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Catalogue 316

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Members ABAA and ILAB 1. Agee, James: “NOA NOA” DREHBUCH VON .... [Np. nd]. [1],163 leaves. Quarto. Carbon typescript, on rectos only, of onionskin stock. Bradbound in script binder with typed label. Binder a bit tanned at edges, with a bit of loss to the bottom edge of the label, otherwise very good. A translation into German (translator unidentified) of Agee’s unproduced original screenplay about the life of Gauguin. Accompanied by an undated draft, in photocopy, of the collaborative revised draft of the original by Agee and Charles O’Neal (outer leaves somewhat foxed) with the stamp of Reece Halsey Agency. $185.

2. Aldrich, Thomas Bailey: MERCEDES A DRAMA IN TWO ACTS AS PERFORMED AT PALMER’S THEATRE Boston & New York: Houghton, Mifflin and Company, The Riverside Press, Cambridge, 1894. Gilt decorated blue cloth, t.e.g. Spine darkened and a little frayed at extremities, short tear and crease to front free endsheet, else good. With Richard W. Gilder’s tiny book label.

Revised edition, originally published in Mercedes, And Other Lyrics (1884). A decent association copy, inscribed by the author on the front blank: “Mr. R.W. Gilder, With the kindest regards.” The recipient, Richard Watson Gilder (1844-1909) was both a poet, and editor- in-chief of the Century Monthly Magazine. BAL 369. $250.

Important Variant Text 3. Allen, Woody: DON’T DRINK THE WATER. New York. [1966]. [1],51,32,38 leaves (foli- ated in act/scene sequence). Quarto. Mimeographed typescript, printed on rectos only. Boltbound in stiff Hart Stenographic Bureau gilt-lettered wrappers. Upper wrapper heavily creased, particularly across the lower fore-corner, relevant notations throughout (see below), otherwise very good. A production script for Woody Allen’s first Broadway play, preceding, and the basis for, his first book publication a year later. This copy has frequent annotations throughout corresponding to the character ‘Warren’ (later revised to ‘Walter’) Hollander, who was played by Lou Jacobi in the first New York run, directed by Stanley Prager, at the Morosco Theatre, 17 November 1966 – 20 January 1968. Laid into this copy is a somewhat tattered Western Union telegram from Woody Allen to Jacobi, dated 17 November 1966 (the date of the opening), stating simply “You will always be the world’s funniest human.” As was evidenced by material attending another copy of an early production draft of this play sold by this firm in 2003, between the Philadelphia and Boston previews, and the Broadway run, the play underwent considerable revision. According to Tom Foral, who was cast in the role of Mr. Chambers for the Philadelphia and Boston runs, and for the first performances on Broadway: “Before opening on Broadway at The Morosco Theatre ...eleven more of us were given two weeks notice. We opened AND WERE REVIEWED. Then the unfortunate eleven left the company ...[then a] scaled down version of the play ran for two years. Neither the reviewers nor the public was ever aware that the show running was not the show that had been reviewed....” This script collates quite closely to the unrevised state of that early script (though we no longer have access to it for precise textual comparison), and is at very wide variance from the final state of the text as printed in the Samuel French acting edition currently in print (a copy is included for comparison). An important state of the text of the first produced/ published play by the brilliant film-maker, humorist and playwright. It was adapted to film in 1969 (without Allen’s participation); Allen then directed his own adaptation as a made-for- television film in 1994. $1750.

4. Allen, Woody [sourcework & screenwriter]: “PLAY IT AGAIN, SAM” SCREENPLAY BY ...BASED ON A PLAY BY.... [Los Angeles]: Paramount Pictures / APJAC Productions, nd. but no earlier than 27 September 1971]. [1],120 leaves. Quarto. Mechanically reproduced typescript, printed on rectos only of white, salmon, and green stock. Bradbound in printed studio wrappers. Ink name on upper wrapper, a few notes on title and scattered in text; very good. A “revised shooting script” of Allen’s own film adaptation of his 1969 play. Charles Grodin had written at least one draft of an earlier adaptation for the same production company. This copy includes dated revises on colored stock spanning 20 – 27 September. The film was released in May 1972, was directed by Herbert Ross, and starred Allen, Diane Keaton, Tony Roberts, Jerry Lacy, Viva, Joy Bang, et al. This copy bears the ink name “Jerry Lacy” on the upper wrapper (he played Bogart in the film) and contact info for Joy Bang and other annotations in the same hand. Actual pre-production scripts by Allen or for films based on his source works tend to be rather uncommon, their circulation being largely confined to those actually involved directly in production. $1500.

5. [Almanac – French]: ÉTRENNES MIGNONES, CURIEUSES ET UTILES, AVEC PLUSSIEURS AUGMENTATIONS & CORREC- TIONS, POUR L’ANNEE MIL SEPT CENT SOIXANTE-QUATORZE. Paris: Chez Claude-Jacques-Charles & Pierre-Francois Durand, 1774. [108]pp. plus two folding maps. 32mo. Contemporary red French morocco, heavily decorated in gilt, a.e.g. Trivial foxing to endleaves, light tanning and minimal fraying to extended edges of folding maps, otherwise a fine copy. First edition of this almanac, beautifully bound, from the Weston Library of the Earls of Bradford, with the bookplate. Many of the text leaves are interleaved with elegantly engraved tables, with decorative margins, for recording profits and losses. $750.

6. [American Theatre Wing]: [Delano, Harvey (ed)]: AMERICAN THEATRE WING STAGE DOOR CANTEEN OF WASHINGTON ORGANIZATION REGULATIONS FIRE AND AIR RAID RULES INSTRUCTIONS. [Np]: American Theatre Wing War Service, Inc., [nd. but ca. 1942]. 56pp. Quarto. Stiff printed wrappers. Light smudging to wrappers, but near fine. First edition. A comprehensive manual for the organization and running of the Washington DC version of the Canteen, adapted from the manual for the NYC Canteen by Harvey Delano. The Stage Door Canteen was started and directed by The American Theatre Wing at the beginning of WWII. Its purpose was to provide a safe, free place where soldiers, Marines, sailors and merchant seamen could come, relax, socialize and dance with young women volunteers. Often entertainment was provided by top entertainers of the day who volunteered their services. Canteens were located in New York, Boston, Washington DC, Philadelphia, Cleveland, San Francisco and other major cities in the U.S., and toward the end of the war in London and Paris. The Canteens were closed shortly after the war ended, but in the three and a half years of their operation, the Stage Door Canteens had an enormous influence on popular culture, inspiring a weekly radio show on the Columbia Network and a 1943 motion picture, both called “Stage Door Canteen” and produced in association with the American Theatre Wing. These, along with Irving Berlin’s hugely popular war song “I Left My Heart at the Stage Door Canteen,” help the Canteen’s legacy live on today. According to several accounts, all of the records for all of the Canteens were stored in a garage which subsequently burned to the ground. As a consequence, material such as this item take on extra significance. No copies are recorded in OCLC, although there is a copy at Yale and a copy now in British Canteen archive in the UK. $125.

7. [Anonymous]: THE RECOLLECTIONS OF A CITIZEN, COMPRISING ANECDOTES OF REAL LIFE; WITH OBSERVATIONS ON THE GENERAL STATE OF SOCIETY IN IRELAND. Dublin: Printed by P. Dixon Hardy, 1840. xiv,[2],79,[1]pp. 12mo. Extracted from bound pamphlet volume. Slight tanning, faint old stamps of a defunct mercantile library, otherwise a good copy. First edition. The author’s identity is not reported in NSTC, the NLI catalogue, or OCLC/ Worldcat, where only five copies are located – this in spite of a rather substantial subscrib- ers list. The narrative is couched in terms of anecdotes relayed by “A Friend” and seem to consist largely of travel and commercial experiences; the “Observations...” are a distinct element, directed to Lord Wharncliffe. $125. 8. [Antheil, George, and Virgil Thomson]: [Broadside]: MRS. CHAIM GROSS AT HOME ...VENDREDI 25 JUIN 1926 ...SYMPHONY FOR FIVE INSTRUMENTS 1922-23 GEORGE ANTHEIL ...SONATE D’EGLISE 1926 VIRGIL THOMSON ...CONDUCTED BY VLADIMIR GOLSCHMANN .... [Paris. 1926]. Broadside, printed on recto only of sheet of unwatermarked stiff laid paper (275 x 190 mm). A bit of tanning and very faint foxing, very good. An invitation to / announcement of one of the series of Friday performances sponsored by Mrs. Christian Gross, the wealthy wife of the secretary of the American Embassy in Paris. Mrs. Gross’s concerts were significant gathering places for composers and writers among the expatriate community. She was the primary sponsor of the public premiere of Antheil’s Ballet Mécanique shortly before this concert, and hosted performances of selections from Pound’s “Testament of Villon” in her home. $175.

9. [Anthology]: Jones, Charles H. [editor]: VERS DE SOCIÉTÉ SELECTED FROM RECENT AUTHORS. New York: Henry Holt, 1875. xvi,[2],401,[1]pp. Small quarto (21 x 16cm). Con- temporary full dark brown crushed morocco, gilt extra, a.e.g. A bit of rubbing to fore-tips and edges, else very good or better. A somewhat curious large-paper rendering of this anthology, with a pictorial title and sectional vignettes drawn by John A. Mitchell and engraved by Henry Marsh. $150.

10. [Anti-Masonic]: Armstrong, Lebbeus: WILLIAM MORGAN ABDUCTED AND MURDERED BY MASONS, IN CONFORMITY WITH MASONIC OBLIGATIONS; AND MASONIC MEA- SURES, TO CONCEAL THAT OUTRAGE AGAINST THE LAWS ...A SERMON. New York: Printed by L.D. Dewey & Co., 1831. 32pp. Octavo. Sewn plain wrappers, untrimmed. Woodcut. Scattered foxing, spine covering a bit chipped, otherwise a very good copy. First edition. Armstrong was a rabid foe of secret societies, and here fastens for further traction on the celebrated case of 1826, wherein Morgan -- who was rebuffed when he tried to rise in the Masonic hierarchy -- set about to publish a tell-all and disappeared under mysterious circumstances. The case had wide ranging ramifications, from fueling further the anti-Masonic fervor, to providing a frame for John Lloyd’s fantasy, Etidorpha. OCLC locates 8 printed copies scattered over several entries. SABIN 2035. OCLC: 54305231. $250.

11. [Anti-segregation]: Creger, Ralph, and Erwin L. McDonald: A LOOK DOWN THE LONE- SOME ROAD. Garden City: Doubleday, 1964. Cloth. Fine in faintly worn dust jacket with small nick. First edition. Introduction by Harry Golden. Inscribed presentation copy from Creger, with a closely typed t.l.s., Little Rock, 14 July 1964, accompanying the presentation. In the context of the desegregation crisis in Little Rock, here is an account of “what a liberal living amid segregationists can do, say and accomplish.” $85.

12. Apollinaire, Guillaume, and [Alexander Trocchi (trans)]: THE DEBAUCHED HOSPODAR. Paris: The Olympia Press, [July 1953]. Decorated printed deep blue wrapper over stiff wrappers. Trace of rubbing to spine ends, a few tiny bits of foxing to endleaves, but a near fine copy. First edition of this new translation (under the pseudonym of “Oscar Mole”) of Apollinaire’s legendarily decadent 1907 pot-boiler, Les Onze Mille Verges Ou Les Amours D’Un Ho- spodar. Even today, it remains tough sledding for the uninitiated. KEARNEY (1987) 4. KEARNEY & CARROLL 1.6.1. $150.

13. [Archery]: “United Bowmen of Philadelphia”: THE ARCHER’S MANUAL: OR THE ACT OF SHOOTING WITH THE LONG BOW, AS PRACTISED BY .... Philadelphia: R.H. Hobson, 1830. xii,[14]-66pp. Small octavo. Contemporary linen backed boards, lettered in gilt. Frontis and plate. Edges shelfworn, with fraying at crown of spine, foxing, tanning and occasional spotting; still a good, sound copy. First edition of this early American manual, equipped with a frontispiece engraved by Childs and Kelly after a drawing by Thomas Sully (a member). The unsigned introduction, in addition to providing a capsule history of Archery, acknowledges that the practical portion draws largely from Waring’s Treatise... and Ascham’s Toxophilus. “The United Bowmen of Phila- delphia, founded in 1828 by Titian Ramsey Peale, son of renowned artist Charles Willson Peale, was the first archery club in the United States and was similar to men’s clubs for tennis and cricket. Members included famed architect John Haviland, portrait artist Thomas Sully, and Baldwin Locomotive Works founder Matthew W. Baldwin. Before the beginning of the second season Franklin Peale, brother of Titian and a founder, described the equipment the club owned: ‘an outfit of the best quality, which consisted of a lemonwood bow, and spare strings, a dozen arrows contained in a quiver, a belt, pouch, grease-box, and tassel, a splendid pair of targets, and, finally, Waring’s Treatise on Archery’” – website of the reorganized United Bowmen. Between two entries, OCLC locates only ten copies, and one copy appears in ABPC (1996). AMERICAN IMPRINTS (1830) 185. OCLC: 15220319. $750.

14. Armandy, André: RENEGADE. New York: Brentano’s, 1930. Pale blue cloth, stamped in yellow. A few minor spots to top edge, old crease in front free endsheet, otherwise very good or better in slightly spine darkened, slightly rubbed dust jacket with a couple small nicks.

First U.S. edition of this translation by Frederic Le Clercq of Le Renégat. An adventure novel about four misfits in the French Foreign Legion set in North Africa, filmed in 1930 as Renegades, starring Warner Baxter, Myrna Loy, Noah Beery and Bela Lugosi. $75.

15. [Artists’ Books]: Sarenco, [Isaia Mabellini]; Eugenio Miccini, and Franco Verdi [editors]: LIBER PRATICA INTERNAZIONALE DEL LIBRO D’ARTISTA ...FACTOTUMBOOK 24. [Verona]: Edizioni Factotum-Art, March 1980. Large, thick quarto. Glossy printed stiff wrappers. B&w photographs. Small inventory sticker to rear wrapper, faint rubs and dusting to wrappers; very good. First edition. English translations by Michael Haggerty. Photographs and brief descriptions of artists’ books by 100 artists/authors from all over the world. $125.

16. [Ashendene Press]: Cervantes, Miguel de: [Conjugate Specimen Leaves from:] THE SECOND PART OF THE HISTORY OF THE VALOROUS AND WITTIE KNIGHT-ERRANT DON QUIXOTE OF THE MANCHA TRANSLATED OUT OF THE SPANISH BY THOMAS SHELTON MDCXII. [Chelsea: The Ashendene Press, 1928]. [4]pp. Folio. Folded bifolium (two conjugate leaves, each ca. 60 x 43 cm). Untrimmed. Printed in red and black on paper. Fine.

An attractive specimen of the 1927-28 two volume Ashendene Press edition of Don Quixote .... The edition consisted of 225 copies on Batchelor handmade paper and twenty on vellum, in the newly cast Ptolemy type. This specimen includes a chapter opening, with a woodcut initial by Louis Powell. ASHENDENE BIBLIOGRAPHY XXXVI. RANSOM (ASHENDENE) 39. $75. 17. [Atwood, Margaret (sourcework)]: Pinter, Harold [screenwriter]: THE HANDMAID’S TALE A SCREENPLAY ...ADAPTED FROM THE NOVEL BY .... New York: Daniel Wilson Productions, February 1987. [2],147 leaves. Quarto. Photoduplicated typescript, printed on rectos only. Bradbound in stiff canary yellow wrappers with printed title. Title hand lettered on spine, wrappers slightly creased and smudged from reading, a few light pencil notes re: alternate settings and readings early on, otherwise very good. An unspecified, but quite early draft of Pinter’s adaptation of Atwood’s novel. The final film, released in the US in March of 1990, was essentially disavowed by Pinter due to the multitude of changes and rewrites by various parties made after Volker Schlondorff took over as director from Karel Reisz. Pinter asked without success that his name be removed from the credits for the released film, and declined to allow its publication. The cast included Natasha Richardson, Faye Dunaway, Aidan Quinn, Elizabeth McGovern, Robert Duvall, et al.$1650.

18. [Auchinleck – Scotland]: [Printed blank form:] OCHILTREE, 182[_] RECEIVED BY ME, FACTOR, OR RECEIVER OF RENTS OF THE UNENTAILED LANDS OF THE ESTATE OF AUCHINLECK ...[caption title]. Ochiltree, East Ayrshire. [no earlier than 1825]. Blank printed form (ca, 85 x 210 mm). Not executed. A few smudges, otherwise near fine. A receipt form for the collection of rents from tenants of properties in the areas adjacent to Auchinleck, the ancestral estate of the Boswell family. The paper bears a watermark ‘1825.’ As tangential a bit of Boswell “ana” as one might imagine. $25.

19. [Auction Broadside – Scotland, Near Auchinleck House]: SALE OF FARM-STOCK, &c. THERE WILL BE SOLD, BY PUBLIC ROUP, ON MONDAY THE 17th OF MAY CURRENT, THE FARM-STOCK, &c. ON THE FARM OF SLATEHOLE, IN THE PARISH OF OCHILTREE ...[caption title]. Ayrshire, Scotland: McCormick & Carnie, Printers, 3d May 1830. Oblong octavo printed broadside (140 x 223 mm). Printed on recto only. Some old folds, but very good or better. A public sale of the stock and inventory, consisting of 8 horses, 6 cows, 4 calves, a “thrash- ing machine and fanners, with the whole other Farming and Dairy Utensils.” The roup was to commence at 11:00 a.m. Of some passing literary interest due to the farm’s very close proximity to the Auchinleck Estate of the Boswell family. $150.

20. Baraka, Amiri [as Le Roi Jones (sourcework & screenwriter)]: [Complete Set of Studio Lobby Cards for:] DUTCHMAN. [Np]: Gene Perrson Enterprises / Continental Distributing Co., 1967. Eight original 11x14” pictorial lobby cards, in gray-scale, with red typography. Minor use and light soiling at corners, small staple marks from original use, a few of them unobtrusively in image areas, one small tape mend to staple hole on one verso, a few annotations and smudges on versos of two others, otherwise very good examples. A complete set of the sensational lobby cards issued to promote the 1967 adaptation to film of Baraka/ Jones’s landmark play, based on his own screenplay, directed by Anthony Harvey, and starring Shir- ley Knight and Al Freeman, Jr. For their performances in this raw and demanding film, Knight and Free- man were nominated for awards at the Venice Film Festival, and Knight won. Each card has a side panel image of the characters’ final confrontation, with larger images unique to each card ...although a couple of them are close variant shots of the same situation. Promotional paper for this film, which saw restricted “adults only” release, is quite uncommon. $650. 21. [Barber, Joseph]: WAR LETTERS OF A DISBANDED VOLUNTEER. EMBRACING HIS ADVENTURES AS HONEST OLD ABE’S BOSOM FRIEND AND UNOFFICIAL ADVISER. New York: Frederic A. Brady, 1864. 312,[2]pp. Original gilt cloth. Frontis. Small nick at crown of spine, front free endsheet excised, bookseller’s description mounted to pastedown, a bit of minor foxing and some faint spotting to the fore-edge; otherwise, a very good, bright copy. First edition of these satirical fictional sketches presented in the form of folksy semi-literate correspondence to “the Eddyturs of the Sunday Times.” WRIGHT II:210. $125.

22. Bat-Yosef, Myriam: [Original Untitled Monochrome Etching]. [Milan: Galerie Schwarz, 1961]. Original monochrome etching, plate size 15 x 11.5 cm, on 26 x 19 cm sheet. Mounted in stiff board and acetate mat, with printed caption on verso. Fine. One of sixty numbered copies, in addition to twenty-five copies numbered in Roman, signed in the plate, and signed and dated in the margin by the artist. Printed in Paris in the Atelier of Georges Leblanc on hand made paper from Papeteries de Rives. Bat-Yosef (b. 1931, as Marion Hellerman) first emigrated from Berlin to Palestine in 1933 with her family, eventually studying in Paris and Florence in the 1950s. She has in subsequent years resided in Iceland, France, and Israel, and had her first major exhibition at the Museum of Tel Aviv in 1958. This print was published as an element of Galerie Schwarz’s series, L’avanguardia Internazionale. $250.

23. Baynes, Ken, and Gerald Nason [eds]: NUMBER 5 [with:] NUMBER 6. London. 1964. Whole numbers 5 & 6. Folio sheets, folded to eight panels, printed on single side only. Slight tanning, but very good. Two issues of this irregular serial highlighting aspects of the visual world, in this case “large sheets of drawings that we [the editors] have found interesting.” The subjects are “Motor Car development Drawings by Alec Issigonis” (#5) and a group of children’s drawings (#6), both printed via silk screen by J. and P. Atchison, Ltd. Accompanied by a mimeo typescript statement of purpose and explanation. Issigonis is best remembered as the designer of the Mini. $125.

First Book 24. Beckett, Samuel: WHOROSCOPE. Paris: The Hours Press, 1930. Printed stiff wrapper. Printed wraparound band. A trace of faint foxing, wrapper slightly tanned at top edges and faintly sunstruck at bottom edge, wraparound band tanned at edges, bit of rust to staples, otherwise a very good copy. First edition of Beckett’s first separate publication, limited to a total edition of three hundred copies printed on Vergé de Rives, of which this is one of two hundred unsigned copies. Beckett’s poem was selected by Nancy Cunard and Richard Aldington as the winner of a competition for the best poem on the subject of time. F&F 5. $3000.

25. Beckett, Samuel: MORE PRICKS THAN KICKS. London: Chatto & Windus, 1934. Tan cloth, lettered in blue. Spine cocked and somewhat rubbed and a bit darkened, engraved bookplate on front pastedown (Sir George Bull, Baronet of Hammersmith), modest tanning at edges, faint discoloration to top stain, otherwise a good, sound copy, without the rare dust jacket. First edition of Beckett’s first collection of short fiction, by most assessments his scarcest trade publication. The edition consisted of approximately 1500 copies, of which only a third sold. Beckett was reluctant to allow its reprinting, finally relenting only in 1966 for the “Hors Commerce” edition for scholars, which paved the way for the public editions of later years. F&F 16. $4250.

26. Beckett, Samuel: ECHO’S BONES AND OTHER PRECIPITATES. Paris: Europa Press, 1935. Small quarto. Stiff printed wrappers. Strip of faint tanning along extreme lower edge of rear wrapper, otherwise a fine copy, with the number slip still laid in. First edition. The first substantial volume of Beckett’s poetry, published in an edition of 327 copies, of which this is copy #97 of 250 copies printed on Alfa. The regular flow through the rooms of fine copies from Reavey’s estate that characterized the ‘80s and early ‘90’s seems to have dried up. F&F 22. $2500.

27. Beckett, Samuel: MOLLOY. Paris: Collection Merlin / The Olympia Press, [March 1955]. Pictorial wrapper over stiff wrappers. A bit of use at foretips and crown and toe of spine of wrapper, otherwise near fine. First edition of this collaborative translation into English of the French text by Patrick Bowles and the author. The Grove Press edition was produced photo-offset from this edition. F&F 374. KEARNEY (1987) 8. KEARNEY & CARROLL 2.5.1. $350.

28. Beckett, Samuel: [Typed Letter, Signed, re: Godot]. 6 Rue des Favorites, Paris. 15 October 1955. One-half page, on quarto sheet of plain stationary. Folded for mailing, minute tear at top edge, otherwise about fine. To “Dear Miss Marx,” just possibly Erica Marx, editor and proprietor of the Hand & Flower Press, by implication a probable response to a query about English rights for En Attendant Godot. He writes in full: “Forgive my not having written to you before now. The delay was due to the unfinished state of my French publisher’s negotiations with Faber and Faber for an English edition of Godot. These have now been successfully concluded and I signed the contract yesterday. With my thanks and regrets I am Yours sincerely ....” Signed in full in ink. The Faber edition appeared in February of the next year. $1500.

29. Beckett, Samuel: MALONE DIES. New York: Grove Press, [1956]. Octavo. Natural linen, lettered in black. Fine in acetate wrapper with printed price, the latter showing a few minuscule nicks and chips. First U.S. edition of Beckett’s own translation from the French, limited issue. Copy #196 of 500 numbered copies, specially bound. The ordinary issue was bound in wrappers. F&F 375.01. $500.

30. Beckett, Samuel: ALL THAT FALL. New York: Grove Press, [1957]. Glossy white wrappers, printed in green. Faint crease to upper fore-corners and small bump to spine, light soiling at wrapper edges, but a very good copy, internally fine. First edition, Christmas presentation issue, specially gotten up as a holiday greeting from Grove Press to its friends. F&F 34.03 $175.

