fore-edge foxed lightly, a few minor spots to lower board, otherwise fine. First edition (after a copyright printing). One of 1200 copies printed. Lady Gregory’s copy, with her bookplate. Inscribed: “Lady Gregory from WB Yeats July 7, 1905.” The title play to this collection is the only published work to bear both their names as coequal collaborators. The title play was essentially a rewriting of Where There Is Nothing, and in a letter to A.H. Bullen (12 February 1908, Letters, 1954, p.503), Yeats noted: “Though The Unicorn is almost altogether Lady Gregory’s writing it has far more of my spirit in it than Where There Is Nothing which she and I and Douglas Hyde wrote in a fortnight to keep George Moore from stealing the plot...I planned out The Unicorn to carry to a more complete realization the central idea of the stories in The Secret Rose....” WADE 73. $30,000. 461. Yonge, Charlotte: LOVE AND LIFE AN OLD STORY IN EIGHTEENTH CENTURY COSTUME. London: Macmillan and Co., 1880. Two volumes. Original decorated cloth. First edition. Small area of discoloration at top of spine of volume two, slightly cocked, W.H. Smith blindstamp in corner of one free endsheet, otherwise a very good, bright set. WOLFF (Harvard Gift) 28. $250. A Rare Edition 462. [Young, Arthur]: A SIX WEEKS TOUR THROUGH THE SOUTHERN COUNTIES OF ENGLAND AND WALES. DESCRIBING, PARTICULARLY, I. THE PRESENT STATE OF AGRICULTURE AND MANUFACTURE. II. THE DIFFERENT METHODS OF CULTIVATING THE SOIL. ... THE STATE OF THE WORKING POOR IN THOSE COUNTIES, WHEREIN THE RIOTS WERE MOST REMARKABLE ... IN SEVERAL LETTERS TO A FRIEND. “By the Author of the Farmer’s Letters.” Dublin: Printed for J. Milliken, 1768. [2],253,[1]pp. Small octavo. Modern three quarter calf and marbled boards, raised bands, gilt labels. Illustrations of farming implements. Text block intermittently tanned, with occasional marginal smudges, modest soiling and discolorations, several old stamps of a defunct mercantile library. An ordinary copy, now preserved in a satisfying binding. First Dublin edition of one of Young’s earliest major works, published in the same year as the London edition. This is an edition of some rarity – ESTC locates only five copies: two at Trinity College, and three in the U.S., at Columbia, the Library Company and the Univ. of Kansas. Based on his extensive tours of the British Isles and Ireland, Young amassed a significant body of first hand information and statistics that did much to help raise the standards of agriculture. In 1793, he was appointed the first Secretary of the Board of Agriculture, the predecessor of the Royal Agricultural Society. The immediate relevance of Young’s observations to Irish readers is self-evident, and in 1780 Young published similar observations based on his travels there. The London editions are appropriately recorded in Kress, Higgs, Amery/Fussell and Goldsmiths, but this edition is not. PRINTING & THE MIND OF MAN 214. ESTC N23358. $850. Addenda One of Twenty-Five Signed 463. [Black Sun Press]: MacLeish, Archibald: NEW FOUND LAND FOURTEEN POEMS. Paris: Black Sun Press, 1930. Small quarto. Stiff printed wrappers. Trace of minor foxing along extreme untrimmed fore-edges of a couple leaves, otherwise near fine, in slightly rubbed and torn later acetate wrapper, without slipcase. First edition. Copy #17 of twenty-five numbered copies on Japan vellum, signed by the author, from a total edition of 135 copies bearing the Paris imprint, and 500 copies for