31. Beckett, Samuel: MURPHY. New York: Grove Press, [1957]. Cloth and boards. Minuscule bump to one lower fore-tip, otherwise very near fine, without printed dust jacket, as issued. In new acetate wrapper. First U.S. printing, limited issue. One of 100 numbered copies, specially bound, and signed by Beckett. F&F 25.11. $2500. 32. Beckett, Samuel: ENDGAME A PLAY IN ONE ACT FOLLOWED BY ACT WITHOUT WORDS A MIME FOR ONE PLAYER .... London: Faber and Faber, [1958]. Cloth. Fine in price-clipped dust jacket. First UK edition of Beckett’s own translations from the French, by implication preceded by the US edition. F&F 376.1. $350.

33. Beckett, Samuel: WATT. Paris: The Traveller’s Companion Series / The Olympia Press, [January 1958]. Decorated boards. Fine in dust jacket with negligible use at edges. Second edition, hardbound issue, with jacket copy geared toward British distribution, and notice on the rear flap that Zwemmer was handling same. Olympia had published the first edition, consisting of 1125 copies, in 1953. F&F 32. KEARNEY (1987) 171. KEARNEY & CARROLL 5.95.1. $300.

34. Beckett, Samuel: MOLLOY MALONE DIES THE UNNAMABLE. A TRILOGY. Paris: The Traveller’s Companion Series / The Olympia Press, [1959]. Printed wrappers. Text stock faintly tanned, as usual, otherwise near fine, though with the Olympia Press sticker on the rear wrapper obscuring the prohibition statement.. First collective Paris edition, published as TC #71. KEARNEY & CARROLL 5.71.1. F&F 377.11. $150.

35. Beckett, Samuel: LA DERNIÈRE BANDE SUIVI DE CENDRES. [Paris]: Les Éditions de Minuit, [January 1960]. Octavo. Printed wrappers. Errata slip. A fine copy in glassine with modest tanning along the spine edge. First edition in French in book form, translated by Pierre Leyris and the author. Copy #37 of forty numbered copies, from a total issue of 47 copies printed on pur fil du Marais. The sole fine paper issue of this edition of the play first published in English in Evergreen Review (Summer 1958) and in French in Lettres Nouvelles (March 1959). Rare in this issue. F&F 147.1. $950.

36. Beckett, Samuel: COMMENT C’EST. [Paris]: Les Éditions de Minuit, [January 1961]. Printed wrappers. Fine, unopened, in slightly tanned and smudged glassine. First edition, limited issue. Copy #24 of 80 numbered copies (and 7 h.c.) on Alfa Mousse Navarre, in addition to 110 copies reserved for La Librairie des Éditions Minuit. F&F 268. $500.

37. Beckett, Samuel: POEMS IN ENGLISH. London: John Calder, [1961]. Gilt faux-leather textured cloth, t.e.g., others untrimmed. Fine, without printed dust jacket, as issued. First collective edition, limited issue. One of one hundred numbered copies, specially printed on untrimmed handmade paper, differently bound, and signed by the author. F&F 40.01. $1350.

38. Beckett, Samuel: OH LES BEAUX JOURS PIÈCE EN DEUX ACTES. [Paris]: Les Edi- tions de Minuit, [February 1963]. Small octavo. Printed wrappers. Fine in glassine with a bit of tanning at the spine.

First edition in French of Happy Days, translated by the author. Copy #77 of 412 numbered copies on vélin pur fil reserved for La Librairie des Éditions Minuit, from a total deluxe issue of 499 copies. F&F 149. $250. 39. Beckett, Samuel: DRAMATISCHE DICHTUNGEN BAND I [and:] BAND 2. [Frankfurt am Main]: Suhrkamp Verlag, 1963 & 1964. Two volumes. 529,[6];423,[6]pp. Uniform publisher’s charcoal gray linen, silk markers. A couple of marginal finger smudges toward the rear of the first volume, otherwise very good or better, in modestly nicked and chipped dust jackets with some hand soiling to the spines. First collective edition of these translations printed parallel with the French or English texts, including the first appearance in book form of “Act Sans Paroles II.” The German translations were accomplished by Elmar Tophoven. An excellent association set, inscribed in each volume by Beckett to his friends Jack and Gloria [MacGowran]: “for Jack & Gloria with love & gratitude Sam Paris Feb. 1964” and “for Jack & Gloria with love from Sam Paris Jan. 1965.” Jack MacGowran (1918-1973) was closely identified with several major roles in Beckett’s plays, including that of Lucky in Godot at the Royal Court Theatre and the Obie winning off-Broadway anthology, “MacGowran in the works of Beckett.” Until his premature death at the age of 54, he and his wife Gloria remained among Beckett’s closest and most constant friends. F&F 270 & 34.3. $4250.

40. Beckett, Samuel: HOW IT IS. London: John Calder, [1964]. Large octavo. Publisher’s tan morocco, lettered in gilt, t.e.g., others untrimmed. Minute fleck of darkening on spine, otherwise fine in a very good publisher’s slipcase with small label ghost on one panel.

First edition, limited issue, of Beckett’s translation of Comment C’est. Copy #51 of one hundred numbered copies in series ‘B’, hors commerce, specially bound, from a total of two hundred copies specially printed on handmade paper and signed by the author. F&F 384.1. $1500.

41. Beckett, Samuel: IMAGINATION DEAD IMAGINE. London: Calder and Boyars, [1965]. Gilt lettered polished buckram. Fine in cloth slipcase. First edition, limited issue, of Beckett’s own translation. Copy #23 of one hundred numbered copies, hors commerce, specially bound, and signed by the author, denoted as being in advance of the first edition. F&F 385.101. $1250.

42. Beckett, Samuel: PROUST [and] THREE DIALOGUES London: John Calder. [1965]. Half cream vellum and gilt lettered cloth, a.e.g. Faintest rub at crown of spine, otherwise quite fine in slipcase. First edition in this format, limited issue. Copy #40 of one hundred numbered copies, specially bound and signed by the author. This constitutes the third edition of Proust, first published in 1931, and the first edition in book form of the “Three Dialogues,” first published in Transi- tion ‘49 #5. Beckett’s co-crediting of the latter to Duthuit is based on courtesy rather than formal collaboration. F&F 7.2. $1000.

43. Beckett, Samuel: COMÉDIE ET ACTES DIVERS. [Paris]: Les Éditions de Minuit, [Janu- ary 1966]. Printed wrappers. About fine in glassine. First edition in French, limited issue. Translated by the author. Copy #43 of 80 numbered copies (plus 7 hors commerce) printed on vélin pur fil Lafuma, in addition to 112 copies on bouffant. F&F 151.1. $225. 44. Beckett, Samuel: COME AND GO DRAMATICULE. London: Calder & Boyars, [1967]. Gilt lettered polished buckram. Photograph. Three minute flecks inherent in endsheet paper, otherwise fine and bright in slipcase. First edition, limited issue. Copy #34 of one hundred numbered copies, hors commerce, specially bound and signed by the author. F&F 46. $1250.

45. Beckett, Samuel: D’UN OUVRAGE ABANDONNÉ. [Paris]: Les Éditions de Minuit, [Feb- ruary 1967]. Small octavo. Printed wrappers. Fine in glassine. First edition in French, translated by Ludovic and Agnès Janvier in collaboration with the author. Copy #95 of 112 numbered copies on vélin cuve BFK rives, reserved for La Librairie des Éditions Minuit, from a total deluxe issue of 222 copies. F&F 154. $225.

46. Beckett, Samuel: NO’S KNIFE COLLECTED SHORTER PROSE 1945 – 1966. London: Calder & Boyars, [1967]. Gilt cream calf, a.e.g. Fine in lightly worn slipcase. First edition in English, deluxe issue. One of one hundred numbered copies (designated as series A), specially printed and bound, and signed by the author, from a total deluxe issue of two hundred copies. F&F 386.1. $1500.

47. Beckett, Samuel: POÈMES. [Paris]: Les Éditions de Minuit, [March 1968]. Square octavo. Printed wrappers. Fine, unopened, in glassine. First collective French edition, limited issue. Copy #199 of 550 numbered copies on vélin cuve BFK rives, in addition to 100 copies hors commerce and 112 for La Librairie des Édi- tions Minuit. F&F 279. $250.

48. Beckett, Samuel: WATT. [Paris]: Les Éditions de Minuit, [1968]. Octavo. Original printed wrappers. Fine, unopened, in glassine. First edition in French, translated by Ludovic and Agnès Janvier in collaboration with Beck- ett. One of 90 numbered copies (of 97) printed on Alfamousse, in addition to 92 copies on Bouffant reserved for La Librairie des Éditions Minuit. F&F 155. $850.

49. Beckett, Samuel: LE DÉPEUPLEUR. [Paris]: Les Éditions de Minuit, [September 1970]. Printed wrappers. A couple of trivial smudges to wrappers, otherwise fine, unopened. First edition, limited issue. Copy #33 of 99 numbered copies on vélin pur fil lafuma, in addition to 7 copies hors commerce, 200 on Bouffant, and 92 for La Librairie des Éditions Minuit. $250.

50. Beckett, Samuel: LESSNESS. London: Calder & Boyars, [1970]. Half cream vellum and gilt lettered cloth, a.e.g. Vellum a trace darkened, with minute spot of browning, otherwise fine, with the slipcase, which is a very tight fit for the book.

First edition, limited issue, of Beckett’s own translation of Sans (1969). Copy #18 of one hundred numbered copies, hors commerce, specially bound, and signed by the author, denoted as being in advance of the first edition. $1250.

51. Beckett, Samuel: MERCIER AT CAMIER. [Paris]: Les Éditions de Minuit, [1970]. Printed wrappers. Minute snag at fore-margin of first leaf of text, otherwise a fine, unopened copy. First edition, limited issue. Copy #18 of 99 numbered copies (plus 7 hors commerce) printed on pur fil Lafuma, in addition to 292 copies on Bouffant. $250. 52. Beckett, Samuel: MORE PRICKS THAN KICKS. London: Calder & Boyars, [1970]. Half cream vellum and gilt lettered cloth, a.e.g. Faintest tanning to the calf, otherwise quite fine in slipcase. First edition in this format, reprinting the contents of Beckett’s rare first collection of short fiction, first published in 1934. This is copy #75 of one hundred copies, hors commerce, specially printed and bound, and signed by the author. F&F 16. $2000.

53. [Beckett, Samuel]: Knowlson, James [comp]. SAMUEL BECKETT: AN EXHIBITION HELD AT READING UNIVERSITY LIBRARY, MAY TO JULY 1971 .... [London]: Turret Books, [1971]. Large octavo. Cloth. Photographs and facsimiles. Fine in limp plastic wrapper, as issued. First edition, limited issue. Foreword by A.J. Leventhal. One of 100 numbered copies, specially bound, and signed by the Beckett. $1000.

54. Beckett, Samuel: FILM SUIVI DE SOUFFLE. [Paris:]: Les Éditions de Minuit, [1972]. Square octavo. Printed wrappers. Offset from publisher’s numbered slip, otherwise near fine, unopened, in glassine. First edition in French, translated by the author. Copy #37 of 200 numbered copies, from a limited issue of 342 copies printed on vélin d’Arches. $200.

55. Beckett, Samuel: THE LOST ONES. London: Calder & Boyars, [1972]. Half cream vellum and gilt lettered cloth, a.e.g. Faintest tanning to the calf, otherwise quite fine in slipcase.

First edition, limited issue, of this translation by the author of Le Depeupleur. Copy #48 of one hundred numbered copies, specially bound and signed by the author, denoted as “printed in advance of the first edition.” $1100.

56. Beckett, Samuel, and Jean Deyrolle [illustrator]: SEJOUR. Paris: G[eorges] R[ichar], 1970. Oblong small folio (8.5 x 11 inches; 167 x 258 mm). Unbounded folded sheets, laid into printed wrappers. Illustrated with original monochrome gravures. Fine in glassine and cloth covered slipcase. First edition. Prefatory note by Richar. Illustrated with five original engravings by Louis Mac- card after designs by Deyrolle, printed at the Atelier George Leblanc. From a total edition of 175 copies (and 17 copies hors commerce), this is one of 150 numbered copies on grand vélin de Rives, signed by Beckett, and with the estate signature stamp of Deyrolle, who had died in 1967. $1350.

First Book – Inscribed to His Aunt 57. Beebe, C. William: TWO BIRD-LOVERS IN MEXICO ...ILLUSTRATED WITH PHOTO- GRAPHS FROM LIFE TAKEN BY THE AUTHOR. Boston: Houghton Mifflin Company, 1905. Pictorial cloth, t.e.g.. Plates. Binding a bit darkened and modestly soiled, endsheets a bit tanned, crown and toe of spine a bit frayed; a good, sound copy. First edition, second state of the binding (the first available state; the first state appears to be known only on the copyright deposit copy). This is an inscribed presentation copy of his first book from the author to his aunt. Beebe continued on to become one of the most popular and respected writers of exploration and ornithological books of his times, and a pioneer in the fields of marine studies and ecology. $475.

58. Beebe, William: GALAPAGOS WORLD’S END. New York & London: G. P. Putnam’s Sons, 1924. Large, thick quarto. Cream-white cloth, lettered in gilt, parchment fore-corners, t.e.g., others untrimmed. Frontis, plates and illustrations. Trace of minor foxing early and late, inner hinges a bit strained and partially cracked due to the enormous bulk of the book, otherwise near fine in modestly frayed and smudged dust jacket with dulling to spine panel. First edition, limited issue. The splendid “Author’s Autograph Edition,” limited to one hundred copies printed on French handmade paper, specially bound, and signed by the author. Illustrated with 24 colored plates by Isabel Cooper, and 83 photographs by John Tee-Van and others. The mammoth summary of Beebe’s findings on his 1923 expedition to the Galapagos Islands. The expedition was financed by Harrison Williams and in the course of two ten day visits, Beebe and his team gathered substantial information and specimens buttressing the findings of Darwin in the previous century. He discovered a formerly uncharted bay, which was named, appropriately, Darwin Bay. In 1925, Beebe made a return expedition to the Galapagos on the Arcturus. This work was published under the auspices of the New York Zoological Society $1750.

59. [Beiderbecke, Leon Bix (subject)]: King, Zalman, and Patricia [L. Knoop] [screenwriters]: BIX FIRST DRAFT SCREENPLAY .... Hollywood: The Petersen Company, [ca. 1980s]. [2],122,[1] leaves. Quarto. Mechanically reproduced typescript, printed on rectos only. Bolt bound in gilt flexible binder (produced by Barbara’s Place). Ink name and contact phone number on title, otherwise about fine. The first draft of this original screenplay for an unproduced bio-pic about the life of the jazz figure. Some references suggest that this project enjoyed the serious interest of Martin Sheen, but was shelved due to the 1991 film by Pupi Avati. $175.

60. [Beiles, Sinclair]: HOUSES OF JOY. By “Wu Wu Meng” [pseud]. Paris: Traveller’s Compan- ion Series / The Olympia Press, [December 1958]. Printed wrappers. Spine extremities a bit worn, price on lower wrapper neatly inked out, otherwise a very good or slightly better copy.

First edition of this pastiche of the classic Jin Ping Mei (a.k.a. Chin P’íng Mei), written by the South African poet and cut-up practitioner, and as such, constituting his first formally published book. Published as TC # 75. KEARNEY (1987) 150. KEARNEY & CARROLL 5.75.1. $125.

61. Bergé, Carol: THE VANCOUVER REPORT [wrapper title]. [New York: Fuck You Press, 1964]. Quarto. Stapled, mimeographed text and wrappers. Near fine. First edition of this account of the Vancouver Poetry Seminars, where Creeley, Duncan, Ol- son, Ginsberg, Levertov, and many others, held forth. The poet’s first separately published prose work. $150.

62. [Berger, Thomas (sourcework)], and [Gelbart, Larry (screenwriter)]: “NEIGHBORS.” [New York]: Columbia Pictures / Zanuck Brown Productions, 9 April 1981. [1],99,[1] leaves. Quarto. Mechanically reproduced typescript, printed on rectos only. Bradbound in repurposed Studio Duplicating Service binder (with label), but with SDS colophon at end of text. Ink name (see below), corner creases and some fraying and use at edges; good and sound. An unspecified but production draft of Gelbart’s adaptation of Berger’s novel. The December 1981 release was directed by John G. Avildson, and starred John Belushi, Kathryn Walker, Cathy Moriarty, and Dan Aykroyd. This copy bears the ownership signature of the production sound-mixer, Les Lazarowitz, and has a couple of relevant annotations, and a Sound FX Breakdown list laid in. $125. 63. Bergman, Ingmar, and Alan Blair [translator]: THE SANCTUARY ...A TRAGICOMEDY OF BANALITY. Djursholm: Cinematograph AB, [May 1969]. [1],76 leaves. Carbon typescript, on rectos only of A4 typing stock. About fine, in lightly worn Cinematograph manuscript folder. A scenario in three acts by Bergman, translated into English by his most frequent translator. Cinematograph AB was Bergman’s own production company, which he founded in 1967 for both film and television work, based on his own work and that of associates. Both the title leaf and the folder bear the Company’s contact stamp (address, phone, etc). The typescript itself is dated at the end “Farö, May 1969.” There are a handful of minor corrections in manuscript. $450.

64. Berjeau, J. Ph. [ed]: THE BOOK-WORM AN ILLUSTRATED LITERARY AND BIBLIO- GRAPHICAL REVIEW. London: At the Office, January 1866 through December 1867. Two volumes. Large octavo. Contemporary three-quarter pebbled calf, with volume titles bound in each, and the original wrappers bound in the rear of each volume. Illustrations and folding facsimiles. Some foxing, occasionally pronounced, extremities rubbed, scattered pencil notes, but a good, sound set The first two volumes of this English language monthly (a total of twelve issues), conducted by a contemporary and frequent collaborator of Paul Lacroix. It continued through at least a fifth volume, 1870, with an emphasis on early printers, anecdote and iconography. $185.

65. Bertini, Gianni: [Original Untitled Blind Embossed Etching]. [Milan: Galerie Schwarz, ca. 1961]. Original blind embossed etching, plate size 11 x 14.5 cm, on 26.5 x 19.5 cm sheet. Mounted in stiff board and acetate mat, with printed caption on verso. Fine. One of sixty numbered copies, in addition to twenty-five copies numbered in Roman, signed and dated in the margin by the artist. Printed in Paris in the Atelier of Georges Leblanc on hand made paper from Papeteries de Rives. Bertini (b. 1922 in Pisa) began painting while finishing his doctorate in mathematics, beginning with a figurative phase influenced by Post- Cubism and Expressionism evolving into abstraction. He began to introduce typographical elements into his work, creating his “machinist” paintings. His “bertinisations,” which included collages of photographs with signs and symbols, were a radical departure from his earlier work. This print was published as an element of Galerie Schwarz’s series, L’Avanguardia Internazionale. $100.

66. Bertini, Gianni: MES LONGUES NUITS. [Paris]: Éditions du Castl Rose, [1998]. Octavo. Decorated wrapper over flexible boards, color marbled edges. Illustrations and portraits. Very faint handsoiling to wrapper, otherwise fine. First edition. With 38 full page designs (including color) and twenty portraits. The whole was executed entirely in serigraph at the Ateliers Del Arco. One of 100 numbered copies on vélin de Lana, from a total edition of 120 copies, signed by the artist. The portraits and subjects include Apol- linaire, Ungaretti, Marinetti, Gysin, Burroughs, et al. $600.

67. Biberman, Herbert J. [director], and Michael Wilson [screenwriter]: [Vintage Russian Theatri- cal Publicity Poster for:] SOL’ ZYEMLI [SALT OF THE EARTH]. Moscow. 1957. Folio. 24.75 x 17.5” [63 x 44 cm]. Original folds. Some short edge tears, and tiny cracks in a few places along the fold lines, upper right extreme corner has a few spots of minor soiling, otherwise a very good, bright copy of a very fragile and graphically striking poster. A vintage poster, designed by Leonid Tyutryumov, attending the 1957 Russian release of Bieberman’s 1954 socially conscious masterpiece, starring Juan Chacon, Rosaura Revueltas, Will Geer, David Wolfe, David Sarvis, and a large cast of nonprofessionals, including the members of New Mexico Local 890 of the International Union of Mine, Mill, and Smelter Workers. Biebermann was still on the Blacklist when he undertook this independent production, drawing its inspiration from the events surrounding the 1951 strike against the Empire Zinc Company in Grant County, NM. Paul Jarrico, Will Geer, Rosaura Revueltas, and Michael Wilson were also on the blacklist and could not find work under the studio system. Upon completion, opposing forces quickly oozed to the forefront and congealed against its distribution in the US – after being exhibited only a few times, the film was condemned by the US House of Representa- tives, harassed by FBI investigations, boycotted by the American Legion, and effectively banned from American screens for a decade. The film is both a work of art and an interpretation of history, dealing with uncommon issues of its time which included outspoken feminism and the struggle for dignity and equality for Mexican-American workers, whether male or female. In 1992 the Library of Congress selected the film for preservation in the United States National Film Registry. $400.

68. Biddle, George (1885-1973): [Two Autograph Letters, Signed]. Croton-on-Hudson. One undated, the other 21 December 1937. Two pages, octavo, written in ink on rectos only of Biddle’s printed letterhead. Accompanied by one envelope, addressed in his hand. Envelope snagged while being opened, otherwise very good. Two brief letters to fellow artist Willis Birchman, the dated letter thanking him for the copy of Faces & Facts he sent him (“I thought it amusing & extremely well edited”) and the second thanking him “for your kind word. Now it is all over, I’m eager to get to work & do a little painting.” Each signed in full. Biddle was one of the primary exponents of American social realism and served as a combat artist during WWII for Life. He was instrumental in the founding of the Federal Art Project. $125.

Ambrose Bierce’s First Book Appearance 69. [Bierce, Ambrose; Samuel L.Clemens, et al]: Price, J., and C.S. Haley [ed]: THE BUYERS’ MANUAL AND BUSINESS GUIDE; BEING A DESCRIPTION OF THE LEADING BUSINESS HOUSES MANUFACTORIES, INVENTIONS, ETC. OF THE PACIFIC COAST, TOGETHER WITH COPIOUS AND READABLE SELECTIONS, CHIEFLY FROM CALIFORNIA WRITERS. San Francisco: Francis & Valentine, Steam Book and Job Printing Establishment, 1872. v,[5],192,16pp. Octavo. Original plum-gray cloth, lettered in gilt. Illustrations and adverts, including 4pp. insert printed in red and green. Light foxing to endsheets, a few faint spots to cloth, otherwise an uncommonly nice copy of a book usually found rather ragged. Half morocco slipcase and chemise. First edition. In addition to its substantial business and technology-related components, this collection includes prose and poetry by Bret Harte, Clemens, Joaquin Miller, Ambrose Bierce (his first publication in book form), Prentice Mulford, O.W. Holmes and J.R. Lowell, a few of the items, including Clemens’ “The Public to Mark Twain – A Reply” and a speech, appearing here for the first time in book form. Harte’s “The Luck of Roaring Camp” and Clemens’ “Jump- ing Frog of Calaveras,” though obviously reprints, are given lead billing. “Town Crierisms,” pp.19-21, constitutes one of Bierce’s earliest publications in book form. BAL 3348 & 1094. $600. 70. [Bierce, Ambrose]: “Dod Grile” [pseud]: NUGGETS AND DUST PANNED OUT IN CALI- FORNIA BY ...London: Chatto & Windus, [1873]. [2],vi,175,[1],[8]pp. Small octavo. Pictorial wrappers. Rebacked at an early date with plain paper, wrappers chipped and frayed at edges, with tear at lower edge, occasional marginal nicks and short tears, two leaves of terminal catalogue carelessly opened, probably lacking the front true free endsheet; frankly, a rather dim copy, but textually sound. Enclosed in a rather eccentric half calf slipcase. First edition, BAL’s printing B (no assigned priority) of Bierce’s second book. Published pseudonymously like its predecessor, The Fiend’s Delight, this collection is additionally represented as edited by “J. Milton Sloluck,” adding another layer to Bierce’s ruse. Both were assembled from his various contributions to California periodicals. Although originally announced for publication by John Camden Hotten, the publisher of The Fiend’s Delight, Hotten’s death placed it among the assets taken over by Chatto & Windus and seen to completion. No comparable U.S. edition appeared, and it is among Bierce’s least common publications. BAL 1099. STARRETT 2. BAIRD & GREENWOOD 251. TOPP III, p.33. $850.

71. Bierce, Ambrose: BATTLE SKETCHES ...WITH EIGHT ENGRAVINGS ON WOOD BY THOMAS DERRICK. London: The First Edition Club, 1930. Quarto. Gilt vellum, wallet fore- edges. Frontis, pictorial title vignette and sectional headings. Bookplate on front pastedown, vellum a bit dust mottled, else very good, internally fine. First printing in this format. One of 350 copies designed and printed on Batchelor’s handmade paper by Benard Newdigate at the Shakespeare Head Press, and with a brief prefatory note by A.J.A. Symons. Typographically the most elegant presentation of these classic tales for decades to come. BAL 1144. $200.

72. [Black Panther Party]: FREE OUR SISTERS FREE OURSELVES [caption title]. Wash- ington & New Haven: Women’s Liberation / Connecticut Panther Defense Fund, November [1970]. Small folio broadside (355 x 255 mm; 14 x 10”). Some offset tanning around edges, old soft horizontal fold, but very good. A broadside appeal on the behalf of seven women, Panther Party associates and/or members, then being held without charges at Niantic State Prison Farm, including Erica Huggins, Francis Carter, et al. It calls for a massive demonstration in New Haven on 22 November, and solicits contributions for the Connecticut Panther Defense Fund and Women’s Liberation in New York. $350.

73. [Black Panther Party]: THE BLACK PANTHER BLACK COMMUNITY NEWS SERVICE [Lot of Thirty-Three Issues]. San Francisco: Ministry of Information, 28 June 1969 through 12 May 1973. Various paginations. 33 issues, one a double number. Folio tabloid, printed and pictorial self wrappers. Heavily illustrated, including photographs, as well as occasional editorial and wrapper art by Emory Douglas. Condition varies, generally from good to very good (and very occasionally slightly better), subject to the nature of the materials, tanning, and horizontal folds. Three issues have long tears, others show some scattered soiling, fraying and rubbing. Light pencil annotations in lower margins of rear wrappers. The national weekly Black Panther Party paper, with news, political and legal discussions, national and international, as well as information for the community and individuals. This is a substantial representation, consisting of the following, with corrections to errors in numbering as noted: (1969) III:10, 18 (denoted vol. II in error), 22, 25, and 31; (1969-70) IV:3, 4, 8, 9, 10, 11, 14, 15 (supplement present), 16, 17 (misnumbered ‘18’), 18, 20, 21, 22, 24, 25/6 (double number), 28, and 30; (1970) V:1, 2 (misnumbered ‘1’), 4, 6, 7, 12, 15, 16, and 17; (1973) IX:30. $3750.

74. Bond, Edward [screenwriter], and Henrik Ibsen [sourcework]: HOLLYWOOD TELEVISION THEATRE IBSEN’S MASTER BUILDER A VERSION FOR TELEVISION. [Np: Hollywood Television Theatre, 13 May 1975]. [4],101 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in stencil printed wrappers. Wrappers a trace darkened at edges, slight offset bleed from rear wrapper to lower edge of verso of terminal leaf, relevant ink name and notes on upper wrapper); very good. A first draft of this adaptation for television of Ibsen’s play, undertaken by the influential playwright, director and poet, and as of this date, unproduced. This copy has the ownership signature of a television producer/director on the upper wrapper, as well as what were likely projected casting choices: Burt Lancaster, Liv “Ullman” [sic], Geraldine Fitzgerald and Anne Bancroft. “Sidney [sic]” Pollack is noted as a potential director for the project. IMDB credits Hollywood Television Theatre with some ten productions from 1971 – 1978, including adaptations of plays by Hellman, Friedman, O’Neill, Fry, Pirandello, and others. $350.

75. [Bookplates]: Minajev, Evgenij Nikolaevic: 500 EKSLIBRISOV... EXLIBRIS OF THE RUS- SIAN RIPABLIC [sic] .... Moscow: Sovetskaja Rossija, [1971]. Small quarto. Gilt cloth. 500 black and white, and color examples of bookplates. Upper corner bumped, bookplates and small bookseller’s label on pastedown, cloth a bit dusty toward top edges, else very good in lightly chipped dust jacket with small tape repair to rear end flap. First edition. Principle text in Russian, with a concluding summary in English, French, and German. Extensively illustrated, and with a bibliography and biographical sketches. $100.

76. [Bookplates]: Uchida, Ichigoro, and Noboru Nakai: WESTERN EROTIC EXLIBRIS. To- kyo: Tsukushikan, [1998]. Small octavo. Pictorial wrapper over printed wrapper. Illustrated throughout. Four color plates. About fine. Text in Japanese. Includes reproductions of over one hundred erotic bookplates commissioned by western bibliophiles and collectors, mainly in the 20th century, arranged according to themes and motifs. $35.

77. [Borges, Jorge Luis]: SECA PRESENTS FIRING LINE .... Columbia, SC: Southern Edu- cational Communications Assoc., [1977]. Pictorial wrappers. Wrappers faintly tanned and smudged, with small mailing label scars on blank panel; very good. Signed by Borges on the title leaf in his illegible (due to his blindness) hand, with a pencil note in an unidentified hand recording the occasion of the signature during a visit by Borges to Gotham Book Mart. The signature is partially obscured by the printed title, which it overlaps. The transcript of Buckley’s 18 February 1977 broadcast, with Borges as his guest. $250.

With Z3 in Its Original State 78. Boswell, James: AN ACCOUNT OF CORSICA, THE JOURNAL OF A TOUR TO THAT ISLAND; AND MEMOIRS OF PASCAL PAOLI ...ILLUSTRATED WITH A NEW AND AC- CURATE MAP OF CORSICA. Glasgow: Printed by Robert and Andrew Foulis for Edward and Charles Dilly, 1768. xxiv,382pp. plus folding map (bound before A1). Contemporary calf, neatly rebacked with most of the original backstrip laid down. Bound with the half-title and the terminal blank. Typical offsetting from binding to edges of endleaves, a bit of ink spatter at the fore-edge of the verso of the folded map, and offset then to blank margins of adjacent leaves, with a modicum of scattered foxing and marginal discolorations elsewhere, still an about very good copy. First edition, first form of the map (as appropriate to the first edition) without scale or marginal divisions, E2 is a cancel, as usual, and is in the ‘Istria’ form; however, Z3 is present in the original, uncorrected state, with the ‘Mariana’ reading in the penultimate line. D2r is also in the uncorrected state. All but one of the misprints noted by Pottle are present. One of 3500 copies printed. The Tinker copy and one of the Rothschild copies are among those examples with Z3 uncorrected. POTTLE 24. ROTHSCHILD 442 & 443. GASKELL, FOULIS PRESS, 473. ESTC T26157. $1750.

79. Boswell, James: THE LIFE OF SAMUEL JOHNSON, LL.D. COMPREHENDING AN ACCOUNT OF HIS STUDIES AND NUMEROUS WORKS.... London: Printed for Henry Baldwin, 1791. xii,[16],516;[2],588[i.e.586],[2]pp. Two volumes. Quarto. Handsomely bound in full speckled calf, elaborately gilt extra, a.e.g., for Brentano’s. Portrait. Facsimile and plate.

Isolated minor foxing, a couple of thin scratches to one upper board, S2-3 in first volume exhibit odd discoloration, otherwise a bright set, very good or slightly better. First edition, but with the corrected state of I:135:10 (‘give’), and with the complement of cancels outlined by Pottle, as usual. In volume two, pages 78, 92, 275 and 352 are in their first, uncorrected states. Frequently remarked upon as one of the triumphs of the art of biography in the English language. ROTHSCHILD 463. POTTLE 79. GROLIER ENGLISH HUNDRED 65. ESTC T64481 . $5500.

80. [Bowles, Paul]: Cohen, Ira: MINBAD SINBAD (ET AUTRES TEXTES) .... Brussells: Didier Devillez Éditeur, [1998]. Small octavo. Printed wrappers. Photographs.Fine. First edition, limited issue, of these collected pieces on Morocco, preceded by a “Conversa- tion” with Paul Bowles. One of twenty copies printed on large untrimmed Rives, numbered I – XX, with variant fine paper wrappers. Translated by Philippe Franck. $125.

81. [Bowles, Paul, et al]: COLD-DRILL 1991. Boise: Dept. of English Boise State University, 1991. Quarto. Glossy pictorial wrappers. A virtually as new copy, in publisher’s shrink wrap.

Edited by Bob Moore, with distinguished contributing editors. This issue includes a CD, Sum- mer Marigolds, with explanatory folder, and a group of postcards featuring later generation surrealist art. Bowles and Mrabet read on the CD. Other contributors include Brandi, Ira Cohen, Coleman, Dorn, Enslin, C.H. Ford, Glass, Kupferberg, McClure, Malanga, Roditi, Carl Solomon, and many others. $50.

82. [Bradley, Will]: Smith, Harry B.: LYRICS AND SONNETS. Chicago: The Dial Press, 1894. Ornately gilt decorated green cloth, t.e.g., others untrimmed. Decorative title-page. About fine, in oversize half morocco clamshell box. First edition, this being the primary binding. One of two hundred copies only. Inscribed by the author on the front free endsheet: “To my dear sister Mollie with much love, Harry B. Smith. July 6 1894.” Bambace suggests the binding design is “probably” Will Bradley’s work. An uncommon book and imprint. Librettist, bookseller and book collector Harry Smith was a frequent contributor to Francis Browne’s incarnation of The Dial. A portion of the edition, presumably a later state, was bound in tan cloth, with the binding design stamped in blue. BAMBACE C1. $300.

83. [Brassaï (photographs)]: Miller, Henry: QUIET DAYS IN CLICHY. Paris: The Olympia Press, 1958. 12mo. Stiff decorated wrappers (by T. Tajiri). Illustrated with full-page photographs by Brassaï. Minor use at wrapper edges, otherwise about fine. Second edition (impression?), after the first of 1956. The colophon imprimatur is dated December 1957. S&J A100c. KEARNEY & CARROLL 1.16.2. $450.

84. Bridson, D.G.: ...THE QUEST OF GILGAMESH A DRAMATIC POEM FOR RADIO ...[wrapper title]. [London: BBC, 1955 or 1956]. [7],32,32pp. (English and French texts in parallel, with parallel paginations), plus 2 loose inserts. Folio. Comb-bound printed wrappers. Mimeographed typescript, printed on recto and verso. Corners a bit bumped, wrappers a bit dusty and smudged, but very good. An early printing of this text, broadcast on the Third Programme on 29 November 1954, accompanied by music by Walter Goehr, and here presented as the BBC Entry for the Italia Prize / Prix Italia for 1956. The parallel French translation is by Jacques B. Brunius. OCLC/ Worldcat locates no separate publication of this work prior to the 1972 Rampant Lions Press limited edition. $125.

85. Briley, John [screenwriter]: SANCTUARY. Burbank: Warner Bros., 1987. [1],130,[1] leaves. Quarto. Mechanically reproduced typescript, printed on rectos only. Bradbound in studio logo wrappers. Faint handsoiling to white wrappers, else near fine. An unspecified draft of this original screenplay by the Academy Award winning screenwriter for Gandhi, Cry Freedom, Sandino, and many others. The script in hand treats, among other topics, the plight of refugees from Latin American police states, and appears to be unproduced, though sharing concerns with SANDINO. $175.

86. [Brodeur, Paul (sourcework)]: Marcus, Lawrence B.[screenwriter]: THE STUNT MAN SCREENPLAY BY ...ADAPTED FROM PAUL BRODEUR’S NOVEL. Bel Air, West Los Angeles: [Simon Productions / 20th C. Fox], 9 February 1977. [1],130 leaves plus lettered inserts. Quarto. Photomechanically reproduced typescript, printed on rectos only. Bradbound in hot-stamped stiff card wrapper. Title hand-lettered on spine, but very good or better. Copy #85 of an unidentified but revised early draft of Marcus’s adaptation of Brodeur’s novel. Richard Rush directed the June 1980 release, starring Peter O’Toole (in an Oscar and Golden Globe nominated role), Steve Railsback, Barbara Hershey, et al, and Rush was co-credited for the final screenplay. Marcus and Rush shared Oscar and Golden Globe nominations for the adaptation. $225.

87. Brodovitch, Alexey [designer], and Maurice Tabard [photographer]: SPORTS PHONO PHOTO TSF ...... 1929 ANNEXE DES TROIS QUARTIERS MADELIOS ...[wrapper title]. Paris. 1929. [66]pp. Small octavo. Pictorial wrappers. Illustrations and photographs. Wrappers faintly tanned, minor use, index pasted inside front wrapper (as issued); a very good copy. A superb example of Brodovitch’s design work from the Paris years, coupled with product shots by the innovative photographer, Maurice Tabard. Madelios was the top-end gentlemen’s department of Trois Quartiers, the great Parisian department store founded in 1829. The offerings encompass clothes, radio and audio equipment, travel supplies, sports equipment, cameras, etc. Brodovitch worked in the Trois Quartiers design studio, Athelkia, from 1928 until his departure for Philadelphia in September of 1930. $650.

88. Bukowski, Charles: SEPTUAGENARIAN STEW. STORIES & POEMS. Santa Rosa: Black Sparrow Press, 1990. Cloth and decorated boards. Top edge slightly dusty, otherwise about fine. First edition, limited issue. One of five hundred numbered copies (of 751), specially bound and signed by the author. $300.

89. Bulwinkle, Mark: WHAT I SAW ON MY SUMMER VACATION IN OREGON. [Oakland: Published by the Author], 1983. [1],54 leaves. Quarto. Photomechanically reproduced, printed on rectos only, by Krishna Copy of Berkeley. Punched and bound in flexible red binder, with ms. caption on the upper wrapper. Illustrated throughout by the author. Binding strips slightly separated toward top, otherwise about fine. First edition of this delightful artist’s book. One of fifty copies reproduced from the author’s drawings and manuscript captions. Signed and dated by Bulwinkle in 1984. Bulwinkle is the well-known artist and metal sculptor who has turned his West Oakland property into “Bulwinkleland.” This work appeared in several subsequent (and much less limited) editions over the following decade. $350.

Participant’s Copy 90. Burgess, Anthony; Tom Wolfe; Colleen Dewhurst, et al [contributors]: EXCELLENCE: THE PURSUIT, THE COMMITMENT, THE ACHIEVEMENT .... Washington, DC: LTV Cor- poration, 1981. 126pp. Quarto. Printed wrappers. Photographs. Wrappers a bit rubbed, but a very good copy. The proceedings and text of this seminar, including Wolfe, Burgess, Dewhurst, James Watson, Robert Nozick, and a number of others as participants. Each participant’s address is printed, along with Q&A, etc. This was Colleen Dewhurst’s copy: laid in front are three pages (on two leaves, quarto) of autograph talking points for her presentation. She refers to those notes in the opening of her presentation: “I had written notes very large so that I could glance down ....” A good association copy of an uncommon collective appearance of several individuals of significance. $275.

91. Burney, S[arah] H.: TALES OF FANCY: ...THE SHIPWRECK. London: Printed for Henry Colburn, 1816. viii,[2],400pp. Contemporary polished calf, spine gilt extra. Spine a shade sunned, light rubbing at edges, otherwise a very good copy, possibly bound without a half- title, but with the bookplate of the Earl of Ilchester. First edition of the first of a three volume sequence of two novels by the half-sister of Frances Burney. The two succeeding volumes, printing Country Neighbors; Or, The Secret, were published in 1820. BLOCK, p.31. $275.

92. [Burroughs, William S.]: WILLIAM BURROUGHS NAKED LUNCH PUB. DATE: NOV. 20, 1962 ...[wrapper title]. [New York]: Grove Press, 1962. Photographically illustrated self-wrappers. White portion of wrapper slightly dust-toned, a couple small smudges, but a nice copy. The promotional brochure distributed by Grove Press in anticipation of the publication of its edition of Burroughs’ novel, incorporating selections from the text, a mini-essay by Terry Southern, and comments by Ciardi, Mailer, Kerouac, and Lowell. Maynard & Miles suggest this pamphlet appeared the month prior to the formal publication of the book, and we have seen it accompanying copies of jacketed sets of unbound signatures of the full text utilized as review copies. CHARTERS B21. M&M F7. $125.

93. Burroughs, William S.: DOCTOR BENWAY A PASSAGE FROM THE NAKED LUNCH. Santa Barbara: Bradford Morrow, 1979. Large octavo. Cloth and boards Frontispiece by K. Anders. Fine in dust jacket. Prospectus laid in. First edition in this format of a variant text, accompanied by an introduction by the author. From a total edition of 500 copies printed by Patrick Reagh, this is one of 26 lettered copies, hors commerce, signed by the author. $850. 94. [Burroughs, William S., and Brion Gysin]: Ambrose, John; Terry Wilson, and Frank Rynne: MAN FROM NOWHERE STORMING THE CITADELS OF ENLIGHTENMENT WITH WIL- LIAM BURROUGHS AND BRION GYSIN. [Np]: Subliminal Books, [1992]. Small octavo. Stiff pictorial and typographically decorated wrappers. Photographs. Very good or better. First edition, ordinary issue. With additional contributions by Iggy Pop, Paul Bowles, Anne Waldeman, Marianne Faithful, Jena Giorno, Keith Haring, Ira Cohen, et al. A “special” portion of the edition was boxed with a group of postcards for distribution at the “Here To Go” show in Dublin. $50.

A Contemporary Presentation Copy 95. [Bynner, Witter, and Arthur D. Ficke]: SPECTRA A BOOK OF POETIC EXPERIMENTS. By “Anne Knish” and “Emanuel Morgan” [pseuds]. New York: Mitchell Kennerley, 1916. Picto- rial boards. Spine a bit tanned with some wear at crown, offset from absent clipping between copyright page and contents page, small scuff at lower corner of upper board, otherwise a good to very good copy. The first edition of the most successful American literary hoax of its generation, here present in a copy of high interest. Spectricism, a deliberate attempt to perpetrate a satirical parody of Imagism and the other “isms” of early 20th century poetry, made its debut with this volume in the early months of 1917 (although the first review appears in November 1916, Boice dates copyright deposit as 17 March 1917 and assigns it to the 1917 section of his Kennerley checklist). Until the spring of 1918, the true identities of the perpetrators were a generally well-kept secret -- in the early months after the publication of this book, perhaps only a dozen people were aware of the correspondence between the pseudonyms and Bynner and Ficke. This copy bears Bynner’s signed presentation inscription: “Dear [?] Ray – Have a laugh on us! Witter Bynner February 4 1917.” This would appear to be one of the earliest presentation copies, and as well one of the handful of presentation copies to an intimate who was aware of the identities behind the pseudonyms. It is unlikely that the identity of the recipient can be more than a matter of specula- tion, but one possibility would be Ray Coyle, the artist who contributed a frontis to Bynner’s privately printed work, The New World (1919). While later presentations, made after the disclosure of authorship, are themselves uncommon, presentation copies made contemporary with publication are as scarce as good examples of Spectricist poetry. BOICE 1917.1. $600.

96. Cable, George W.: [Typed Letter, Signed “G.W. Cable”]. Northampton, MA. 18 Decem- ber 1910. Two-thirds of a page, on recto of quarto sheet of light weight typing paper, with blindstamped letterhead in corner. Folds from mailing, recipients dated receipt stamp, a few tiny breaks at edges, else very good. To “Dear Gus Thomas” (i.e. American playwright Augustus Thomas, at the time the President of The Lambs Theatrical Club), discussing prospects for his dramatization of Kincaid’s Bat- tery: “I told you J. I. C. Clarke had the ...play to read. I now have his letter and send you a copy of its third page; the other two are even more unfavorable. In answer to his closing implication that he would like to consider the play further after reading the book, I have asked him to retain it until I can determine what next step is best ...You know how glad I should be if you should care to look at it yourself, and how twice and thrice as glad if you could contemplate any sort of Bonnie Briar Bush arrangement ....” He discusses further the possibility of Thomas connecting him with reliable parties to assist in the matter, and details a request he has received to agree to a dramatization of “Posson Jone and Pere Raphael.” He concludes: “I shall be highly pleased to hear from you and am always --- Yours truly, G.W. Cable.” $275.

97. Cable, George W.: [Autograph Directive to a Physician, Signed “G. W. Cable”]. Np. 6:30 P.M. 10 October [no year]. One full page, octavo. In pencil, with corrections, on sheet of lined note paper. Old folds, paper somewhat foxed, else very good. To an unnamed physician, directed simply as “Doctor.” Cable reports to the physician the physical symptoms and status of “Allison” (perhaps Alex Allison, his brother-in-law, or Alex- ander or Andrew Allison, his nephews). Ca. 125 words, beginning: “I don’t think Allison has passed the night just as you expected. From ten to one a.m. he was very nervous & restless ....” He then provides an account of the patient’s symptoms, pulse rate, sleeping or awake state, bowel rumblings, dosages of medicine, etc., noting in part: “I asked him to show me his tongue but he very cautiously showed only the end which is not pink but looks but the sides look very red. He says he cannot put it out. Of course I did not urge him to do so.” He concludes, reporting on the patient’s pulse rate and dosages of medication, and requests that the physician “Please come up. G.W. Cable.” $125.

98. Cage, John: SILENCE LECTURES AND WRITINGS. Middletown: Wesleyan University Press, [1967]. Oblong small quarto. Near fine, in good, typically rubbed, price-clipped dust jacket with creased tears in lower edge of front panel. Signed by the author on the half-title. The second printing of this collection, including the seminal “Lecture on Nothing,” and “Lecture on Something.” $375.

Presentation Copy 99. Calder, Alexander [illustrator]: FABLES OF AESOP ACCORDING TO SIR ROGER L’ESTRANGE. [Paris]: Har- rison of Paris [& New York]: Minton, Balch and Company, [1931]. [8],124,[4] pp. Square octavo. Publisher’s pictorial wrapper over boards. Illustrated with fifty drawings by Alexander Calder. Faint foxing to the wrapper, otherwise a very nice copy in chemise (label chipped), with shards of the slipcase. First edition in this format. Copy #236 of 595 copies printed on Auvergne handmade paper, from a total edition of 665 copies printed after a design by Monroe Wheeler. This copy bears Calder’s highly embellished and decorated presentation inscription to two of his neighbors, dated June 1948. As often, the original paper knife is absent. ARTIST AND THE BOOK 47. $2750.

Inscribed, with Three Drawings 100. Calder, Alexander: THREE YOUNG RATS AND OTHER RHYMES DRAWINGS BY .... New York: Published by Curt Valentin, 1944. Large quarto. Cloth and pictorial boards. Illus- trated with 85 drawings by the author. A bit of foxing and dusting in the upper spine corners of the prelims and terminal leaves, faint tanning to verso of free endsheet and facing blank, canary yellow boards a bit tanned at extreme edges, upper forecorners slightly bumped, otherwise a very good copy, with the panels of the imperfect dust jacket laid in. First edition. Edited with an introduction by James Johnson Sweeney. An out-of-series, unnumbered copy, from (or in addition to) 700 copies printed on Arnold Unbleached paper, from a total edition of 760 copies printed at the Golden Eagle Press in Granjon types. This copy bears an elaborate December 1951 inscription “with love” from Calder to his neighbors, incorporating their earlier 1944 ownership inscription, embellished with three large ink drawings, being portraits of the recipients and their son. Signed “Sandy Calder.” $3000.

101. [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. Spine sunned, cloth very slightly darkened at edges, otherwise a very good copy, without dust jacket. First edition in this format. With Calder’s expansive and highly decorated presentation inscription: “to our dear Neighbors (summer) and occasional Drinking Pardners .... Roxbury & Waterbury, from all the Calder Roxbury (only) Xmas 1946.” GRIMSHAW B16. $750.

102. Calder, Alexander: CALDER AN AUTOBIOGRAPHY WITH PICTURES. New York: Pantheon Books, [1966]. Quarto. Natural linen, stamped in blue, white and black. Portrait. Pictorial endsheets. Photographs, illustrations and plates (some in color). Faint foxing to edges, otherwise very good or better in shelfworn dust jacket with two short, internally mended tears and a bit of dusting to the white portion of the rear panel. First edition. “Affectionately” inscribed by Calder to his Connecticut neighbors, dated 21 April 1967, and signed “Sandy Calder.” $600.

103. [California Fiction]: [Washburn, Charles Ames]: PHILIP THAXTER A NOVEL. New York: Rudd & Carleton, 1861. 350,[6]pp. Original cloth, stamped in blind and gilt. Spine sunned and extremities a bit frayed, considerable foxing to endsheets, and less so scattered elsewhere, a few small marginal discolorations, a few signatures starting slightly, early ink name on preliminary blank; still a good, sound copy. First edition. “A young New Englander comes to California during the gold rush. His life as a gambler and placer miner are set forth in considerable detail. Includes an account of the hanging of a Mexican woman at Downieville, an event that caused much distress throughout the state ...A rare historical novel” – B&G. WRIGHT II:2658. BAIRD & GREENWOOD 2529. COWAN, p.670. $450.