distribution in the U.S. by Houghton Mifflin. This signed, Japan vellum issue is somewhat more uncommon than even the small limitation would suggest. The last copy in ABPC is the Dannay copy, sold in 1983, and it did not appear in such obvious sales as Goodwin or Keynes. MINKOFF A36. $2250. 464. Fitzgerald, F. Scott: THE BEAUTIFUL AND THE DAMNED. New York: Charles Scribner’s Sons, 1922. Green cloth, lettered in gilt and blind. Top edge and endsheets dust marked, otherwise about fine, the cloth unusually bright and the gilt lettering unblemished. The outer panels of the pictorial dust jacket are uniformly dust soiled, there is an old, small tape mend at the crown of the lower flap fold, and there are three small chips (none affecting letterpress): one at the extreme top edge of the rear panel, one at the extreme lower edge of the front panel, and one at the crown of the upper flap fold. First edition, first printing, in the first state of the dust jacket. A completely honest copy, untainted by restoration of any sort, and uncommon thus these days. BRUCCOLI A8.I.a. $18,500. 465. Hartwell, Kenneth: UNTITLED ORIGINAL LITHOGRAPH [SUBWAY RIDERS]. [ Np]. 1921. Original monochrome lithograph, printed on Basingwerk Parchment. 25.5 x 20 cm plus full margins. Matted. Impression #26 of an edition of thirty-six, dated and signed in the stone, and signed, numbered and dated in pencil in the lower margin. George Kenneth Hartwell (1891-1949) was born in Fitchberg, Mass, and studied at the Art Students’ League in New York City under Kenneth Hayes Miller, Edward Hopper and George Bellows. His work was exhibited at the Art Institute of Chicago (1923), the Society of Independent Artists (1923), the Library of Congress (1944-46), the Laguna Beach Art Association (1945 and 1946) and the Carnegie Institute (1945), Hartwell worked as an illustrator for Century, Scribner’s and Theatre Arts. He is particularly known for his Depression-era depictions of the worlds of carnivals, sideshows, burlesque houses, and urban dwellers of which this image is a fine example. $850. 466. Joyce, James: CHAMBER MUSIC. London: Elkin Mathews, 1907. Green cloth, lettered in gilt. Ornamental title border. Spine faintly sunned, endsheets a bit tanned, with faint binding adhesive discoloration along gutter, otherwise a near fine, bright copy. First edition, second binding, thin wove endsheet variant, of Joyce’s first clothbound book. The entire first printing consisted, according to early sources, of five hundred and nine sets of sheets. The first lot of sheets were bound for publication in May of 1907; a second binding lot was ordered at an unknown, but significantly later date. The copy in hand has the thin wove endsheets, as opposed to thicker wove endsheets that appear in other copies of the second binding lot (priority undetermined, and likely nonexistent). SLOCUM & CAHOON A3. $4500. 467. Joyce, James: TALES TOLD OF SHEM AND SHAUN THREE FRAGMENTS FROM WORK IN PROGRESS. Paris: The Black Sun Press, 1929. Small quarto. Printed wrappers. Frontispiece by Brancusi. Shade of tanning at extreme head and toe of spine, else fine in glassine in gold foil covered slipcase with light rubbing at tips. First edition. Preface by C.K. Ogden. One of 500 copies on Hollande van Gelder Zonen, from a total printing of 650 copies. SLOCUM & CAHOON A36. ARTIST & THE BOOK 32. $1750. 468. Joyce, James: HAVETH CHILDERS EVERYWHERE. FRAGMENT FROM WORK IN PROGRESS. Paris & New York: Henry Babou and Jack Kahane / The Fountain Press, 1930. Quarto. Printed wrappers. Trace of tanning to upper 11cm. of spine panel, where the original glassine was chipped away, otherwise fine in otherwise complete glassine and lightly rubbed slipcase with cracks at the fore-portions of the upper and lower panel joints.

First edition. One of five hundred numbered copies on handmade “Pure Linen Vidalon Royal,” from a total edition of 685 copies. SLOCUM & CAHOON A41. $1250. 469. L’ART BRUT. Paris: Publications de la Compagnie de L’Art Brut, 1964 - 1987. Whole numbers one through fifteen. Fifteen volumes. Small quarto. Stiff printed wrappers. Plates and photographs, including some color. A few spines a trifle sunned, a few small rubs to first wrapper, otherwise a fine set. Edited by Jean Dubuffet, et al. The official journal of the Compagnie de L’Art Brut, an organization founded in 1948 by Dubuffet, Andre Breton and others to collect and study artworks by artists outside the mainstream of the traditional art world, most particularly work by those with mental illnesses. Each profusely illustrated issue features treatment of the life and work of one or several artists embraced by the criteria. Extra shipping charges apply. $750. 470. [Lang, Andrew]: Beautiful Pictorial Advertising Broadsheet for DREAMS AND GHOSTS. New York: Longmans, Green & Co., [1897]. Pictorial and typographical broadsheet (31.5 x 21.5 cm.; image area 24.5 x 15.5 cm). Printed in black and silver on pale green stock. Old horizontal fold across middle, matted, but a very good or better copy. A very striking advertising broadsheet issued by Lang’s publishers to promote the New York edition of his collection of tales of psychic phenomena, featuring the same pictorial art nouveau cover design that distinguished the London and New York editions, but enhanced with highlights in silver that take it beyond the book design itself. The publisher’s imprint, as well as physical description and price for the book are included in frames subordinate to the main image. The design is signed with initials in the lower corner, but they are somewhat obscured by the design and a quick survey of the obvious references does not readily turn up the artist’s identity. $350. 471. Laughlin, James: THE PIG / POEMS. Mt. Horeb: The Perishable Press, [ 1970]. Decorated paper over boards, printed labels. Trace of foxing, particularly to endleaves, otherwise very good or better. First edition. One of a total edition of 183 copies printed on Shadwell handmade paper. This is one of the special author’s copies, equipped with a spine label “because of the author’s anathema to blank spines ...” - Hamady. Inscribed by JL to one of his New Directions authors: “for Cid Corman on the happy occasion of his visit to Norfolk - J. Laughlin.” HAMADY 32. $250. 472. Updike, John: BATH AFTER SAILING. [Stevenson, CT: Country Squires Books, 1968]. Sewn stiff wrappers, paper label. Wrappers faintly sunned at edges and along spine of rear panel, a couple small flecks inherent in paper stock, else about fine. First edition in book form. One of 125 numbered copies, signed by the author. In numbering this copy, Updike made an error, and scribbled through a preliminary digit, then numbered it ‘80’. DE BELLIS & BROOMFIELD A22a. $450.

Item 470