104. 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. [London: Cassell and Company, 1967]. Quarto. Cloth. Facsimiles. About fine in very good or better dust jacket with modest tanning and shelfwear at edges. First edition. Introductory essay by Denis Hay. Title-page by Reynolds Stone, printed over- seen by Brooke Crutchley. 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.

With Three Letters from Carolyn to Neal 105. Cassady, Carolyn: HEART BEAT MY LIFE WITH JACK & NEAL. Berkeley: Creative Arts Book Company, 1976. Pictorial wrappers. Wrappers lightly rubbed, otherwise very good or better. First edition, trade issue. With the author’s signed presentation inscription: “For John Clellon Holmes -- whom I have admired for so long – Arthur will tell you how I feel about this – so be kind – Carolyn Cassady 8/7/76.” A first-rate association, as Holmes, in addition to being an intimate of the subjects, contributed a three-page introduction to the 1978 second printing of the book (a copy of that printing is included). Laid in front are two small sheets of paper bearing relevant notes about Barry Gifford’s request that Holmes contribute the introduction. Accompanied by two autograph letters, signed (4 and 9 November 1949, the latter noted as ‘Before Phone Call’; 6 pages total), and one typed letter, unsigned (2 1/2 pages, dated simply “Thursday after call,” on San Francisco Medical School University Hospital stationary, and signed in type “The end”) from Carolyn Cassady to Neal Cassady (provenance: John Clellon Holmes). The three letters are very closely written, or typed, and predate the period Cassady treats in her book. They connect with a very difficult time in the Cassadys’ on-again-off-again relationship: in the Spring of 1949, Carolyn and Neal had taken up residence on Russell Street in San Francisco, but in August, Jack Kerouac came to visit them. As a consequence of events surrounding his visit, Carolyn threw Neal out, and he returned to New York with Kerouac, where he began his long-term relationship with Diana Hansen. Throughout the letters, the requisites for the care of their year-old daughter (born September 1948) are a recurring leitmotif, as is Carolyn’s pregnancy with their second child, Jamie, who was born the following January. The content is frequently painful, and reflects the distances (literal and emotional) that had grown between them. As an example, the letter of 4 Nov. 1949 opens: “Obviously no answer is called for. Doubtless you were as blue on the second page as you were high on the first. The whole thing so like you – each side so opposed, each flatly contradicting the other, each exposing the other’s lack of integrity. I, too, used to foolishly hope there was a way of going back, of undoing, of making the past past. But we know without a doubt the answer in our case. So many factors, so many results of deeds if not them themselves. So many women. Everything is now taboo – there aren’t even means of communication ....” The undated typed letter delves into similar issues: “It’s so useless talking to you anyway; you just make things look like what you want them to no matter what. You know it wasn’t Jack [Kerouac] that caused my blowup. There’s usually a good reason for what I do. But you just tell Jack and yourself I am irrational and crazy for no reason. All the women are a fact and your saying they weren’t or aren’t isn’t going to eliminate them. I’ll not enumerate the ones I know of; You know and of many more. The whole importance of all of them and your private lives, actions and horrid behavior is the effect on us it produced. You can’t be husband too, you never were. The ‘moments you made me happy’ were only times when I was completely deceived ....” And so on. Carolyn Cassady sued Neal for divorce in June of 1950, but that was hardly the end of the story. Other letters by both Neal and Carolyn from the same period appear in Moore’s edition of Cassady’s Collected Letters and these letters, which were not included there, expand considerably the context of events. The letters were punched at some point in the left margin for filing, but only in the case of one letter does that affect (and only slightly) a few letters. $1650.

106. Castellon, Federico: [OGGI YESTERDAY] Original Copperplate Etching, Signed. [New York: Associated American Artists, 1967]. Folio sheet (50.5 x 33.5 cm), plate size 25 x 20 cm. Fine. One of fifteen numbered “trial” proofs of this etching, signed and numbered by the artist in the margin, but in this proof state, untitled. One of six images published in its final form in the portfolio Six Etchings, with a prefatory essay by Carl Zigrosser, and limited to 110 sets, all printed by hand on BFK Rives heavyweight at Atelier Lacouriere in Paris. Zigrosser’s preface to the portfolio discusses Spanish-American Castellon’s surrealist influences as well as his expressionist manner, as demonstrated in this haunting image of a gaunt, somber seated woman, cradling the head of a child in her lap, with the child stretched out on the seat. FREUNDLICH 185. $250. 107. Castle, Egerton: MARSHFIELD THE OBSERVER & THE DEATH-DANCE. STUDIES OF CHARACTER & ACTION. Chicago: Herbert S. Stone & Co., 1900. Cloth backed decorated pictorial boards, after a design by Frank Hazenplug, t.e.g., others untrimmed. One corner bumped, edges a bit rubbed, a couple small smudges to lower board, else very good. First American edition of this collection, including such tales as “The Devil’s Whisper,” and “The Guests of the Wolfmaster,” and partaking of the author’s expertise in fencing. BLEILER, p.40. KRAMER 248. $75.

108. Cavafy, Konstantine P.: [In Greek:] POIEMATA. Alexandria, Egypt: Ekdosis Alexandrines Technes, [1935]. 191,[8]pp. Small quarto. Printed decorated wrappers. Portrait. Decorated initials and marginal ornaments. Some foxing at edges and in the text, otherwise a very good or better, partially unopened copy. First edition. One of 1800 numbered copies, from a total edition of 2030, printed after a design by the influential Greek artist, Takis Kalmouchos. Text edited by Rika Sengopoulou. The posthumously published first collective edition of Cavafy’s poems, preceded by the scarce privately printed booklets and broadsides undertaken by the author for distribution to friends. The arrangement of the poems in the order of their composition, as opposed to by the thematic categories Cavafy favored toward the end of his life, has been the cause of some academic controversy. Nonetheless, this now quite scarce edition was the form in which Cavafy’s immensely influential canon was made publicly accessible for the first time. OCLC: 39363393. $3250.

109. Cendrars, Blaise, and John Dos Passos [trans & illus]: PANAMA OR THE ADVENTURES OF MY SEVEN UNCLES. New York: Harper & Bros., 1931. Quarto. Pictorial wrappers. Frontis and illustrations in color by John Dos Passos. First edition of this translation, the trade issue. Poet Dunstan Thompson’s copy, with his 1931 (or possibly 1939) ownership inscription. Wrappers a trifle tanned and dust-soiled, but very good. $145.

110. [Chester, Alfred]: THE CHARIOT OF FLESH. By “Malcolm Nesbit” [pseud]. Paris: Ophir Books / The Olympia Press, [June 1961]. Printed wrappers. Spine a bit rolled, toe of spine frayed, some modest soiling to wrappers; a good, sound copy. Second edition of this pseudonymously published erotic novel by the American novelist, first published in 1955 (the same year as his first book) as TC #12, and here reprinted as Ophir Book #2. Uncommon in any of the Paris printings. KEARNEY & CONNOLLY 8.2.1. $55.

111. Clark, Tom [ed]: ICE I:1 [From the Once series]. Brightlingsea, Essex, UK. [nd but ca. 1968]. Legal format. Stapled mimeographed text, with pictorial cover leaf. A trace of smudging and dust-soiling to the outer leaves at edges, otherwise very good or better. Edited by Tom Clark. An eclectic periodical, published coincident with Clark’s Fulbright study and posting as Instructor in American Poetry, at the University of Essex. The titles varied (all words concluding with ‘CE’) but each was denoted “A One Shot Magazine ...No Copyright No Nothin.” Contributors to this number include Berrigan, Ginsberg, Kyger, Dawson, Veitch, Padgett, Saroyan, and a long excerpt from Visions Of Cody by Kerouac, perhaps reprinted from elsewhere and thus not indexed in Charters. CLAY & PHILLIPS, p.288. $100.

112. Clavin, Hans [editor]: SUBVERS [Whole #1] TIJDSCHRIFT VOOR [ONDER MEER] KONKRETE PÖEZIE. Ijmuiden, The Netherlands. October 1970. Whole #1 (of 12 published ?). Large octavo. Pictorial wrappers by Paul Höhner (Velsen). Illustrated throughout. Street address corrected in manuscript on title leaf, residue of inventory sticker in lower portion of rear wrapper, otherwise about fine. Edited by Hans Clavin. The first number of this periodical regarded by many as essential to the international history of concrete and visual poetry. One of 500 numbered copies. Among the contributors to this number are P. de Vree, U. Carrega, R. Joseph, E.-A. Vigo, deman+AH, Sarenco, J.-F. Bory, C. Kurtz, M. Insingel, C. Padin, P. Finch, B. Ferguson, A. Scaccabarozzi, H. Van Es, G. Megson, H. Clavin, J. Valoch, G.J. de Rook, F. Tiziano, G. Niccolai, A. Spatola, U.G. Stikker, J.-C. Moineau, K. Luken, M. Todorovic, and T. Ockerse. Uncommon. $350.

113. Clavin, Hans [editor]: [SUBVERS (Whole #6)] GESCHICHTE. By Peter Meijboom. Ijmuiden, The Netherlands. June 1972. Whole #6 (of 12 published ?). Small folio (34 x 21 cm). Padbound printed wrappers. Mimeographed typescript. Editorial address revised in manuscript on rear wrapper, otherwise fine. Edited by Hans Clavin. This number is devoted works by Peter Meijboom. $125.

114. [Clemens, Samuel]: Twain, Mark [pseud (translator)]: TALE OF THE CALIPH STORK. Iowa City: The Windhover Press, 1976. Small quarto. Cloth, printed label. Illustrated by Eleanor Simmons. A fine copy. First edition. A previously unpublished translation by Clemens of a portion of a popular German story by Wilhelm Hauff. Clemens’s manuscript dates from the 1870s. One of 100 numbered copies printed by hand in Bembo types on Rives Heavy paper. One of the more uncommon Windhover titles. $600.

115. [Cleveland, John]: [THE] IDOL OF THE CLOVVNES, OR INSURRECTION OF WAT THE TYLER, WITH HIS FELLOW KINGS OF THE COMMONS, AGAINST THE ENGLISH CHURCH, THE KING, THE LAWES, NOBILITY AND GENTRY, IN THE FOURTH YEARE OF KING RICHARD THE 2d ANNO. 1381. London: Printed in the year, 1654. [10],148pp. Small octavo. Extracted from previous binding, a.e.g. Scattered foxing and marginal, small burn hole in B3-4 affecting a few letters in one margin, title cropped at top with loss of ‘The’, otherwise a good copy. First edition, of two editions published the same year of this anonymous work. The other edition bears a somewhat variant title sub-title and is paginated at 154pp. and sometimes includes a portrait. The prefatory poem, an extract from John Lydgate’s “Fall of Princes,” is printed in black letter. A prose account of the Peasant’s Revolt of 1381 led by Tyler, as well as its spiritual inspiration by John Ball, who is featured as “Baal’ in the subtitle of the second edition. ESTC R208498. WING C4672. WITHER TO PRIOR 175. $600.

116. Cobbe, Frances Power: THE FRIEND OF MAN; AND HIS FRIENDS, – THE POETS. London: George Bell & Sons, 1889. 166,[4]pp. Pale blue cloth, ruled and decorated in gilt. Spine darkened and a bit rubbed, but a good copy. First edition of this treatment of the dog motif in literature from ancient times to the (then) present, a topic very much in line with Cobbe’s strong stance against vivisection. Inscribed and signed (with initials) by the author “with dear love” in the year of publication. A less well-known element in the substantial body of the Irish-born feminist and social activist’s publications. $150.

117. [Cocteau. Jean]: Anonymous: THE WHITE PAPER WITH A PREFACE AND ILLUSTRA- TIONS BY JEAN COCTEAU. Paris: The Traveller’s Companion Series / The Olympia Press, [July 1957]. Stiff printed wrappers. Tiny label affixed over price on lower wrapper, modest rubbing at spine ends, otherwise a very good or better copy, considerably above the norm. First edition of this unexpurgated translation, attributed to Austryn Wainhouse, of Cocteau’s anonymously published 1928 novella, Le Livre Blanc. Published as TC #51. The wrapper title incorporates the indefinite, rather than definite, article. KEARNEY (1987) 126. KEARNEY & CARROLL 5.51.1. YOUNG 499. $175. 118. Cohen, Ira: POEMS FROM THE COSMIC CRYPT. Kathmandu, Nepal: Kali Press / Bard Matrix, 1976. Small quarto. Textured cloth, lower board stamped in silver. Illustrations. Manuscript facsimiles. A couple faint spots of dulling to upper board, otherwise very good, without printed dust jacket. First edition. Illustrated with tipped-in plates after drawings by Petra Vogt. Introduction by Angus MacLise. One of 500 copies (this copy not numbered). A distinctive example of Co- hen’s expatriate publishing venture. $150.

119. Cohen, Ira [photographer]: LICKING THE SKULL A RETROSPECTACLE OF PHOTO- GRAPHIC WORKS BY IRA COHEN. New York: Cynthia Broan Gallery, 2000. Stiff pictorial wrappers. Illustrated with photographs including color). Fine. First edition. One of 1008 copies printed. An embracing retrospective of Cohen’s film work and still photographs, with commentary by Ian MacFadyen, Allen Graubard and others, as well as a chronology. $60.

120. [Cointre, Marie-Thérèse]: I’M FOR HIRE. By Marie-Thérèse. Paris: The Olympia Press, [April 1955]. Decorated wrapper over stiff wrappers.Tips a bit rubbed, original price scratched through on lower wrapper, otherwise a very good copy.

First edition of this translation attributed to Robert Nurenberg of the autobiographical, Vie D’Une Prostituée. An expurgated form of the French text was published in Les Temps Modernes in Dec. of 1947, and the uncut French text by René Bertelé in 1948. One of the several editions published in the US in the 1960s, I, MARIE THÉRÈSE MEMOIRS OF A PROSTITUTE, included a prefatory note by Simone de Beauvoir, placing this narrative of survival in Paris and Berlin during WWII in its context. KEARNEY & CARROLL 1.12.1. $300.

121. Cone, Claribel: ALICE DERAIN. Woodside, CA: Occasional Works, 1984. Stiff wrappers, printed label. Five tipped-in color illustrations by the author. Fine. First edition, ordinary issue. One of 225 numbered copies, of 251, printed on Arches, and signed by the author. A fictional portrait, tangentially involving Gertrude Stein. $75.

122. Connolly, Cyril: [ed]: THE GOLDEN HORIZON. London: Weidenfeld & Nicholson, [1953]. Thick octavo. Plain wrappers, title and upper wrapper lettered in manuscript and a bit smudged. Upper joint has partial neat split, otherwise very good. Uncorrected page proofs of this retrospective selection from the pages of Horizon (1939-1950), with an introduction by Connolly. There are some pencil annotations indicative of requests for changes in leading and other layout matters. The Contributors include Dylan Thomas, Stephen Spender, George Orwell, Randall Jarrell, Bertrand Russell, T.S. Eliot, Virginia Woolf, Augustus John, Duncan Grant, E. E. Cummings, Denton Welch, W. H. Auden, Antonia White, Octavio Paz, and many more. $85.

123. Conrad, Joseph: [Original Portrait Photograph, Signed by Joseph Conrad, and Inscribed by Jessie Conrad]. Glasgow: T. & R. Annan & Sons, [ca. 1923]. Original silver print photograph, with sepia tone, 6 5/8 x 4 5/8” (170 x 116 mm). On 10.5 x 7.5” (265 x 190mm) stiff card mount, with gilt embossed seal of T. & R. Annan & Sons. Fine. A superb example of one of the photographs taken of Conrad in 1923 in his rooms at the St. Enoch Hotel, Glasgow, prior to setting sail for the U.S. Of the sequence of poses, this is denoted “No. 6” on the verso of the mount, and is the portrait utilized for the dust jacket of the 8th volume of the Collected Letters. This example is signed by Conrad diagonally across the lower right corner of the image and the mount, resulting in the portion of his signature (‘Joseph Co’) on the emulsion being rather faint unless viewed at an angle -- the portion of his signature extending on to the mount is perfectly clear. Below the photograph, Jessie Conrad has inscribed it: “To Mr. and Mrs. James T. Babb With every good wish for health and wealth from Jessie Conrad October 1927.” James T. Babb (1899 – 1968) was Yale University Librarian from 1943 to 1965. Provenance: Babb Estate – C.A. Stonehill – private collector – the present. $2850.

124. Corso, Gregory: THE AMERICAN EXPRESS WITH ILLUSTRATIONS BY THE AU- THOR. Paris: The Olympia Press / Traveller’s Companion Series, [1961]. Printed wrappers. First edition. Minute spot on fore-edge, else about fine, though without the dust jacket, but with the 15 NF price on the rear wrapper unaltered (a remainder issue was equipped with a reduced price sticker). WILSON A6. KEARNEY (1987) 160. KEARNEY & CARROLL 5.85.1. $85.

125. [Corso, Gregory]: Greenspan, David [ed & pub]: NUNZIO 1930-2001 [wrapper title]. Oneonta, NY: Butcher Shop Press, 2001. Quarto. Cloth tape backed stapled pictorial stiff wrappers. Illustrated with photographs (some in color). Faint soiling to wrappers, cloth tape starting to give, but very good or better. First edition, first state/printing. A collection of tributes to Corso, in prose and verse, published on the occasion of the Memorial Service at the Orensanz Foundation. $45.

126. Crane, Stephen: THE BLACK RIDERS AND OTHER LINES. Boston: Copeland and Day, 1895. Small octavo. Cream paper over boards, with stylized orchid device by F.C. Gordon stamped in black. Some wear at extremities, with small chip and hairline crack near and parallel to lower joint; just a good copy of this fragile book, internally about fine. Half morocco slipcase. First edition, ordinary issue. One of five hundred copies printed on paper, in addition to fifty copies on Japan paper. Crane’s first trade publication, preceded by the self-published Mag- gie of 1893. This copy bears the tiny binder’s stamp of the Boston firm Dudley & Hodge at the lower edge of the front pastedown. Kraus records their stamp appearing in the copies of Zola’s Jacques Damour published by Copeland & Day the same year, but not in this title. KRAUS 20. BAL 4070. WILLIAMS & STARRETT A2. $750.

127. Crane, Stephen: THE RED BADGE OF COURAGE AN EPISODE OF THE AMERICAN CIVIL WAR. New York: D. Appleton and Company, 1895. Tan cloth, decorated in red and gilt, lettered in red and black. Toe of spine worn, a couple of shallow string marks to edges, some general light soiling and smudging to cloth; a good copy, internally about fine. First edition, first printing, printed on laid paper, with the proper adverts on p.[235], and with yellow top stain, not gilt. For the record, though not determinative: the type on the last line of p. 225 is unblemished. Crane’s third book and second novel, one of the highpoints of American naturalism, and a stunning accomplishment in light of the fact that Crane had yet to be anywhere near combat. BAL 4071. WILLIAMS & STARRETT 3. GROLIER AMERICAN HUNDRED 98. WRIGHT III:127. $3000.

128. Crane, Stephen: THE BLACK RIDERS AND OTHER LINES. London: William Heinemann, 1896. 12mo. Publisher’s black morocco, lettered in gilt, decorated in blind, t.e.g. Tan offset to endsheets, small tear to crown of spine mended, otherwise a very good copy. First British issue, comprised of 500 sets of sheets from the 3rd impression printed for Co- peland and Day. This is a good association copy of an uncommon book, with the bookplate of David Garnett, and the ownership signature of Edward Garnett on the half-title. Edward Garnett was a strong advocate of Crane’s works to British readers, publishing his “Apprecia- tion” in the Academy in Dec. of 1898. WILLIAMS & STARRETT 11. KRAUS 20n. $650.

129. Crane, Stephen: MAGGIE A CHILD OF THE STREETS. London: William Heinemann, 1896. 12mo. Polished black buckram, lettered in gilt, t.e.g. Ink name in upper margin of title. light offsetting to endsheets, bookplate of David Garnett; a very good, bright copy. First UK edition of the author’s first book, including “An Appreciation” by W. D. Howells not appearing in the US 1896 edition. BAL 4075n. & BAL 9705. WILLIAMS & STARRETT 9. $375.

130. Crane, Stephen: THE RED BADGE OF COURAGE AN EPISODE OF THE AMERICAN CIVIL WAR. London: William Heinemann, 1896. Olive green cloth, stamped in bluish-white. Pictorial title preceding the half-title. Pictorial bookplate on front pastedown, minor rubbing, extremities slightly bumped; a very good copy. First British edition, post-dated and actually published in November of 1895. Published in both cloth and pictorial wrappers in the publisher’s “Pioneer Series.” The clothbound copies, as here, retained as an extra pictorial title leaf the original pictorial front wrapper utilized for the wrapperbound issue. WILLIAMS & STARRETT 4. BAL 4071n. $1100.

131. Crane, Stephen: A SOUVENIR AND A MEDLEY: SEVEN POEMS AND A SKETCH ...WITH DIVERS AND SUNDRY COMMUNICATIONS FROM CERTAIN EMINENT WITS. East Aurora, NY: The Roycroft Printing Shop, May 1896. Small octavo. Pictorial gray wrappers. A bit of creasing and small nicks at overlap edges, 2 cm clean tear at fore-edge of upper wrapper neatly mended, old pen stroke at fore-edge of upper wrapper toward lower corner, otherwise a very good copy.

Volume One, Number One of The Roycroft Quarterly. In fact, eight poems are included, all but one of them collected from earlier appearances in the pages of Hubbard’s The Philis- tine. The exception, as well as the prose sketch “A Prologue,” appear here for the first time. BAL 4074. WILLIAMS & STARRETT 5. $550.

132. Crane, Stephen: THE LITTLE REGIMENT AND OTHER EPISODES OF THE AMERICAN CIVIL WAR. London: William Heinemann, 1897. Olive green cloth, stamped in bluish-white. Pictorial title the preliminary adverts. Pictorial bookplate on front pastedown, minor rubbing, extremities slightly bumped; a very good copy. First British edition, clothbound issue. Published in both cloth and pictorial wrappers in the publisher’s “Pioneer Series.” The clothbound copies, as here, retained as an extra pictorial title leaf the original pictorial front wrapper utilized for the wrapperbound issue. WILLIAMS & STARRETT 12. BAL 4076n. $175.

133. Crane, Stephen: THE OPEN BOAT AND OTHER STORIES. London: William Heinemann, 1898. Thick octavo. Green cloth, spine lettered in gilt, upper board lettered in dark blue. Inserted 32pp. catalogue. A trace of foxing to endsheets, front inner hinge cracking slightly at toe, minor rubbing at edges, very slight hand-soiling to cloth, tiny bump to one fore-tip, but an uncommonly nice copy, very good if not slightly better. First (UK) edition of one of Crane’s most significant collections, including the first book appearance of “The Bride Comes to Yellow Sky,” and, of course, the semi-autobiographical title story, which many early critics deemed his most important work. This edition appeared the same month as the US edition, and contains the nine additional “Midnight Sketches” which did not appear in the US edition. BAL 4080. WILLIAMS & STARRETT 16 $500. 134. Crane, Stephen: THE OPEN BOAT AND OTHER TALES OF ADVENTURE. New York: Doubleday, McClure & Co., 1898. Small octavo. Pale green pictorial cloth, with elaborate pictorial vignettes on spine and upper board stamped in darker green and silver. Early ink name on free endsheet, rear inner hinge cracking a bit, a few small rubs to silver along lower edge of upper board, but for this book, a very good copy. First (U.S.) edition of one of Crane’s most significant collections, including the first book appearance of “The Bride Comes to Yellow Sky,” and the semi-autobiographical title story, which many early critics deemed his most important work. This copy exhibit’s BAL’s state ‘A’ of the spine imprint (no priority). The UK edition, published the same month, included additional material. BAL 4079. WILLIAMS & STARRETT 15. WRIGHT III:1256. $500.

135. Crane, Stephen, and Will Bradley [illustrator] WAR IS KIND. New York: Frederick A. Stokes Com- pany, 1899. Large narrow octavo. Ornately pictorial gray boards, printed in black, paper spine label. Illustrated throughout, with text stock on charcoal gray paper. Extremely faint bookplate shadow on front pastedown, very minimal faint tanning along the edges of the boards, but essentially a fine copy. First edition. With this collection, Crane’s poems and Bradley’s designs joined together to result in one of the visually most memorable trade publications of the American 1890s. Due to the fragile materials, fine copies are indeed the exception. BAMBACE A42. BAL 4083. WILLIAMS & STARRETT 20. $1500.

136. Crane, Stephen: THE MONSTER AND OTHER STORIES. New York: Harper & Bros., 1899. Brick red cloth, stamped in gilt and black. Frontis and illustrations. Spine very faintly darkened, hint of dust along lower joint, minuscule pin-prick in lower joint, otherwise a very good, or better, bright copy. First edition. Beyond the title story, this volume collects “The Blue Hotel” and “His New Mittens.” WILLIAMS & STARRETT 23. BAL 4085. WRIGHT III:1255. $275.

137. Crane, Stephen: WOUNDS IN THE RAIN A COLLECTION OF STORIES RELATING TO THE SPANISH-AMERICAN WAR OF 1898. London: Methuen & Co., 1900. [8],345,[1],45,[1] pp. Light red cloth, spine lettered in gilt. Bookplate on front pastedown, a bit of foxing to edges and endleaves, spine a bit sunned, but a very good copy. First British edition, preceding the US edition although printed from plates prepared from that edition. This edition’s subtitle is extended and more specific than that appearing on the US edition. Both editions bear Crane’s printed dedication to Anglo-Irish adventurer and one-time Wyoming cattle entrepreneur, Moreton Frewen. This copy includes the preferred August terminal catalogue. BAL 4090. WILLIAMS & STARRETT 29. $175.

138. Crane, Stephen: LAST WORDS. London: Digby, Long & Co., 1902. viii,320pp, plus 16pp. terminal catalogue. Thick octavo. Maroon cloth, stamped in gilt and blind, beveled edges. Cloth faintly soiled, textblock uniformly tanned at edges, front inner hinge cracking slightly, spine ends slightly shelfworn, otherwise a very good copy of a scarce book. First edition, first binding. There was no comparable US edition, and a number of the constituent stories were not reprinted until the Collected Edition of 1925-6, and a few others were not reprinted even then. Crane’s scarcest trade collection. WILLIAMS & STARRETT 33. BAL 4096. $1000. 139. Crane, Stephen: THE WORK OF STEPHEN CRANE. New York: Alfred A. Knopf, [1925 through 1927]. Twelve volumes. Black cloth spines, with buff cloth boards, spines gilt, gilt labels on upper boards. Crown of spine of first volume bumped, bookplate on pastedown of each volume, volume IX lacks its slipcase, some edgewear and modest soiling to the slipcases, some dust smudging to edges of a few boards; still, a good to very good set, partially unopened. The, for its time, extremely significant first collected edition of Crane’s works, edited by Wilson Follet, and printing in book form a significant body of material previously uncollected in the US. Designed by Elmer Adler, and printed in an edition of 750 numbered sets, with original introductions by Mencken, Cather, S. Anderson, Beer, Hergesheimer, et al. There was a time, not long ago, when many a bookseller would cross a state line or two to acquire this set for resale. WILLIAMS & STARRETT 38. BAL 4101. $650.

140. Crane, Stephen: A LOST POEM [caption title]. [New York: The Harvard Press, 1932]. French-fold leaflet (16 X 12.5 cm). A few faint smudges, but a very good copy. First edition. One of one hundred copies printed for friends of Harvey Taylor, some of which were numbered. Taylor did not number this copy, but rather inscribed and signed it twice, once to a California Library, and yet again, and to all appearances slightly later, to a private party. A number of copies were not distributed at the time. BAL 4105. WILLIAMS & STARRETT 45. $150.

141. Creeley, Robert: ALL THAT IS LOVELY IN MEN. Ashville, NC: Jonathan Williams 1955. Pictorial wrapper over stiff wrappers. Illustrated with drawings by Dan Rice. Outer pictorial wrapper rather edgeworn, with some dust spotting and a small patch of surface loss to the upper panel, there are a few pencil checks next to some of the poems (see below), but a good copy.

First edition. One of two hundred copies, published as Jargon 10. Although not called for, signed by the author and the artist on the colophon. This copy bears the ownership signature of the author and artist’s friend and contemporary, Fielding Dawson, and the pencil check marks are very likely to be his. NOVIK A6. $750.

142. Creeley, Robert: FOR LOVE POEMS 1950-1960. New York: Charles Scribner’s Sons, [1962]. Gilt black cloth. Cloth a bit dull and dusty, rear endsheet a bit finger smudged, otherwise a very good copy, without dust jacket. First edition, clothbound issue. An excellent association copy, inscribed prior to formal publication by Creeley to Fielding Dawson and his wife: “for Fee and Barbara – the first copy – with my love and hope for your marriage, Bob. Feb. 26, 1962.” Formal publication took place on April 9th, over five weeks later than the inscription. From the first impression, 988 copies were initially bound in cloth, with an additional 250 copies from the inventory of the wrapperbound issue bound up in cloth in Fall of 1963. Creeley’s and Dawson’s creative association and friendship extended back at least as early as their days at Black Mountain, and intersected over the following decades in little magazines, readings and books, Dawson illustrating Creeley’s If You (1959) and Creeley contributing an introduction to Krazy Kat ...(1969). NOVIK 11. $750.

143. Crews, Judson: NO IS THE NIGHT. [Waco: The Motive Bookshop, 1949]. Printed wrapper over stiff wrappers. Outer wrapper slightly dust soiled, but a nice copy. First edition. One of one hundred and twenty-five numbered copies, signed by the author (the entire edition). Hand-printed by Crews at the Wells Press in Taos. One of the handful of Crews’s titles that seldom turn up, his third collection under his own name. $150. 144. Cuevas, Jose Luis (1934 -): “DEDICADO A RAMON XIRAN” [Caption title – Original Lithograph]. [San Francisco: Collector’s Press, 1969]. Large folio (22.5 x 15.5 inches). Original two color lithograph. Framed under glass. Fine. Impression #44 of one hundred copies, signed, dated (“26-IV-69”) and numbered by Cuevos in the lower edge of the image. Published as an element in the portfolio, Homage To Quevedo, a collection of fourteen lithographs and screenprints produced under the supervision of the artist and master printer Ernesto F. de Soto. Born in Mexico City in 1934, Cuevas played a pivotal role in the transition from the traditional Mexican muralist style to a contemporary Mexican art that challenged preceding traditions. His work is represented internationally in museums and collections, and he is well known among collectors of illustrated books for his suite of illustrations for Kafka’s Metamorphosis, first published in The Worlds Of Kafka And Cuevas in 1959, and then revisited as an illustrative accompaniment to the text in the 1984 LEC edition. Extra shipping charges if shipped in frame. $750.

145. [Cummington Press]: Price, Robert: THE HIDDEN AIRDROME AND UNCOLLECTED POEMS. Rowe, MA: The Cummington Press, 1956. Large octavo. Cloth. Binding a bit sunned and faintly smudged, toe of spine a trace worn, else a very good copy, without printed dust jacket. First edition of this posthumous collection by the poet/artist. One of 170 copies printed by Duncan and Williams. Title-page vignette by the author’s close friend, Theodorus Stamos. This is a presentation copy from Stamos, inscribed on the front endsheet: “For Ed, Merry Christmas, Stamos 1956.” $175.

146. Cunninghame Graham, R. B.: SUCCESS. London: Duckworth & Co., [1912]. Blue cloth, lettered in gilt and blind. Spine a shade dull, a bit of rubbing at tips, very good. “Cheaper re-issue,” i.e. a remainder issue of the first edition, comprised of sheets from the 1902 edition bound up with a cancel title-leaf. With Cunninghame Graham’s seven line signed inscription, dated 9 May 1912, quoting a notice from The Times on the free endsheet. NCBEL IV:1318. $150.

147. Cunninghame Graham, R. B.: THE CONQUEST OF THE RIVER PLATE. London: Heine- mann, [1924]. Large octavo. Cherry red cloth, stamped in gilt and black. Plates and folding map. First edition, second state, with the corrected form of the list of illustrations. A very good, bright copy in tanned, and lightly worn, but somewhat uncommon printed dust jacket. $150.

148. DAILY BUL 9-9. La Louvière, Belg.: Daily Bul, 1963. Whole number nine. Stiff decorated wrappers with decorated color paper onlay. Illustrations, folding leaf and pasted in color “Objet(s) perdu(s).” Faint production crease in title leaf, small date stamp in lower corner of rear wrapper (“July 1963”) else about fine. Edited by Pol Bury and André Balthazar. A thematic issue: “Le nouveau réalisme d’epasse- t-il la fiction?” The spirited periodical (giving rise to the imprint) partaking of the attitudes of the Cobra tradition and forging new directions. Accompanied by four pieces of later Daily Bul ephemera (catalogues, invitations). $100.

Uncommon First Book 149. Davey, Norman (b. 1888): POEMS ...WITH A PREFIXED ESSAY London: L.C.C. Central School of Arts and Crafts, 1914. [9],[10-23,[1];[5],6-53,[1]pp. Small quarto. Three quarter teal blue morocco and marbled boards, raised bands, gilt decorations, t.e.g. Printed binder’s ticket on lower pastedown. Extremities very slightly rubbed, otherwise very near fine. First edition of the first book by the future novelist and writer on topics related to engineer- ing. Bleiler cites three of Davey’s novels from the ‘20s and ‘30s, and what would appear to be his first commercially published book (a collection of verse as well), entitled Desiderium, MCMXV-MCMXVIII (1920), is cited by both Reilly (WWI) and Young, The Male Homosexual in Literature. It is possible that some of the poems herein, which includes some specific poems declaratory of non-gender specific love, were reprinted in the 1920 collection. The preliminary essay, which concerns classical Greek standards of criticism, is printed in black & red and has an independent register; d-f4 of the Poems are printed on a different paper stock than what precedes them, befitting a trade school printing exercise. The large binder’s ticket on the rear pastedown reads: ‘BOUND AT THE SCHOOL | by the boys of the Day | Techni- cal School of Book | Production : Bookbinding | teacher: P. McLeish. 1916.’ Another note, in pencil on the front free endsheet, states: ‘Bound and Decorated by Harrott.’ A rare book – OCLC locates three copies only: UC Davis, UCLA, and Monash Univ. Library (Australia). OCLC: 14220940. $550.

150. Davis, Charles T.: THE POETIC DRAMA OF MOODY, ROBINSON, TORRENCE, AND MACKAYE 1894-1909. New York: New York University Washington Square, 1958. [4],17,[3] pp. Octavo. Printed wrappers. Wrappers faintly tanned at edges, otherwise about fine. An early publication by the influential African American scholar and editor, being an abridge- ment of his 1951 Dissertation. Davis (1918-1981) was the first Director of African American Studies at Yale. $45.

151. De la Mare, Walter: ALONE. [London: Faber & Gwyer, 1927]. Small octavo. Sewn pictorial green wrappers. Hint of dust at wrapper edges, otherwise fine.

A variant proof copy of the wrapper issue of Number 4 of the Ariel Poems, with green rather than pale red wrappers, and with the illustrations by Ralph Keene rather than those by Blair Hughes-Stanton that appeared in the published form. The Keene illustrations were eventually used for Newbolt’s Linnet’s Nest. Both the list of the Ariel Poems on the final leaf and the colophon on the rear wrapper are composed substantially differently as well. Accompanied by a copy of the published edition for comparison. $150.

152. de Mille, William C.: THE SQUEALER A SKETCH. New York: The Author, [14 Febru- ary 1913]. Quarto. Carbon typescript, typed on rectos only, with red underscore highlighting. Bradbound in cloth backed wrappers, with author’s address printed in black, and florid manuscript titling. Institutional stamp on one verso, else near fine. An unspecified draft of this short play, dating from the period immediately preceding de Mille’s embarkation on his Hollywood career, often in association with his brother, Cecil. OCLC locates only typescripts of this play (at NYPL) and no published forms. This copy was released as duplicate from NYPL. Accompanied by twelve other partial draft typescripts (some in duplicate), prepared as rehearsal scripts for various characters, including some drafts with revisions – one is denoted “2nd version – Mar 3 – 13.” $275.

153. DeCasseres, Benjamin: THE SHADOW-EATER. New York: Albert and Charles Boni, 1915. Boards, paper labels. Tipped-in bookplate of Lloyd Emerson Sibberell, lower half of spine covering chipped away, upper board faintly spotted, internally fine. First edition, first (and limited) issue, of the author’s first book, being one of 150 copies printed on Tuscany handmade paper and signed by the author, from a total edition of 650 copies. Some, probably many, trade copies were reissued in 1917 with the cancel title of Wilmarth Publishing Co. An excellent association copy (in its context), inscribed: “To my friend – Samuel Loveman – I present this first edition of ‘The Shadow-Eater’ with admiration and affection – Benjamin DeCasseres, New York, Feb. 1926.” This is followed by an inscription from the author’s wife: “To Sam – with whom we wear no masks. Bio DeCasseres.” $125.

154. Deren, Maya [pseud. of Eleanora Derenkowskaia]: [Documents re: the Creative Film Foundation]. New York: Creative Film Foundation, 1956 -1957. 29pp. plus attached slips. Five mimeographed documents, 8.5 x 11 and legal format, stapled. Folded for mailing, otherwise fine. Enclosed in the original envelope addressed to a member of the advisory board, with a note in the recipient’s hand. A substantial packet of materials re: the governance and activities of the Creative Film Foundation, of which Deren was a founder and then Secretary. As Secretary, the majority of this material was released over her signature. The material includes Minutes of Direc- tors Meetings and Regular Membership Meetings, statements of purpose and procedures, a Treasurer’s report, a sample ballot and vote tally for the 1957 Creative Film Awards, and a press release announcing winners of same. The whole is accompanied by a cover letter over her name forwarding the lot to members of the Creative Film Foundation “in order that you remain fully informed of the activities of this Foundation, of which you are a corporate member ....” The foundation was established to provide financial help to struggling filmmak- ers; Stan Brakhage, Stan Vanderbeek, Robert Breer, Shirley Clarke, and Carmen D’Avino received CFF grants. Among the Foundation Directors were Joseph Campbell, Parker Tyler, Arthur Knight. James Merrill, Kurt Seligmann, Meyer Schapiro, James J. Sweeney, and Barney Rosset. The advisory board included a host of stellar names, from John Cage to Tennessee Williams. Among them, poet/publisher James Laughlin was the recipient of this packet. The whole provides an informative look into the efforts the innovative filmmaker extended toward assisting her colleagues. $450.

155. Dewhurst, Colleen: [Small Archive of Corrected Typescripts and Manuscript Notes for Her Autobiography]. [Np, but likely South Salem, NY. nd. but probably ca. 1985-90]. A file of original typescript, photocopied typescript with manuscript corrections, and original manuscript, in ink. Generally very good to fine. The present file contains working drafts of several constituent parts of the work posthumously published as Colleen Dewhurst: Her Autobiography (Scribner, 1997). Both Lisa Drew and Tom Viola assisted Dewhurst with her work on the main portion of the book, including work from transcripts of tapes. This file, which originated in the 2001 sale of material from her estate, shows evidence of this collaborative approach. It includes four drafts (3 different typed drafts and one photocopied draft, totaling 94 pages, all bearing manuscript revisions, and 10 closely written pages, in ink, by Dewhurst, keyed for insertions at various points), of a section entitled “The Farm,” which figures in the make-up of a significant portion of chapter 14 in the published book. Also present are single drafts of sequences entitled “Williamstown” (29 leaves, photocopied typescript revised in red ink), “The Ballad of the Sad Cafe” (26 leaves, photocopied typescript, with manuscript revisions in red ink), and “Theatres” (17 leaves, photocopied typescript with revisions in photocopy). Certain elements from these sections were also incorporated into the published text, but with obvious substantial revision. Dewhurst (1924 – 1991) was one of the preeminent dramatic actresses on the American stage in the post WWII years, and was noted for her standout roles in O’Neill’s plays, often in company with her husband George C. Scott -- they were married and divorced twice. As a stage actress, she was the recipient of many awards, and gained fame as well on the screen and on television. A copy of the published text is included. $950.

156. Di Prima, Diane [trans]: SEVEN LOVE POEMS FROM THE MIDDLE LATIN. New York: The Poets Press, 1965 Stiff pictorial laid paper wrappers. Slight darkening at edges, but very good. First edition, trade issue, in the earliest state of the wrappers. Inscribed inside the front wrapper by the author to Allen de Loach, editor of Intrepid: “Allen Like we were saying in the New Chicago Lunch [line in Latin] but [line in Greek] Love Diane.” $75.

157. Di Prima, Diane: HOTEL ALBERT. [New York: Poets Press, 1968]. Pictorial wrappers. Text in facsimile of the author’s manuscript. About fine. First edition. The present copy is one of an unknown number of special, out of series copies (in addition to 150 numbered copies and 12 lettered copies, all signed by the author) denoted with a star in place of a number or letter. This copy bears the author’s inscription: “For John – Who was our sometime playmate at the Hotel Albert. All my love Diane.” While it is likely now impossible to confirm one way or another, it is just possible the recipient was John Herbert McDowell, who is the dedicatee or co-dedicatee of several poems herein, and who was involved with Di Prima, Alan Marlowe, et al, in the Poets Theatre. $150. 158. Di Prima, Diane: REVOLUTIONARY LETTERS [caption title]. [New York: The Author], 1968. [10] leaves. Folio (355 x 215 mm). Mimeographed typescript, printed on variously colored stocks (text on verso of one leaf flipped). Old horizontal fold, with blank verso of terminal leaf tanned along fold, but very good. Third edition, but the first to include “letters” 16 through 34. The two earlier printings included only the first 15. Signed by the author on the coversheet. There is a significant manuscript revision in the text of each of two poems. This edition was produced to coincide with a reading at St. Marks $200.

159. Di Prima, Diane: THE CALCULUS OF VARIATION. San Francisco. 1972. Stiff pictorial wrappers. Calligraphic illustrations by Bill Kwong. Lower wrapper faintly soiled, otherwise near fine. First edition, ordinary issue. One of a total of 2000 copies. Inscribed by the author within the circle on the leaf following the title-leaf: “For Allen + Joan w/ love + all good wishes Diane.” The recipient, Allen de Loach, was editor of Intrepid. $75.

160. Di Prima, Diane: LOBA PARTS I – VIII. Berkeley: Wingbow Press, 1978. Cloth and boards. Illustrations by Josie Grant. Top edge faintly dust marked, otherwise fine in unprinted wrapper. First edition, and first collective edition, limited issue. One of 100 numbered copies, signed by the author. $50.

161. Dickens, Charles: THE POOR TRAVELLER: BOOTS AT THE HOLLY-TREE INN: AND MRS. GAMP. London: Bradbury & Evans, 1858. 114,[1]pp. Small octavo. Original green wrappers, printed in black. Extracted from nonce volume, t.e.g. Wrappers a trace dust smudged, residue of old spine, otherwise a very good copy. First “reading” edition of these texts, sold initially both in bookstores and on the occasions of Dickens’s public readings. GIMBEL D31. $300.

162. [Doheny Collection]: [Miller, Lucille (comp)]: CATALOGUE OF BOOKS & MANU- SCRIPTS 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.

163. [Dolmen Press]: Kinsella, Thomas: ONE. [Dublin: Dolmen Press, 1974]. Quarto. Calf- backed boards, t.e.g. Illustrations by Anne Yeats. Pencil erasure from corner of half-title, otherwise fine.

First edition, published as Peppercanister 5. One of 124 numbered copies on handmade paper, signed by Kinsella and Yeats. Another 26 lettered copies were specially bound. $450.

164. Doolittle, Hilda [as “H.D.”]: THE WALLS DO NOT FALL [with]: TRIBUTE TO THE ANGELS [with:] THE FLOWERING OF THE ROD. London: Oxford University Press, 1944 – 1945 – 1946. Three volumes. Printed wrappers over stiff wrappers. Wrappers of first two volumes a bit darkened and rubbed at extremities with a bit of hand-soiling; a bit of foxing, more pronounced in the third volume, otherwise a very good set. First editions of the constituent elements of H.D.’s wartime trilogy. A very good association set, inscribed in the first two volumes by the author, and with a typed compliments slip laid into the third. The recipient, Viola Baxter Jordan, met H.D. early on as a consequence of her friendship with Ezra Pound, who she befriended at Hamilton College in 1905. Through much of the remainder of her life, Baxter remained a regular friendly correspondent with Pound, H.D., William Carlos Williams, and Bryher, as well as the extended Pound and Williams families. The first volume is inscribed on the half-title: “H.D. to Viola Jordan and Viola with love from Hilda. May 19 – 1944.” The second volume is inscribed twice, first on the half-title (“to Viola with love & gratitude from Hilda. / --- we pause to give thanks --- April 17 – 1945”) and again on the title (“H.D. to Viola Jordan”). The inscriptions are dated within the week of publication for both titles. BOUGHN A19.a.i.; A20a, and A21a. $1750.

165. Dorn, Edward, and Leroy Lucas [photographer]: THE SHOSHONEANS THE PEOPLE OF THE BASIN- PLATEAU. New York: Morrow, 1966. Oblong small quarto. Illustrated with photographs. A few minor dust flecks to cloth, otherwise about fine in good, modestly shelfworn and slightly smudged dust jacket with a few small nicks. First edition. Presumably originally a review copy, with a laid in card from the publicity director of the publisher asking “Please send tear sheets.” Inscribed and signed by the author in 1987 on the half-title to a (then) west coast bookseller, adding the comment “suppressed & shredded 1966-7 New York City.” The edition consisted of 2453 copies. STREETER A9. $300.

166. Dorn, Edward: THE NORTH ATLANTIC TURBINE. London: Fulcrum Press, [1967]. Cloth. Portrait by Kitaj. Fine in dust jacket. First edition, limited issue. One of 100 numbered copies, specially printed and bound, and signed by the author. STREETER A10b. $150.

167. Dorn, Edward: GUNSLINGER BOOK I [with:] GUNSLINGER BOOK II. Los Angeles: Black Sparrow Press, 1968 and 1969. Two volumes. Large octavo. Full natural rough chapskin, paper label, and full fawn buckskin, paper label. Modest toning to the chapskin, otherwise fine. First editions, lettered issues, of the first two volumes of the author’s best known extended work. Each is one of 26 lettered copies, specially bound, and signed by the author, the first in ‘eastern Kansas 23 April” and the second in “San Cristobal 14 June 1969.” Eleven additional copies of the first volume and twelve of the second were bound in similar fashion by Earl Gray, and designated for special use and presentation. Nonetheless, this lettered issue of the first volume has proven rather elusive over the last several decades. MORROW & COONEY 35 & 63. STREETER A11c & A16c. $950.

168. Dorn, Edward: YELLOW LOLA FORMERLY TITLED JAPANESE NEON (HELLO LA JOLLA, BOOK II). Santa Barbara: Cadmus Editions, 1981. Small octavo. White linen, paper spine label. Tipped-in frontis (“Dark Mist” by Hockney). Fine. First edition, deluxe issue. One of 26 lettered copies (of 187 clothbound copies), specially bound, signed by the author, and with a two line manuscript quotation by him, signed and dated 22 December 1980. $225. First Book of Poems 169. Dove, Rita: TEN POEMS. Lisbon, IA: The Penumbra Press, 1977. Oblong octavo. String sewn wrappers. Double-spread pictorial title with design of outstretched hands. Fine in very faintly worn printed envelope bearing a variation of the hands motif. First edition of the author’s first book(let) of poetry, published as Number Four of “The Manila Series.” One of 200 numbered copies printed by hand in Palatino types on Frankfurt Creme paper (the entire edition). This copy bears the author’s signed inscription, dated in Nov. of 2004. Uncommon with the envelope. $1650.

170. [Doves Press]: Tennyson, Alfred, Lord: SEVEN POEMS & TWO TRANSLATIONS. Ham- mersmith: The Doves Press, 1902. Small quarto. Original vellum. Printed in black and red. Collector’s bookplate on front pastedown, trace of dust at endsheet edges, slight rippling, as often, hint of faint foxing in fore-margins of gathering ‘a’, but otherwise a very good copy. One of 325 copies printed on paper, in addition to 25 copies on vellum, printed by Cobden- Sanderson and Emery Walker, as the fourth commercial publication of the press. RANSOM (DOVES) 4. TOMKINSON (DOVES) 4. $500.

A Source for Jack Aubrey 171. Dundonald, Thomas Cochrane, 10th Earl of: THE AUTOBIOGRAPHY OF A SEAMAN. London: Richard Bentley, 1861. xvii,[1],517pp. Small octavo. Original dark blue cloth, spine decorated in gilt. Portrait and four charts (3 folding). Cloth a bit rubbed and sunned, a couple signatures starting, but a good copy. First single volume edition, conjoining the texts of the 1860 first edition and the text of the 1861 second volume. The Earl’s extensive memoirs of his active career in the Royal Naval, as a mercenary, and in politics, the former having served as a model for characters in the fiction of Marryat, C. S. Forester, Patrick O’Brian, G. A Henty and Bernard Cornwell. $300.

172. Dunning, Ralph Cheever: ROCOCO A POEM. Paris: Edward Titus at the Sign of the Black Manikin, 1926. Vegetable parchment and boards, paper spine label. Illustrated with three drawings by Howard Simon. Spine a bit tanned and rubbed, endsheets tanned (as usual), upper forecorners of boards water-stained; internally, but for a few light finger smudges, very good or better. First edition of this work by the Detroit-born poet whose work found a staunch advocate in Ezra Pound, among others. Copy #60 of five hundred numbered copies, signed by the artist, and as well by the author. Dunning was ill at the time of publication, and only a small portion of the edition was signed by him, although it was intended that he sign all copies. The first Black Manikin book imprint. $250.

173. Durkee, Stephen [now Abdullah Nooruddeen Durkee]: [Original Monochrome Etch- ing:] SALVATION. [Milan: Galerie Schwarz, 1962]. Plate size 15 x 11.5 cm, plus full margins. Mounted in stiff board and acetate mat, with printed caption on verso. Fine. One of sixty numbered copies, in addition to twenty-five copies numbered in Roman, signed and dated in the margin by the artist. Printed in Paris in the Atelier of Georges Leblanc on handmade paper from Papeteries de Rives. Published as an element of Galerie Schwarz’s series, L’Avanguardia Internazionale. Durkee was an active NY and West Coast graphic and environmental artist from 1960 – 1966, and a member of the USCO trio (movers and shakers behind the psychedelic theatre). Through engagement with Richard Alpert (Ram Dass) in the late 1960s, he founded the Lama Foundation and adopted his Muslim name. In the following decades, he has been active as a translator of Islamic texts, a principal of major Islamic study institutions, and a leading lecturer on topics related to the faith and spiritual concerns. $175. 174. Ellison, Harlan [treatment], and Al Hayes [scriptwriter]: LOGAN’S RUN “CRYPT” #3304 ...[wrapper title]. [Culver City]: Metro-Goldwyn-Mayer Inc./ Goff-Roberts-Steiner Production,, 2 September 1977. [2],53 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in studio binder. Soft vertical fold, a few small spots to canary yellow wrappers; very good or better. A “final draft” of this teleplay, adapted by Hayes from a treatment/story written for the series by Harlan Ellison. The episode was the 7th of the 14 episode run, and aired on 7 November 1977. This episode was directed by Michael Caffy. The series was based on the 1967 novel by William Nolan and George Clayton Johnson, which in turn gave rise to the 1976 film. Current commentary on the series regards this particular episode one of the rare highpoints of the series, in spite of alterations that removed the teleplay a distance from Ellison’s treatment. With the pencil ownership designation on the upper wrapper of “Chuck Sereci,” who turns up on IMDB as a member of various technical departments. $375.

175. [Elzevir Imprint]: RESPUBLICA ET STATUS REGNI HUNGARIÆ. [Leiden]: Ex officina Elzeviriana, 1634. [6],7-330,[2]pp. 16mo. Contemporary unlettered calf, raised bands, blindstamped corner pieces. Engraved title. 1679 ownership inscription (“Guilielmi de Grey”) on pastedown and abbreviated in upper margin of title, joints cracked a bit toward toes, bit of surface erosion to upper corner of lower board; still, a very good copy. Second edition of this volume in the Elzevir sequence of histories, closely resembling the first edition of the same year, but with the reading ‘rum rerum studiosi’ in the bottom line of

A2, and with 23 lines, plus running title and ‘Finis’ on page 330. RAHIR 396. WILLEMS 409. $450.

176. Emerson, Ralph W.: ESSAYS. Boston: James Munroe and Company, 1841. [8],[3]- 303,[1]pp. Full black crushed levant, raised bands, gilt ruled compartments and boards, gilt inner dentelles, by Bennett. Marginal smudge to 1st page of contents, a few faint bits of pencil marginalia, three leaves show a small spot, tiny chip at crown of spine, otherwise a very good copy. First edition. Emerson underwrote the publication of this first volume of his essays, and 1500 copies were printed. “...These essays are as readable, and to a considerable extent as much read, today as a hundred years ago ... their individualistic idealism, which stirred renascent Yankee New England to its depths, speaks with the same simple power and force in the midst of modern complexities” – Grolier American Hundred. MYERSON A10.1.a. BAL 5189. GROLIER AMERICAN HUNDRED 47. $1750.

177. [Emerson, Ralph Waldo]: [A Substantial Review of AN ORATION DELIVERED ...AUGUST 31, 1837], contained in THE BOSTON QUARTERLY REVIEW NO. 1. Boston: Published by Benjamin H. Greene, 1838. 128pp. Original printed wrappers, neatly rebacked. Modest foxing and spotting, corners creased and a bit frayed and lightly chipped; a good copy. Edited by Orestes Brownson. Pages 106-120 print a lengthy review and discussion of Emer- son’s oration (better known as the “American Scholar Address”) in which the bulk of the text is quoted, and the topic expanded upon in a highly positive manner. The unsigned article, which relates to the 1837 pamphlet printing by Munroe, is quite likely by Brownson, and is in line with his then strong affinity for the Transcendentalists. An uncommon and important periodical, including also a review of Whittier’s 1837 Poems. $125.

178. Evans, Donald: NINE POEMS FROM A VALETUDINARIUM. Philadelphia: Nicholas L. Brown, 1916. Cloth and boards, paper spine label. Spine darkened, with label significantly chipped, fore-tips bumped; still, a good copy of a book seldom seen better. First edition of this major collection by the interesting and influential proto-modernist, inscribed by him to his mother: “For the Little Mother from her loving son Donald Evans 14 December 1916.” Includes some war verse, anticipating Evans’s own service at the Front. $250. 179. Evans, Donald: TWO DEATHS IN THE BRONX. Philadelphia: Nicholas Brown, 1916. Boards, paper label. Tiny ink name on pastedown otherwise as nice a copy of this fragile book as is likely to be found. First edition of this third volume of verse by the interesting and influential proto-modernist, intimate of Van Vechten, Luhan and the Village scene, and publisher of Gertrude Stein. $125.

180. Ferlinghetti, Lawrence: STARTING FROM SAN FRANCISCO. [Norfolk]: New Directions, [1961]. Oblong octavo. Pictorial boards. Boards show light, inevitable rubbing, a couple of marginal smudges, else a very good copy. First edition. Expansively signed and inscribed by the author. Intact, in the rear, is the 33 1/3 rpm recording of the author reading. HARRISON, NEWTH & CANDIDO, p.50. $100.

181. Fermor, Patrick Leigh: GEORGE PSYCHOUNDAKIS: A LETTER TO C.A. TRYPANIS BY.... Athens: The American College of Greece, 1999. Large octavo. Full publisher’s fawn calf, lettered in blind. Fine. First edition, limited presentation issue. The text of this appreciation of the man and his works is printed in English and Greek, in an edition of 1250 copies, after a design by Mat- thew Jennett, of which three hundred were bound in boards, 24 were signed by the author, and ten, as here, specially bound and signed by the author. $750.

182. Feuchtwanger, Lion: ARMS FOR AMERICA A DRAMA IN TWO ACTS (SIX SCENES). Pacific Palisades, CA: The Author, nd. but ca. 1947 or 1948. [4],74,[1],62 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in term paper binder with typed label. Some fraying and short tears at overlap edges of binder, otherwise very good. An apparently unpublished drama from Feuchtwanger’s years of residence in the U.S., noted as translated by Gustav Arlt. The drama deals with the same subject as, and may be a de- rivative from, Feuchtwanger’s Waffen Für Amerika, published in English as Proud Destiny (1947), focusing on negotiations between Benjamin Franklin and the French in Paris in 1776. The title-page bears the author’s Pacific Palisades address label, and the verso of the title bears the ms. note ‘Copyright.’ Not recorded in OCLC/Worldcat. $375.

183. Field, Edward: SWEET GWENDOLYN AND THE COUNTESS. Gulfport, FL: Konglomerati Press, [1975]. Large quarto. Open sewn pictorial silkscreened wrappers. Minor creases at tips, otherwise fine First edition. Illustrations by Karen Searls Tandy. One of 500 numbered copies printed by hand, with the decorative borders and illustrations printed by silkscreen. A relatively obscure publication by the poet/memoirist. $65.

184. Fine, Morton, and David Friedkin: ...”SUSPENSE” STARRING MISS ANNE BAXTER IN “THE DEATH OF BARBARA ALLEN” [caption title]. [New York: CBS Radio], 1952 [4],24 leaves with lettered inserts. Quarto. Mimeographed typescript, printed on rectos only. Paper- clipped at left corner. Faint tanning, slight marginal fraying and creasing, very good. An original radio play, prepared for broadcast as an episode in the distinguished CBS radio series, Suspense (1942 – 1962). This episode was directed by Elliott Lewis, starred Baxter as Barbara Allen, and was scheduled for broadcast on 20 October 1952. Fine and Friedkin had considerable success as writers for radio, television and film, in the latter instance including the screenplay for The Pawnbroker. The script is complete, includes rehearsal schedules, the text of the Autolite advertisements, a promo for the next broadcast, and notice of the 7th anniversary of the founding of the United Nations. $85. Before There was DiCaprio, Before There was Redford, There was Alan Ladd ... 185. [Fitzgerald, F.Scott (sourcework)]: Hume, Cyril, and Richard Maibaum [screenwriters]: THE GREAT GATSBY. [Los Angeles]: Paramount Pictures, Inc., 25 February – 8 November 1948. [3],130 leaves. Quarto. Mimeographed typescript, printed on rectos only of white, light blue and dark blue stock. Punched and bradbound. A few minor corner creases, a couple of erasures and a small ink script number on cover leaf, but a very good copy. A “Final White Script” of Hume and Maibaum’s adaptation to the screen of Fitzgerald’s novel by way of Owen Davis’s dramatization. Subsequent dated revises on two shades of blue paper mark further revisions, including a November rewrite of seven of the last eight pages. This version is the first sound, and the first surviving rendering of The Great Gatsby to the screen, as the 1926 silent Famous Players production is a lost film. Elliott Nugent directed this production, and it starred Alan Ladd as Jay Gatsby, Betty Field and Barry Sullivan as Daisy and Tom Buchanan, MacDonald Carey as Nick Carraway, Ruth Hussey as Jordan Baker, Shelly Winters as Myrtle Wilson, et al. This adaptation, and particularly Alan Ladd’s performance, have been praised for the dominance of mood and noirish elements over reliance on a manufactured reconstruction of ‘20s glitter in the portrayal of Gatsby. The release time of the finished film was 92 minutes, and this script, at 130 pages, suggests that there were likely significant cuts and differences between this draft and the final film, which saw release in July of 1949. An uncommon and important screenplay. BRUCCOLI 7.8. $3250.

186. Flecker, James Elroy: THE BRIDGE OF FIRE. London: Elkin Mathews, 1907. Printed wrappers. Very near fine. First edition. The author’s first volume of poetry, issued in the “Vigo Cabinet Series,” preceded by a pamphlet issued the year before entitled The Best Man Eight’s Week. $125.

187. THE FLOATING BEAR A NEWSLETTER. New York, Kerhonkson, etc. 1961 through 1971. Whole numbers 6, 10, 16, 20, 21, 22, 23, 26, 27, 28, 30, 34, 35, and 38, of thirty-eight numbers published. Fourteen issues. Quarto. Stapled, mimeographed typescript, some of the later issues accompanied by decorated or pictorial wrappers. Many issues folded for mailing, and showing signs of postal use, six issues (addressed to Dan Rice) rather heavily used, some occasional annotations, discolorations or marginal tanning, but in the main, a good lot. Edited by Diane Di Prima and Leroi Jones (by Di Prima alone after #26, with various guest editors). A highly important forum of poetry, and absolutely essential to the literary history of the era, The Floating Bear was conceived and distributed among fellow poets and friends as a means for the speedy transmission of works and ideas. The roster of contributors consists of a broad range of the most important young writers of the time. The distribution of The Floating Bear ranged from 117 to 1250 copies over its lifetime, though purely anecdotal bookselling tradition has maintained that issue number 24 (not present here) was issued in a particularly small number of copies. Issue 38 is the joint Intrepid/Bear number. This modest lot, consisting of tailings from several complete runs assembled in recent years, includes issues addressed to several different parties, including Dan Rice and Corinth Books. ANDERSON & KINZIE, p.699-700. $800. 188. [Fluxus]: Bonomi, Giorgio, et al [curators]: FLUXUS NELLA SUA EPOCA 1958 – 1978. [Colognola ai Colli, Verona: Parise Adriano, 2000]. 309pp. Thick quarto. Stiff pictorial wrappers. Extensively illustrated in color and b&w. Small inventory sticker on rear wrapper, small nick at crown of one joint, spine creased from reading, generally a very good copy. A lavishly illustrated catalogue / anthology issued coincident with the exhibition / event held at Casina del Boschetto, Villa Communale, in Naples, with texts by Mascelloni, Sarenco, Simonetti, Ray Johnson, and many others. Includes a detailed chronology and a bibliography. $85.

189. Ford, Charles Henri, and Parker Tyler: THE YOUNG AND EVIL. Paris: The Olympia Press/Traveller’s Companion Series, [June 1960]. Printed wrappers. Trace of rubbing along lower joint, shadow of absent label inside upper wrapper, otherwise near fine, but without the dust jacket. First Olympia Press edition of the authors’ collaborative first novel, first published in 1933 by the Obelisk Press. Published as TC #80. No longer common. KEARNEY (1987) 155. KEARNEY & CARROLL 5.80.1. YOUNG 865. $100.

190. Ford, Jesse Hill: [Original Setting Typescript for:] “THE SAVAGE SOUND.” Np: The Author, ca. July 1967. 18 leaves. Quarto. Typed on rectos only of plain three-hole punched stock. Very good.

The setting typescript for the appearance of this short story in the July 1967 issue of The Atlantic Monthly. In addition to the typesetter’s and editor’s annotations, there are a number of textual insertions and revisions in ink and pencil which were likely either authorial, or made with authorial consent. Of special note is the alteration of the title from “The Whippets” to the final title, “The Savage Sound.” Edward Weeks, the editor of Atlantic Monthly until 1966, had a significant influence on Ford’s fiction writing. $250.

191. Ford, John [director]: DONOVAN’S REEF. [Los Angeles: John Ford Productions] Paramount Pictures, 13 July – 17 August 1962. [2],111 leaves plus lettered inserts. Quarto. Mimeographed typescript, printed on rectos only of white and blue stock. Bradbound. The title leaf bears some ink computations and a phone number, and is chipped at the top and bottom brad, light use to corners; a good copy. A revised shooting script of this screenplay by Frank Nugent and James Edward Grant, based on a story by Edmund Beloin. The 1963 release was Ford’s last film featuring his male lead staple, John Wayne, along with co-stars Lee Marvin, Elizabeth Allen, Jack Warden, Cesar Romero and Dorothy Lamour. It was also the last film scripted by Nugent for Ford, and remains most memorable chiefly for its cinematic treatment of the production location, Hawaii. $450.

192. Francis, Mark [curator]: LES ANNÉES POP 1956 – 1968. Paris: Éditions du Centre Pompidou, 2001. Thick oblong quarto. Glossy pictorial wrappers. Extensively illustrated in color and b&w. About fine. First edition, wrapperbound issue, of this major work published in conjunction with the exhibition mounted at the Centre from 15 March through 18 June 2001. With text by Jean-Jacques Aillagon, Tom Ford, Alfred Pacquement, Catherine Grenier, Martine Lobjoy, and Chantal Béret, $85.

193. [Freeman, Charles K. (sourcework)]: Hanmer, Ronald, and Phil Park [adaptation]: [Small Archive of Material Relating to:] CALAMITY JANE [A MUSICAL WESTERN]. [New York, Kansas City, MO, etc.] 1961. A mini-archive of material relating to an early production, generally quarto, original, carbon and mechanically reproduced typescript; good to very good. A small lot of script material and correspondence relating to the Kansas City production of this musical adaptation of Freeman’s play, partially based on the Oscar-winning 1953 film scripted by James O’Hanlon. Carol Burnett played the lead in this production. Here present are a copy of the script ([1],50,28 leaves, printed on rectos only, bradbound in script binder); ca. 24 loose leaves of typescript and carbon typescript revisions, often heavily worked over in pencil in an unknown hand; an unsigned carbon of a t.l. to Webster and Fain about revisions; printed scores for two of the musical numbers by Sammy Fain and Paul Francis Webster; a two page t.l.s., New York, 24 January 1961, from the Production Director Richard Berger to Charles Freeman requesting revisions to accommodate changes they wish to make in the production; a two page carbon of a t.l. from the scenery designer to the director relating to the changes; and an offprint of an advert from Variety and The Hollywood Reporter, reproducing a telegram to Fain and Webster, noting that the two week gross for the production set an “All Time American Record.” The production ran from 17 to 30 July 1961 at the Kansas City Starlight Theatre. $375.

194. [Gallaudet, Thomas H.]: Gallaudet, Edward Miner: LIFE OF THOMAS HOPKINS GAL- LAUDET FOUNDER OF DEAF-MUTE INSTRUCTION IN AMERICA. BY HIS SON .... New York: Henry Holt and Company, 1888. viii,339pp. plus portrait and facsimile. Sq. octavo. Dark blue cloth, lettered in gilt. Crown of spine frayed, cloth a bit soiled, inner hinges cracking but sound; a good copy. First edition. Inscribed by the author to a fellow man of the cloth, Hartford minister and friend of the literati: “Rev. J. H. Twitchell [sic] from his friend and neighbor the Author. March 1888.” Gallaudet made the common error in the spelling of Twichell’s name, so one might question the closeness of their friendship. $125.

195. Gardner, Isabella: THE LOOKING GLASS NEW POEMS. Chicago: Phoenix Books / Univ. of Chicago Press, [1961]. Pictorial wrappers (after a photo by Aaron Siskind). Edges a bit rubbed, otherwise very good. First edition, wrapperbound issue. A first rate association copy, inscribed by the author to her then husband, poet Allen Tate: “Christmas 1961 For Allen with love from Isabella.” $150.

196. [Gaudier-Brzeska, Henri]: Logue, Christopher [screenwriter]: [Original Czechoslovakian Publicity Poster for:] DIVOKY MESIAS [SAVAGE MESSIAH]. [Czech Republic]: Ústrední Pujcovna Filmu, [after 1972]. Pictorial two color broadsheet, 16½ x 11 1/2” (42 x 29 cm). One inch closed tear at lower edge, else very good, never folded. A poster issued to promote the Czech release of Ken Russell’s characteristically 11-on-a- scale-of-10 1972 biopic of the French sculptor, starring Dorothy Tutin (as Sophie Brzeska), Scott Anthony (as Gaudier), and Helen Mirren, et al. Poet-translator-screenwriter-dramatist- pornographer Christopher Logue adapted H. S. Ede’s less emotionally charged biography of Pound’s friend and Great War casualty. $65.

197. [Gehenna Press]: Held, Julius S.: REMBRANDT AND THE BOOK OF TOBIT. [Northamp- ton, MA]: The Gehenna Press, 1964. Small quarto. Quarter gilt lettered parchment and boards. Plates. Errata slip tipped in. Fine in glassine, with prospectus laid in (the latter bearing some pencil notes). First edition, published as “Gehenna Essays in Art” 2. One of 975 ordinary copies, from a total edition of 1000 numbered copies printed by Harold McGrath. BASKIN 41. $100.

198. [George III]: A SKETCH OF THE REIGN OF GEORGE THE THIRD, FROM 1780, TO THE CLOSE OF THE YEAR 1790. Dublin: Printed by Brett Smith, for Messrs. R. Cross [et al]. 1791. [2],173,[1]pp. Contemporary calf, gilt label. Neat ink name on title, modest wear to extremities and old stain on upper board; internally a very good, crisp copy. Bookplate. First (and sole 18th century) Dublin edition of this highly popular anonymous summary history. It reached a self-proclaimed 6th London edition in very short order. ESTC T48424. BRADSHAW 2020. $200. 199. Ghose, Manmohan: SONGS OF LOVE AND DEATH. Oxford: Basil Blackwell, 1926. Large octavo. Gilt pale red cloth. Cloth rather faded and discolored, but a sound copy, with the shards of the jacket laid in. First edition of this posthumous collection of poems by one of the Primavera quartet and a poet admired by Oscar Wilde, edited with a memoir by Laurence Binyon. Inscribed twice by the author’s daughter, co-editor of this collection and the author’s executor, to John Middleton Murry, once on the front free endsheet, and previously, in error, on the rear free endsheet. Both the condition and the pencil shelfmark on the front free endsheet are characteristic of portions of the books formerly in Murry’s library. $75.

200. Gilbert, W. S.: AN ENTIRELY ORIGINAL SUPERNATURAL OPERA, IN TWO ACTS, ENTITLED RUDDYGORE; OR, THE WITCH’S CURSE! New York: Wm. A. Pond & Co., copyright 1887. 45,[1]pp. Original printed wrappers. A rather nice copy, near fine. An early American edition of the libretto The London premiere took place at the Savoy on 22 January, and the US premiere on 21 February. In very short order, the spelling of the title was altered to Ruddigore and the text altered somewhat in the light of the early less than enthusiastic responses from London audiences and critics. The title alteration appears not to have affected the earliest editions of the libretto. Searle does not treat these American editions with any detail. The vocal and piano scores by Arthur Sullivan were sold separately. $125.

201. Gilpin, Laura: THE PUEBLOS A CAMERA CHRONICLE. New York: Hastings House [1941]. 123,[1]pp. Small quarto. Cloth. Photographs. Map. Bookplate on front pastedown, otherwise a very good copy, in shelfworn and somewhat chipped, price-clipped dust jacket backed with plain paper by an earlier owner. First edition. Although the photographs include work from as early as 1921, this is one of Gilpin’s first solo photo essays. $250.

Some Variant Texts of Early Works 202. Ginsberg, Allen: [Group of Five Typescript Poems]. [Np: The Author, no earlier than 1950]. Ten leaves, quarto. Typed on rectos only. Some tanning and modest finger soiling, some old folds from having been mailed, but in good order. An interesting lot of typescripts of early poems by Ginsberg, originally from the papers of his friend and fellow writer, John Clellon Holmes, and likely sent or given to him for his comments. Four of the typescripts are dated in black ink at the conclusion of the poem, ranging 1945-1950. The poems are as follow: a) “An Early Poem Revised,” with a previous dedication scratched out in black ink (“for Richard W[illegible]”). 1 page. Dated “1945 – 1950.” This is a draft of the poem printed as “An Eastern Ballad” in the CP of 1985, and includes a stanza not present in the galleys of that collected final version. b) “Stanzas Written at Night in Radio City.” Two pages, undated. Apart from alteration of one word, this typescript conforms to the text printed in CP 1985, but does not include the two final stanzas (likely a concluding page is missing). c) “The Song of the Shrouded Stranger of the Night.” Two different typescripts, on three leaves, one with the title shortened, omitting ‘of the Night,’ with Ginsberg’s typed name at the top, and with one pencil correction. The other typescript is dated in ink, 1949-1950. The text is the rhymed version, and both typescripts present a state of the poem substantially different from that collected as “The Shrouded Stranger” in CP (1985), where it is dated “1949-1951.” d) “Ode to the Setting Sun.” 2 pages. Dated ‘1949’ in ink at conclusion. Compared to the text included in the CP of 1985, this draft includes a substantially longer explanatory “Note” after the title, and includes several important differences in diction and sentence construction. e) “In Judgement.” Two pages, dated in ink at end “1950.” This typescript presents a significantly variant form of the poem collected as “In Memoriam” in the CP of 1985. While assuredly apprentice work, and not of the caliber of his poetry of a half-decade later, this is a textually important and interesting lot of typescripts. $4750.

203. [Ginsberg, Allen]: Genet, Jean: MAY DAY SPEECH. [San Francisco]: City Lights, [1970]. Pictorial wrappers. Soft corner creases, spine a bit rubbed, with light dust smudging to lower wrapper, else very good. First edition, including a prefatory ‘description’ by Ginsberg, who has signed this copy on the title. COOK 86. MORGAN B73. $75.

204. Ginsberg, Allen: POEMS ALL OVER THE PLACE MOSTLY ‘SEVENTIES. Cherry Val- ley: Cherry Valley Editions, 1978. Printed wrappers. A near fine copy. First (trade) edition. Signed by Ginsberg in 1982, with a deletion in the two-line quote on the title-page, the deletion of the first footnote on p. 54 (relating to Army funding of LSD experiments noted as “To Be Corrected”), and other small corrections on pp. 55 and 61. $125.

205. Girodias, Maurice [editor & publisher]: OLYMPIA A MONTHLY REVIEW FROM PARIS. Paris: The Olympia Press, December 1961 through April 1963. Whole numbers one through four (all published). Four issues. Quarto. Pictorial wrappers. Illustrated. Some rubbing and creases to wrappers, two spines a bit creased from reading, with bumps at crowns. The first number is imprinted “Spécimen” on the upper wrapper. Very good. Edited by Maurice Girodias and Iris Owens. The periodical arm of the Olympia Press, intended to showcase the coterie of authors who hovered around the imprint in Paris during the early ‘60s, including a column by Terry Southern, contributions by Burroughs, Donleavy, Durrell, Daimler/Owens, Coover, Miller, Corso, Gysin, Ableman, et al. Hounded by the French censors for reasons more political than prudish, Girodias was able only to manage these four issues over two years of what was intended as a monthly, and then was forced to discontinue publication entirely. Issue number 3 includes a long apologia for the delays in publication, and is optimistically christened The New Olympia. $100.

206. Goldsmith, Oliver: ESSAYS BY MR. GOLDSMITH COLLECTA REVIRESCUNT. London: Printed for W. Griffin, 1765. vii,[1]-236,[2]pp. plus final blank. 12mo. Contemporary speckled calf, rebacked to style, gilt label. Engraved title vignette. Corners worn, careful and extensive pencil bibliographic notes of a collector, otherwise a very good, crisp copy. First edition, the printing without the vignette described by Scott possibly being a piracy -- see Rothschild. Except for the Preface, all of the material had seen prior publication in the periodicals to which Goldsmith was a frequent contributor. ROTHSCHILD 1027. SCOTT, p.156ff. $800.

207. Graubard, Allan, and Ira Cohen [photographer]: FRAGMENTS FROM NOMAD DAYS. [New York: The Author, 1999]. Pictorial wrappers. Color stencil-print Gecko device on half- title, as issued. Photographs by Cohen. First edition. One of 300 copies only, signed by the author and by the photographer. Fine. $35.

208. Greeley, Horace: [Original Autograph Letter, Signed]. New York. 14 April 1872. One page, in ink, on small octavo sheet of NY Tribune letterhead. Folded for mailing, some marginal finger smudging, tanning on blank verso, with careful reinforcement along horizontal folds. Good, in oversize half morocco clamshell case. To “Mr. Geo. Goring [?], Rockville, Ohio.” “Dear Sir: I presume your verses were designed to ridicule the idea of a bodily resurrection which neither you nor I believe in. Still as your lines would shock some good people I prefer not to print them. Yours, Horace Greeley.” $450. 209. Green, Julien: [Original Autograph Letter, Signed]. [Paris]. 21 October 1946. One page. Octavo. Written neatly in ink, and signed in full. Accompanied by the front panel of the envelope, addressed in ink. To “Cher Monsieur,” but in fact, written to Richard Heyd, c/o Editions Ides & Calendes, Neuchatel. Novelist and diarist Green (1900 – 1998) writes, expressing his regret at not meeting Heyd due to travels, and comments about how Andre Gide has told him how much he enjoyed seeing Heyd. He requests that Heyd let him know when he will next be in Paris so that they may meet. $125.

210. Greenwood, James: THE WILDS OF LONDON. London: Chatto & Windus, 1874. viii,364pp. plus 40pp. inserted Nov. 1874 terminal catalogue. Plum cloth, ruled in black, lettered in gilt, with central gilt pictorial vignette on upper board. Frontis and plates. Neat bookplate on pastedown, small snag in spine cloth to the left of ‘The’ with no loss, very slightly shaken, but a good to very good, bright copy. First edition. The twelve plates (including the tinted frontispiece) are by Alfred Concanen, and depict scenes of London high and low life. One of the chapters details an old-style “knock out” after a furnishings auction. $175.

211. [Gysin, Brion]: SOFT NEED #17. Basel & Paris: Expanded Media Editions, October 1977. Quarto. Stiff pictorial wrappers. Illustrations and photographs. Lower forecorner bumped, otherwise near fine. Edited by Udo Breger. A special Brion Gysin number, with additional contributions by Bel- trametti, P. Smith, Ploog, Giorno, Briskin, et al. $50.

212. Hale, Sarah Josepha: [Autograph Letter, Signed, Accompanied by Signed Quotation]. Philadelphia. 13 February 1864. Letter: small octavo, with old folds; very good. Quotation 6 x 12 cm, affixed on verso to stiff card (likely an old autograph album). Darkening at edges from adhesive, else good.

To “Mrs. N. Scholl.” A characteristic cover letter from the editor of Godey’s and author of “Mary Had a Little Lamb,” responding to a request for her autograph in her equally characteristic fashion: “ ...I wish it was better worth the trouble you have taken. Very truly yours, Sarah Josepha Hale”. The quotations consists of four lines from a poem, commencing: “Rugged strength and radiant beauty ...,” and is signed in full. Accompanied by an engraved portrait (extracted from a number of Godey’s, evidently, and somewhat foxed at edges). $200.

213. Hall, Radclyffe: THE WELL OF LONELINESS. New York: Covici-Friede, 1929. Two volumes. Large octavo. Straw-yellow cloth, stamped in silver, with overlaid blue paper panels, also stamped in silver, t.e.g., others untrimmed. Portrait. Spines a bit darkened, with a couple small marks, top edges a bit dust marked, but a very good set, in a sound example of the original slipcase, which lacks the printed label (with corresponding patch of offset). The so-called “Victory Edition,” limited to 225 numbered sets, with a leaf signed by the author bound into the first volume. Preceding the text in the first volume is an Introduction by Morris Ernst about the legal victory against the book’s prosecution in the US, a partial list of the signers of the protest against efforts to suppress it, and a special author’s Preface to this edition, celebrating those parties involved in the legal history of the book. However, the “Victory” was confined to the US – the book remained a condemned text in the UK for decades to follow. An important work in the canon of lesbian literature. $850. 214. [Halleck, Fitz-Greene]: ALNWICK CASTLE, WITH OTHER POEMS. New York: Published by G. & C. Carvill ...1827. 64pp. Original printed drab tan wrappers. Surface chipping to spine, fore-edge of upper wrapper has some patches of erosion, evidence of old paper adherence to upper fore-corner of inner wrapper, early bookplate inside upper wrapper, otherwise a very good, untrimmed copy in original state. First edition. As usual, the wrapper title is printed in a hollow face font (Johnson noted copies in solid face, but BAL examined only hollow face examples). Hallock’s second substantial solo publication of original verse, partaking of the influence of his 1822 European tour, and including “Marco Bozzaris” and “On the Death of Joseph Rodman Drake ....” After the appearance of this collection, Halleck’s poetic output diminished considerably, and apart from tin- kerings and revisions, his sole remaining formally published volume of poetry was the controversial Young America: A Poem (1865). Now, somewhat uncommon in original wrappers. BAL 6965. $375.

215. [Hardy, Thomas]: Tomlinson, H.M.: SOUTH TO CADIZ. London: Heinemann, [1934]. Brick cloth, stamped in black. A very good copy, without dust jacket. First edition. Inscribed by Tomlinson: “To Florence Hardy H.M. Tomlinson Croydon 26.xi.34.” Tomlinson’s monograph on Thomas Hardy had been published in book form by Crosby Gaige in 1929. $375.

216. Harris, Frank: THE BOMB. New York: Mitchell Kennerley, 1909. Red cloth, stamped in white. Cloth a bit handsoiled, spine lettering perished, some foxing early and late; a good, sound copy. First U.S. edition of the author’s fictional treatment of the Haymarket affair, inscribed and signed by him in 1912. The London edition appeared the previous year. BOICE 1909.4.a. $125.

Remarkable Association Copies 217. Harris, Thomas Lake: STAR-FLOWERS, A POEM OF THE WOMAN’S MYSTERY ...CANTO THE FIRST [with:] CANTO THE FOURTH [with:] CANTO THE FIFTH [with:] CANTO THE SEVENTH. Fountaingrove [i.e. Santa Rosa], CA: Privately printed, 1886 – 1887. Four volumes (of nine published). Original gilt cloth. Moderate rubbing and soiling, a few scattered ink stains, extensively annotated in ink throughout, otherwise very good. First editions of these installments in Harris’s poetic summary of the theological/spiritualist underpinnings of his utopian/communal experiment, in this case particularly relevant to the place of women in the scheme. An important part of Harris’s ontology was the notion of the “indwelling of the eternal mate with the eternal mate” and its physical manifestation in “coun- terpartal” marriage. Already established as a spiritualist and modestly charismatic evangelist, Harris left the UK for the US and, in 1861, established the Brotherhood of the New Life, a religious/communistic utopian community, first located in West Virginia, then in Portland, NY, and finally at Fountain Grove, in Santa Rosa, California. One of the more notable figures he attracted to the Brotherhood was the English novelist, Laurence Oliphant, whose novel, Altiora Peto, took its base in his involvement in, and virtual enslavement to, the sect. Harris’s somewhat radical theories about sexuality, cosmology and eternal life proved attractive to other writers as well, including the poet Edwin Markham, who, in 1876, abandoned the Methodist Church and elected to affiliate himself with the teachings of Harris and the Brotherhood. Those teachings have been noted as having exerted a profound influence on Markham’s poetry and social thought, and the volumes in hand demonstrate that his interest in Harris’s works persisted for over half a century. Cantos one, four and five are signed by him, and annotated with the dates upon which he embarked on an intense study of the poem, which he denotes on the title-page as “the most marvelous Wisdom Poem ever written by mortal pen.” The fourth volume does not bear his ownership inscription, but like its fellows, bears his heavy marginal annotations. Thanks to herculean efforts by an earlier owner, we find that, wholly apart from intensive underscoring and marginal highlighting, the four volumes contain over 7,800 words in Markham’s hand, in many instances filling substantial portions of the margins. A fascinating artifact, shedding light on both Markham’s spiritual concerns as well as providing insight into Harris’s often obscure ontology as explicated or reflected upon by one of his more articulate followers. Accompanied by a copy of The Joy-Bringer ...(Fountaingrove 1886), without ownership markings and no written annotations, but with scattered underscorings of a similar nature which may (or may not) be Markham’s. $850.

218. Harris, Walter B.: FRANCE, SPAIN AND THE RIF. London: Edward Arnold & Co., 1927. xii,338,[2],12pp. Thick large octavo. Frontis, photographs and three folding maps. Red cloth a bit sunned and faintly marked, a bit of foxing at edges, two small private stamps on endsheets, but a very good copy.

First edition. Harris (1866 – 1933) was a British journalist for the London Times, resident in Morocco for the better part of three decades. He wrote a number of books about the region and his other travels, including an account of his being held captive by Raisuli and his escape in 1903. His fictional portrayal in an episode of The Young Indiana Jones contributed to a coincidental escalation of interest in his books. $175.

219. Harrison, Jim: THE RAW & THE COOKED. New York: Dim Gray Bar Press, 1992. Large, narrow octavo. Quarter gilt green morocco and handmade paper over boards. Fine. First edition in book form. One of twenty-six lettered copies, specially bound, in addition to one hundred numbered copies, handprinted on Arches in Centaur type by Barry Magid, and signed by the author. The illustrations are by Deborah Norden. $650.

220. Harrison, Jim: NIGHT DHARMA [caption title]. [Port Townsend]: Copper Canyon Press, [2002]. Narrow folio broadside (38 x 19 cm). Pictorial vignette. Fine. First edition in this format, printed by Sam Hamill and Amy Schaus “in the Year of the Horse, celebrating the Lannan Foundation Readings and Conversations Series.” Signed by Jim Harrison. No limitation is stated, and the size of the edition varies between sources, from as few as 250 to as many as 2000, with only a portion of the edition signed. $125.

221. Hecht, Ben: 1001 AFTERNOONS IN NEW YORK ...SELECTED STORIES FROM THE PAGES OF NEW YORK’S NEWEST AND MOST PROVOCATIVE NEWSPAPER .... New York: The Newspaper PM, Inc., 1941. Narrow small quarto. Pictorial wrapper. Upper portion of wrapper a bit dust tanned, hairline split at toe of spine, but a near very good copy.

First edition. A 10¢ collection of a dozen stories from Hecht’s columns from the New York Daily Pm, Ingersoll and Fields’ short-lived (1940-1948) slightly left-of-center paper. The relationship, in terms of chronology, between this publication and the Viking Press collection of the same year is unknown to this cataloguer, but it is substantially less common. $100. 222. Heidsieck, Bernard: VADUZ. [Venice]: Archivio F. Conz / Associazione Culturale, [1998]. Large octavo. Pictorial boards. CD mounted in holder on rear pastedown. Minimal rubbing and small sticker shadow on lower boards, otherwise very near fine. First edition. A record in print and sound of Heidsieck’s reading at the Elysée Montmartre along with his 1984 essay on the work’s composition and his commentary on the 1989 performance. With parallel translations of the essays and commentary by Henry Martin. $175.

223. Hemingway, Ernest: WINNER TAKE NOTHING. New York: Charles Scribner’s Sons, 1933. Cloth, gilt labels. A fine, bright copy, in very near fine dust jacket ($2 price intact on flap, and Laurence Stallings blurb on rear panel) with some minimal wear at the spine ends. First edition, first printing. This copy exhibits the dropped ‘t’ at 159:20. The first appearance anywhere of six of the fourteen constituent stories, and either the first book appearance of the remainder (e.g. “A Clean, Well-Lighted Place”), or first appearance of somewhat modified texts (e.g. “God Rest You Merry, Gentlemen,” and “The Natural History of the Dead”). GRISSOM A12.1.a. HANNEMAN A12.A. $3000.

224. Hemingway, Ernest: GREEN HILLS OF AFRICA. New York: Charles Scribner’s Sons, 1935. Cloth. Almost inevitable modest sunning to the cloth through the dust jacket, but a very good copy in moderately edgeworn, price-clipped dust jacket with crease in front flap, some hand-soiling to the spine panel and a streak of rubbing to the rear panel. First edition. Decorations by Edward Shenton. Hemingway’s second book-length work of almost non-fiction, a first person narrative of big game hunting in Africa. The first printing consisted of 10,550 copies, and this copy is in the normal form of the dust jacket, with the mid rear-panel green band. HANNEMAN A13a. $2250.

225. Hemingway, Ernest: TO HAVE AND HAVE NOT. New York: Charles Scribner’s Sons, 1937. Black cloth, spine stamped in gilt and green. Very slight darkening at endsheet gutters, tiny pencil-eraser tip size spot of dulling toward top of upper board, otherwise a better than very good copy in faintly edge-worn metallic-finish dust jacket. First edition. The sourcework for the 1944 Howard Hawks classic film adaptation, starring Lauren Bacall, Humphrey Bogart, Walter Brennan, Hoagy Carmichael, et al. The screenplay was co-credited to William Faulkner and James Furthman. HANNEMAN A14a. $2500.

226. Herbert, A. P.: POOR POEMS AND ROTTEN RHYMES. Winchester: P. & G. Wells, Booksellers to Winchester College, 1910. 12mo. Stiff brown wrappers, printed in black. Light discoloration affects the lower portion of the leaves toward the gutter, small smudge to rear wrapper, otherwise a fine copy. Cloth case and chemise. First edition of the author’s first book, signed by him on the title. This volume was published while Herbert was studying law at Winchester; he later published some significant war verse, and the highly popular novel, The Water Gipsies. $250.

227. [Heron Press]: Lavin, Stuart R.: A BALLAD OF THE CINEMA KID POEMS BY … Boston: Printed by the Heron Press, 1969. Parchment backed marbled boards. Plates. About fine. First edition, deluxe issue. One of twenty-five deluxe copies, specially bound, numbered in Roman, and signed by the poet and artist/printer, from a total edition of 175 copies printed letterpress by Chandler on Fabriano. Introduction by Thomas Heffernan. Wood & metalcuts by Bruce Chandler. $125. 228. [Hilton, James (sourcework)]: Rattigan, Terence [screenwriter]: GOODBYE, MR. CHIPS. [Beverly Hills]: Metro Goldwyn Mayer / APJAC Productions, 21 November 1968. [2],149a,[1] leaves, plus a multitude of lettered inserts. Quarto. Mechanically duplicated typescript, printed on rectos only. Bradbound in pale blue printed studio wrappers. Wrappers faintly sunned at edges, with a couple of tiny chips and snags at edges, but a very good or better copy. A “Final Shooting Script” for Herbert Ross’s film reboot of Hilton’s novella and subsequent play, based on a screenplay by Terrence Rattigan (R. C. Sherriff co-scripted the 1939 adaptation). Peter O’Toole starred as Mr. Chips, and Petula Clark as his wife in a sort of stream of consciousness musical. The supporting cast included Siân Phillips and Michael Redgrave. The text of this script was duplicated in the UK, where the production was filmed, with an Odanti Script duplicating service colophon. As would be customary, copies were then trans- ferred to the studio in the US -- the printed wrappers on this example conform to the MGM U.S. style. In spite of some harsh reviews, the film was nominated for numerous industry awards in multiple categories. O’Toole was nominated for an Academy Award for Best Actor, and won at the Golden Globes. $450.

229. [Hockney, David]: Joyce, Paul: HOCKNEY ON PHOTOGRAPHY CONVERSATIONS WITH PAUL JOYCE. New York: Harmony Books, [1988]. Quarto. Cloth. Black and white, and color photographic plates. Gift inscription, else fine in very good dust jacket, a bit shelfworn along top edge, with a few short tears at folds. First US edition. In conversations with Paul Joyce, David Hockney recalls the beginning of his interest in photography, and how what started as an experiment evolved into a new art form. Inscribed to poet/novelist/proto-surrealist Charles Henri Ford thus: “Dear Charles Henri, Happy Birthday! You are a much better artist than David Hockney, but there is much happy color herewithin. Love, Willoughby Sharp Feb. 10 `98” Sharp was an internationally known artist, independent curator, gallerist, teacher, author, and telecom activist. He was the publisher, and co-founder with writer/filmmaker Liza Bear, of Avalanche magazine. $100.

230. [Hoffenberg, Mason]: SIN FOR BREAKFAST. By “Hamilton Drake” [pseud]. Paris: The Traveller’s Companion / The Olympia Press, [1957]. Printed green wrappers. Neat biro price in upper corner of rear wrapper, minimal rubbing to the extremities, otherwise a very nice copy, near fine, First edition of this pseudonymous novel by Hoffenberg, cowriter with Terry Southern of Candy. It has the particular distinction of being one of the few examples in the genre of dbs featuring a protagonist who is a writer of dbs. Published as TC #46. KEARNEY (1987) 121. KEARNEY & CARROLL 5.46.1. $75.

231. Holmes, John Clellon: GO. New York: Scribner, 1952. Cloth. Small spot on upper board, some offsetting to endsheets and soiling to fore-edge; a frequently read, but solid, copy in imperfect and worn dust jacket. First edition of the author’s first book (one of 2500 copies printed), a work regarded as one of the opening salvos in the literature of the Beats. Inscribed by Holmes in an early hand: “With all my best – John” (a pencil date in another hand follows, “Oct. 1953”). Further signed and dated by Allen Ginsberg in March 1976, with reference to p. 36, where the paragraph containing Gene Pasternak’s observation “’You know, everyone I know is kind of furtive, kind of beat’” has a marginal highlight. Pasternak is regarded as the fictional analogue for Kerouac. The recipient to whom the author’s inscription was directed is unknown, but this copy resided among the copies of his books kept by his second wife, Shirley, who he married in September 1953. Formerly a moderately uncommon book; now, only uncommon with an early inscription. $650. One of the Dedication Copies 232. Holmes, John Clellon: THE HORN. New York: Random House, [1958]. Cloth and boards. Textblock faintly tanned, binding faintly dusty, but a very good copy in shelfworn (supplied) dust jacket. First edition of Holmes’s second novel, an essential work in the field of jazz fiction and one of the major works of fiction of the Beat Generation. The printed Dedication reads “For Shirley, who listened and for Jack Kerouac, who talked.” This is one of the two potential dedication copies, inscribed by Holmes to his wife on 11 July 1958: “ ...For Shirley -- because of bright nights during a cold winter – in Le Downbeat [/] and for her birthday and our love John.” In a 1977 letter to his bibliographer about the gestation of the novel, Holmes noted: “Shirley’s moist eyes when she finished the last chapter in manuscript made it worth it.” The whereabouts of the other dedication copy (to Kerouac) is unknown to this cataloguer. $2250.

233. Holmes, John Clellon: GET HOME FREE. New York: Random House, [1964]. Cloth and boards. A very good copy, in lightly edgeworn dust jacket. First edition of the author’s third novel. Inscribed by Holmes to the dedicatee of his second novel, his wife: “For my very own Shirley – companion of the beginnings and the ends – always, John.” $750.

234. Holmes, John Clellon: NOTHING MORE TO DECLARE. New York: Dutton, [1967]. Cloth and boards. Light foxing to cloth and top edge, otherwise a very good copy in faintly rubbed dust jacket (but wanting the errata slip). First edition of perhaps the most notable assessment of the literature of the Beats and their contemporaries, with a most memorable pair of essays on Gershon Legman and Jay Landesman. A good association copy, inscribed by the author to his wife in February of 1967: “For Shirley – the brave adventurer, the good companion, my love – John.” The error on the copyright page has been corrected ink. $550.

235. Holmes, John Clellon: [Original Typescript Epistolary Diary]. Dutch Neck, ME. 18 May – 27 May 1974. Fourteen pages on eight leaves, on rectos and versos of all but two of the leaves. Quarto. Dense, single-spaced typescript, with a few scattered corrections and deletions. Accompanied by three envelopes, two typed, one addressed in manuscript. Some annotations to one of the envelopes, otherwise very good. A fascinating sequence of correspondence from writer John Clellon Holmes, written for and sent to his wife, Shirley. The letters span a period of nine days and form a personal journal, of sorts, sent by Holmes to his wife during a solitary trip to a family cabin in Maine, touch- ing on the daily routine of practical matters, observations about his own health and mental state, his reading, his writing and painting, his responses to the music to which he’s been listening, and observations about the world and his friends and contemporaries. His topics range widely, from the mechanics of opening up the cabin and the extrication of his vehicle from a muddy bog, and comments on wildlife and the weather, to far more reflective matters, punctuated with skirmishes with a painful tooth and the “Zen of Mysteriously Malfunctioning Machinery.” In part, he writes: “All the books are ahead of me. I’ve kept virginal, knowing the rainy days will come, the house-bound days. I felt nervous reading the poems. I would like to scour my mind, but have scoured all the pots & dishes instead ....” He ponders “... above all the enigma of intelligence itself, and its lust for beauty – which means shapeliness, rightness, the fitting together of elements, mortised one to the other in exactly the same way that you build a table or a house. Poems, too, partake of this fastidiousness. Williams’ idea: NO IDEAS BUT IN THINGS. Olsen’s conception of projective verse, one perception leading directly and immediately into the next. These notions viewed as aesthetic guides, rather than philosophy ...Religion begins when the multiplicity of life, and the mysteries of origins and destinations, surges into the consciousness, bringing a baffling sense of insignificance, awe, dread, and the taste of the grave, out of which men evolve symbols or ideas to wor- ship. Art remains this side of the shroud, and as angry as it sometimes is it celebrates the very fatality it depicts, the moment of the flesh and the mind ...I’ve smoked too much and succombed [sic] to drink too early – though I’ve had no hangovers. I find the hard thing to jettison is the speculative tendency of the intelligence, my reflex of savoring the moment or the insight in terms of time & work, rather than simply experiencing it ....” Later: “Tried to get into Mishima, tried to get into Chinese poetry: some fixity in the consciousness wouldn’t allow it ...Minor crisis of desperation, like a nagging tooth – which, by the way, I have ...Slept an hour against my tooth, and woke to Orono and Scott Momaday talking about the Kiowa Sun-Dance religion – clear and precise articulation, fine sense of Plains Indian culture, and its destruction along with the buffalo. Sad for vanished ghost faiths that were so much closer to the physical realities of this continent than anything we’ve brought to it ....” He comments on reading Saul Bellow and his admiration for him: “I find his soul alien to mine, and yet I admire him enormously. He is our only old-fashioned novelist of worth ..,” and on his evening rereading of Hamlet: “Perfect unity of all elements, and a largeness of comprehension that astounds even the fiftieth time around....” On listening to parts of a recording of Death Of A Salesman: “ ...I respect Miller in the same way that I respect Bellow – distantly but genuinely. Both men (and perhaps me, too) are nostalgic for some European past, a social order based on values, no matter how hollow, that were universally accepted. Beginning as radicals, social critics, both men make an urban, ethnic poetry out of bafflement that never quite becomes rage.” Later, he has been painting, and observes: “Artists are bums – that is, they exist in filth and chaos of spirit, they seize the moment rather than the day, they giggle in their beards, they work at all hours, and sleep when they’re done, and wake again, they tend to stink, their moods fluctuate worse than Maine weather, they are haunted by the unknown, and everything they do has to be done again. They paint with rain-water, or with candles in their hats; they scribble on stray sheets of paper, or compose in their inflamed brains. Dying for love, they are unlovable ....” The same day (24 May): “Duke [Ellington] died today. Heard it on the radio as I painted in half-blear at seven, and found myself crying into my paint water, though he had a good, productive, long life, and needs no one’s tears. Still, the giants of music have all gone now. I missed him suddenly, because of course my appreciation of him only came these last ten-twelve years, and there I was working, and knowing a little the joy of the work, and thus fancied I knew what kept him so joyful, and -- well, the tears came swiftly, of themselves, and went away, and I finished the painting. The poem last night about a poet sick to death of death.” On the 25th, he records: “Finding it hard to read – a little more SAMMLER, some of Allen’s FALL OF AMERICA poems just now. Feel him keenly these days, his reponsibleness, his life’s in sync at last. Miss time to talk with him the way, now and then, I miss Jack’s existence somewhere in the world with a baffling ache ...Crazy jaunt to Maine to sit here in the cold wind, worrying about whether I’ll be able to chow tonight, my car stuck in the mud, the house a jumble of wet socks, poems not coming (when you’re shivering it jiggles your lines), a little pleased that I’ve painted after all, Lawrence stories unread, mushrooms hard as rocks, sense of once-fineness of body going to pieces like an old flivver in the weeds, warmth & companionship out of reach, specters coming to haunt me. Well, kill the dreariness, and so down to the beach.” The daily record continues in the same vein, including an extended account of a late October visit to Provincetown, with men- tions of Kerouac, Weldon Kees, and Ginsberg, and some exceptional comments about his affection for NY bars in previous years, and the ghosts that haunted them. In sum, the diary presents a lucid and spontaneous record kept during a few days of isolation, with frequent glimpses of self-analysis and literary reflection, by the Beat novelist, essayist and intimate chronicler of his contemporaries and friends: Kerouac, Ginsberg, Cassady, et al. $750. Dedication Copies 236. Holmes, John Clellon: THE BOWLING GREEN POEMS. [California, PA: Arthur & Kit Knight, 1977]. Two volumes. Oblong 12mo. Printed wrappers. Light tanning to wrappers, tiny discoloration at bottom edge of one, but otherwise very good or better. Two copies (#2 and #195) from an edition of 250 numbered copies, signed by the author, published as a special number of The Unspeakable Visions Of The Individual. The printed dedication for the collection reads: “Again, for Shirley -.” Each of these copies counts as a dedication copy, as each bears the author’s presentation inscription to the dedicatee (his wife). Copy #2 is inscribed: “For Shirley – who knows it already – John.” Copy #195 is inscribed: “Shirley – you were the secret source of these – John.” For the two dedication copies: $750.

237. Holmes, John Clellon: DEATH DRAG SELECTED POEMS 1948 – 1979. [Pocatello, ID]: Limberlost Press, 1979. Stiff printed wrappers. Near fine. First edition. Inscribed by the author to his wife in December of 1979: “To Shirley – for the good times shared – John.” Shirley Holmes was the dedicatee of three of John Clellon Holmes’s books. Published as a double number of the Limberlost Review. $125.

238. [Holmes, John Clellon]: Knight, Arthur & Kit [interviewers]: INTERIOR GEOGRAPHIES: AN INTERVIEW WITH JOHN CLELLON HOLMES. [Warren, OH: The Literary Denim, 1981]. Publisher’s plum colored fabricoid, lettered in silver, pictorial wrappers bound in. Cloth very faintly dust marked, otherwise near fine. First edition, deluxe issue. Copy ‘V’ of 26 lettered copies, specially bound, from a total of 526 copies, signed by Holmes and the Knights. This is a special copy, inscribed by Holmes shortly after publication to his wife: “July 1, 1981 For Shirley – who has been passion, wife, companion and (at the last) life to me – Accept everything that lies beneath these inadequate words – meant for you alone – John.” It is also inscribed twice by V.J. Eaton (the publisher), once apologizing for a typo in her name, and once at greater length regretting that Margaret Eaton (copublisher) could not accompany him on the occasion of a visit. $225.

239. Holmes, John Clellon: VISITOR: JACK KEROUAC IN OLD SAYBROOK. [California, PA: Arthur & Kit Knight, 1981]. Oblong 12mo. Printed wrappers. Photo frontis. Very good or better. First edition. Copy #2 from an edition of 750 numbered copies, signed by the author, published as a special number of The Unspeakable Visions Of The Individual. This copy is inscribed by the author to his wife, Shirley: “For Shirley -- This chapter of the rich life of our house, our home – with my love – John.” Holmes dated the inscription, evidently in error, “July 1980.” Accompanied by a closely typed one page t.l.s. from the publishers, Arthur and Kit Knight, California, PA., 2 July 1981, to “Dear John & Shirley,” thanking them for allowing them to visit, and giving an account of their stops along the way home, including a detailed account of drinking at Nicky’s in Lowell, where amidst descriptions of local color, they recount meeting someone who remembered Kerouac “’Yah, he was always in here drunk,’” and another notes: “... Stella was in too we were told. We decided we didn’t have anything to gain from meeting her -- maybe a lot to lose -- so we moved on.” $375.

240. Holmes, John Clellon: GONE IN OCTOBER. [Hailey, ID]: Limberlost Press, 1985. Stiff pictorial wrappers. Near fine. First edition, trade issue, of these “last reflections on Jack Kerouac.” Inscribed by the author to his wife in March of 1985: “For Shirley – lifelong collaborator – John.” Laid in front are three color prints of photos of Holmes, dated in ink “3/85.” There were also 26 lettered copies. Shirley Holmes was the dedicatee of three of John Clellon Holmes’s books. $125. 241. Holmes, John Clellon: GONE IN OCTOBER. [Hailey, ID]: Limberlost Press, 1985. Stiff pictorial wrappers. Near fine. First edition, limited issue, of these last reflections on Jack Kerouac. Copy ‘C’ of twenty-six lettered copies, signed by the author. $125.

Dedication Copy 242. Holmes, John Clellon: DISPLACED PERSON THE TRAVEL ESSAYS OF .... Fayette- ville, AK: University of Arkansas, 1987. Boards. Top edge dust spotted, otherwise about fine in dust jacket. First edition, boardbound issue. Inscribed by the author to the dedicatee, his wife: ” Jan 1988 For Shirley – Remember We’ll be together again -- Always, John.” The printed dedication reads: “For Shirley – Fellow Traveler, Beloved Companion.” The first of the three volume edition of Holmes’s Collected Essays. Holmes was seriously ill with cancer at the time of the inscription, and died in March of the same year, thereby underlining the poignancy of the inscription. It also accounts for the scarcity of inscribed copies of this collection. $650.

243. [Horne, Lena]: [Color studio lobby card for:] THE BRONZE VENUS (THE DUKE IS TOPS). [Los Angeles]: Toddy Pictures Co., [1938, but re-released not earlier than late 1943]. Color offset lithographed lobby card, 11x14”. Bump at top right corner, slight vertical creases, overall slight toning, but very good.

A handsome pictorial lobby card issued to promote the re-release of The Duke Is Tops (1938) capitalizing on Lena Horne’s 1943 successes in Cabin In The Sky and Stormy Weather. The original 1938 release was her first (uncredited) film appearance, and was distributed by “Million Dollar Productions.” It was directed by William L. Nolte, co-starred Ralph Cooper, et al. This re-release was through Toddy Pictures Company, one of the most important distribu- tors of all-African American films strictly for African American audiences. Formed in 1941, Toddy produced and distributed both features and shorts. This card features Lena Horne in the left frame and the full orchestra with dancers in the main image. $85.

Presentation Copy to Samuel Putnam 244. [Hours Press]: Crowder, Henry; Samuel Beckett, et al: HENRY – MUSIC POEMS BY .... Paris: The Hours Press, 1930. Small folio (33 x 25 cm). Pictorial boards featuring a photomontage by Man Ray. Extremities a bit worn and tanned, spine intact but slightly frayed, a few thin, stray marks of offsetting to boards, faint tidemark around crown of spine extending into the upper spine corner of the lower board, somewhat later bookplate on front pastedown, along with an ownership inscription, with the name only repeated on title, sewing of textblock slack resulting in a couple of leaves being loose, a few faint, small tape shadows on endsheets from an earlier, crude (and now absent) plastic wrapper; withal, a blemished but not wholly disagreeable copy of an exceedingly fragile and uncommon book. First and only edition in original format. One of one hundred copies, signed by Henry Crowder. This copy is not numbered, and it would appear the edition also included out-of-series press copies. This copy is inscribed by Nancy Cunard, the publisher, on the front free endsheet: “For Samuel Putnam from Nancy Cunard Paris.1932.” Samuel Putnam (1892 – 1950) was among the ablest of the American expatriates of the time, serving as chief editor of The New Review (5 numbers 1931-2), and of the 1931 anthology, European Caravan. His translation of Don Quixote is still respected as the first authoritative translation into modern English. This collection features settings by Henry Crowder, Cunard’s lover and partner in the Hours Press, to poems by Cunard, Richard Aldington, Harold Action, Walter Lowenfels and Samuel Beckett (“From the Only Poet to a Shining Whore”). Fragile construction, time and circumstance have taken a toll on what was already a small edition, and copies in any condition are indeed uncommon. F&F 6. $6500.

245. Hughes, Langston: ESTHER OPER IN DREI AKTEN (16 SZENEN) [cover title]. [New York: Associated Music Publishers, copyright 1956 but likely printed slightly later]. [4],38pp. Quarto. Mimeographed typescript, printed rectos and versos. Originally stapled at left margin, but at some point restapled at upper left corner. A couple of corner creases at staple, otherwise near fine. The sole contemporary printing of Jean Geiringer’s adaptation into German of Hughes’s opera. The music, scored by Jan Meyerowitz, is not present in this libretto, but was printed separately. The English language version premiered in 1956 at the University of Illinois – Urbana/Champaign and was not formally published at the time. OCLC locates copies of this version at NYPL, and at the Univ. of Illinois. It is also present in the Hughes archive at Yale. OCLC: 27447413. $225.

246. [Hughes-Stanton, Blair]: Newbolt, Henry: THE LINNET’S NEST. [London: Faber & Gwyer, 1927]. Sewn printed pictorial rose wrappers. Illustrations. Trace of dust at wrapper edges, otherwise fine.

A variant proof copy of Ariel Poem #2. Most notably, the Blair Hughes-Stanton illustrations present here were actually utilized for Ariel Poem #4, De la Mare’s Alone, and the published version of Newbolt’s poem was accompanied by illustrations by Ralph Keene. The color chosen for the wrappers differs, Hughes-Stanton’s name lacks the ‘-’, and the setting of the list of the Ariel Poems in the rear differs as well. $75.

247. [Hume, David (editor)]: Manstein, General [Cristof Hermann]: MEMOIRS OF RUSSIA, HISTORICAL, POLITICAL, AND MILITARY, FROM THE YEAR MDCCXXVII, TO MDCCX- LIV. A PERIOD COMPREHENDING MANY REMARKABLE EVENTS. IN PARTICULAR THE WARS OF RUSSIA WITH TURKY [sic] AND SWEDEN. WITH A SUPPLEMENT, CON- TAINING A SUMMARY ACCOUNT OF THE STATE OF THE MILITARY, THE MARINE, THE COMMERCE, &C. OF THAT GREAT EMPIRE .... London: Printed for T. Becket and P. A. De Hondt, 1770. viii,424,[8]pp. plus ten engraved folding maps and plans. Quarto (255 x 210 mm). Modern half calf and marbled boards, raised bands, gilt label. A bit of offsetting from maps, the “Plan of Chockzin” has a few closed tears and is considerably foxed and offset to adjacent pages, some foxing to first map and to the title, less serious foxing to fore-margins of a couple of other maps and facing pages, lower blank foretip of one leaf clipped; otherwise a very good copy. handsomely bound. First edition. With a prefatory Advertisement composed by David Hume, who oversaw publication of this English text based on the French manuscript sent to him by George Keith, Earl Marischal of Scotland. An Irish edition appeared the same year, and editions in German and French appeared in 1771. Manstein (1711-1757), the son of a Russian General, received his student military training in Germany and served in the Prussian army. He returned home to Russia for a period beginning in 1736, and in this work, affords a valuable description of court intrigues and coups d’etat during the period 1727 to 1741, along with observations on the Crimean campaigns of 1736-39 and on the war with Sweden from 1741 to 1743. He once again left Russian in 1744 and died in Saxony. “A work of authority ...” – Lowndes. ESTC T122596. LOWNDES VI:1466. $1850. End of a Friendship 248. Humphreys, Cecil, and James Montgomery Flagg: [Two Acrimonious Typed Letters, Signed (“Cecil” and “Monty”)]. New York & [n.p.]. 30 March 1943 and 31 March 1943. Two pages, octavo, and one page, quarto. Humphreys letter on two panels of a folded small quarto sheet of Hotel Salisbury letterhead; Flagg’s on recto only of one sheet of quarto plain typing paper. Both show folds from having been mailed, but very good. An exchange evidencing the probable end of a long friendship between film star Cecil Hum- phreys (1883 – 1947, The Elusive Pimpernel, Wuthering Heights, The Razor’s Edge) and the prominent American illustrator (1877 – 1960), a friendship which may have dated back to Flagg’s association with Hollywood film projects in the years immediately following the Great War. Humphreys takes Flagg to task in response to an earlier letter that is not present, writing in part: “On meeting a young friend of mine at the hospital you chose to stigmatize him as a ‘pansy’! I assured you he was nothing of the sort. I have known the boy for some time – he was a great friend of my lad’s in England – and anybody who knows my boy knows that he is not in the habit of associating with ‘pansies’ or their ilk! You hardly contribute to the saving of our unique friendship ...When I make a friend I happen to be loyal to him – and I certainly will not allow you or anybody else to refer to ...as ‘a young squirt or a pansy’!!! I value your friendship as you know more than anything but it doesn’t make me blind to several attributes at I deplore in you! ...One – let me assure you I will not stand for – and that is the use of the word ‘f[**]k’ – before ladies in my room and in my presence! You may describe this as ‘British’ – ‘old-fashioned’ – what you will – the fact remains. The first part of your letter is so blatently [sic] stupid that it calls for no comment! Yours, Cecil.” Flagg responds with vigor, writing in part: “It’s rather a pity you needed to drag in an irrelevancy – like my unfortunate lingual lapse – that vulgar four letter word so popular with your titled women! ...Which leaves you with the calm satisfaction of an English gentleman who confines his bawdy brilliancies in the presence of women to ‘pissed’ and ‘pooped’ and ‘bitch’!” Flagg continues aggressively for another 125 or so words, taking both the recipient and, to a certain extent, British custom, to task. He concludes: “So hail and farewell to a friendship that was charming while it lasted! I relinquish you to your REALLY ‘blatantly stupid’ friends! Monty.” Flagg, never known to practice restraint in his letters to friends and antagonists, is in particularly rare form in this heated exchange. $350.

249. [Huxley, Aldous (sourcework)]: Thomspon, Robert E. [screenwriter]: BRAVE NEW WORLD PART I [with:] PART II ...BASED ON THE NOVEL BY .... [Universal City]: Universal Studios, 1978. Two volumes. [1],118;[1],119-234 leaves. Quarto. Photomechanically reproduced typescript, printed on rectos only. Bradbound. Very good. Revised drafts of scripts for the television adaptation of Huxley’s dystopian novel, originally conceived as a two-part mini-series, but when aired in the US in March of 1980, cut down and run as a single 3 hour made for television film. The BBC broadcast the uncut version in March of 1981. Doran William Cannon contributed to the final version of the production script. The present draft, which is credited to Thompson alone, includes revisions dated from 7 April through 6 June 1978. Burt Brinckerhoff directed, with Julie Cobb, Bud Cort, and Keir Dullea in the lead roles. $300.

250. INS AND OUTS A MAGAZINE OF AWARENESS. Amsterdam: Ins & Outs Press, June 1978 through July 1980. Volume one, number 1 through 4/5 (all published). Five numbers in four issues, the last a double number. Pictorial wrappers. Heavily illustrated. A couple minor creases, but near fine. Published by Salah Harharah and edited by Edward Woods. A significant expat English language periodical of its decade, the history of which Woods recounted for an online issue of Exquisite Corpse. Much like the Paris Booster, its publisher envisioned something different at the beginning, but the creative element held sway. Contributors to these issues include Ira Cohen, Ginsberg, Wm. Levy, Bowles, Corso, Ferlinghetti, Hirschman, Kaufman, Ford, Malanga, Rubington, et al. There is a pervasive attention to matters involving consciousness expansion and steps outside the behavioral norm. $125. 251. INTERIM. Seattle, WA . Summer 1944 through 1949/50. I:1 through III:4. Eleven issues, including one double number. Pictorial wrappers. Pencil number (‘19’) on upper wrapper of three numbers, some offsetting/smudging to a few lower wrappers, but otherwise very good. Edited by A. Wilber Stevens, Kenneth O. Hanson and Elizabeth Dewey Stevens. A near complete run of this quarterly, lacking only the final double number that followed the penultimate number after a span of four years. The emphasis is on the literature and writers of the Northwest, including many early appearances by Hanson, but the scope broadens with additional contributions by Greer, Creekmore, Henry Miller, Kizer, Savage, Fraenkel, Harold Norse, Patchen, W. S. Graham, W. C. Williams, Treece, W. T. Scott, J. Miles, Willard Marsh, et al. $125.

252. [International Labour Defence – British Section]: Greville, R.: HOW TO DEFEND YOURSELF A LEGAL GUIDE FOR WORKERS [wrapper title]. [London: Martin Lawrence, 1934]. 31,[1]pp. Pictorial self wrappers (occasionally attributed to James Boswell). An unusually fine copy. First edition of this substantial guide to legal rights and advice for British revolutionaries arrested or detained in the course of their “working class activity.” Appendices include a list and explanation of common charges, and a reprinting of Lenin’s 1905 letter to those in Moscow Prison. $65.

253. [Jazz Film]: [Flender Harold (sourcework)]: Sher, Jack, et al [screenwriters]: [Set of Original Studio Lobby Cards for:] PARIS BLUES. [Np]: United Artists Corp., 1961. Eight vintage 11 x 14 pictorial lobby cards. A couple of inky finger smudges and minor spots, signs of very faint damp at extreme lower margin of one card, some other marginal offsetting from storage, but otherwise very good or better. A complete set of the pictorial studio lobby cards issued to promote this adaptation of Flender’s 1957 novel, based on an adaptation by Lulla Adler and a screenplay by Jack Sher and others. Martin Ritt directed, and Paul Newman, Joanne Woodward and Sidney Portier starred in this film about expat jazz musicians in Paris living beyond the bounds of the prejudices in their own country. The multi-award nominated soundtrack was by Duke Ellington and featured trumpeter Louis Armstrong as Wild Man Moore and jazz pianist Aaron Bridgers. $185.

254. Jeffers, Robinson: THEMES IN MY POEMS. San Francisco: The Book Club of California, 1956. Cloth and decorated boards. Bookplate of W. B. Maxwell. Faint foxing at fore-edge, else fine. First edition. One of 350 copies printed and decorated by Mallette Dean. With the original prospectus and an 8x10” wire service photo of Jeffers at home with family laid in. $300.

255. [Johnson, Samuel]: AN ACCOUNT OF THE LIFE OF MR RICH- ARD SAVAGE, SON OF THE EARL RIVERS. London: Printed for J. Roberts, 1744. [2],184,179-180pp. Octavo. 20th century three quarter calf and marbled boards, gilt labels. Bookplate on pastedown, spine slightly sunned and rubbed, bound without the half-title and advert leaf (the latter as almost inevitable), old light ink smudge to title, tiny mend to original stab-hole in inner margin of gutter, verso of last leaf dusty, otherwise a very good copy. First edition, second state, with the one line erratum in the lower margin of the last page of text (erroneously paginated ‘180’ but in actuality ‘186’). Savage, who has been described as “an impostor, a libeller and something of a ruffian” (Camb. History of English Lit), died in Bristol prison in August 1743. Johnson announced his tribute to his friend of youth shortly after, and claimed that he wrote the first 48pp. of text at a single all-night sitting. It received a positive reception at the time, but posterity has shown Johnson’s affectionate recollections occasionally collided with the facts. COURTNEY & SMITH, p.15. FLEEMAN 44.2LS/1b. ESTC T164058. ROTHSCHILD 1223. $4000.

256. [Johnson, Samuel]: A JOURNEY TO THE WESTERN ISLANDS OF SCOTLAND. London: Printed for W. Strahan; and T. Cadell, 1775. [2],384,[2]pp. (errata bound after 383/4). Octavo. Contemporary calf, raised bands, gilt label. Early ink ownership signature on free endsheet, inevitable slight tanning and occasional slight foxing, slight rubbing, but a very good copy.

First edition, with the twelve-line errata. As usual D8 and U4 are cancels. Copies with the six-line errata are properly the second edition (rather than “issue”), as much (but not all) of the text was reset for corrections and final revisions. The first edition consisted of 2000 copies, and the second added another 2000 to the trade. COURTNEY & SMITH, p.122-3. FLEEMAN 75.1J/1a. CHAPMAN & HAZEN, p.151. ESTC T84319. $1500.

257. Johnson, Samuel: LETTERS TO AND FROM THE LATE ...TO WHICH ARE ADDED SOME POEMS NEVER BEFORE PRINTED. PUBLISHED FROM THE ORIGINAL MSS. IN HER POSSESSION, BY HESTER LYNCH PIOZZI. London: Printed for A. Strahan and T. Cadell, 1788. Two volumes. xv,[1],397,[1] [390/1 duplicated]; xi,[1],424pp. Two volumes. Octavo. Contemporary mottled calf, gilt labels, ribbon markers. Upper joint of first volume cracking, but cords sound, bookplate in each volume (see below), some minor rubbing, otherwise a very good or better set, enclosed in a half-morocco slipcase. First edition. With an inscription, most likely in the hand of the publisher or publisher’s clerk, “From the Authour,” on a preliminary blank of each volume. With the small armorial bookplate in each volume of Henry Merrick Hoare, likely Hester Lynch Piozzi’s future son-in-law via his marriage to Sophia Thrale in 1807. The edition consisted of 2500 sets. The errata slip for the first volume is laid into this copy, and is of the state with ‘read’ on line 9. Appended to the text in the second volume is a small selection of poems and translations by Johnson COURTNEY & SMITH, pp. 168-9. FLEEMAN 88.3L/1. ESTC T82906. $2250.

258. Jolas, Eugene: PLANETS AND ANGELS. [Mount Vernon, IA: English Club of Cornell College, 1940]. Tan buckram, printed label. Rust stains at endsheet gutters from binding staples, price for this special issue neatly written in ink on rear endsheet, otherwise a very nice copy.

First edition, the uncommon clothbound issue, published otherwise in wrappers as Cornell College Chapbooks No. 14. $150.

259. Jones, Owen [decorations], and Lockhart, J. G.: ANCIENT SPANISH BALLADS; HIS- TORICAL AND ROMANTIC ...WITH NUMEROUS ILLUSTRATIONS ...THE BORDERS AND ORNAMENTAL VIGNETTES BY .... London: John Murray, 1859. Quarto. Contemporary full brown pebbled morocco, gilt extra, a.e.g. by Hayday. Portrait, plates and illustrations. 19th century gift inscription on free endsheet, small nick at edge of one raised band, occasional foxing early and late, with small discoloration in lower blank margin of portrait, light offset to two pages from formerly laid in floral sentiment; still, a near very good copy. Revised edition of one of Jones’s first undertakings as a book decorator, first published in 1841. It includes a chromolithographed title, a frontispiece, and three chromolithographed sectional titles, all heightened in gold, plus colored borders, ornaments and initials by Jones, as well as many wood engravings after drawings by Henry Warren, David Roberts, C.E. Aubrey, and William Harvey. $300. 260. [Jones, Owen (illustrator)]: THE BOOK OF COMMON PRAYER, AND ADMINISTRA- TION OF THE SACRAMENTS, AND OTHER RITES AND CEREMONIES OF THE CHURCH, ACCORDING TO THE USE OF THE UNITED CHURCH OF ENGLAND AND IRELAND.... London: John Murray, 1850. xl,504,[2],451-484pp. Small quarto. Contemporary unsigned brown calf, elaborately decorated in blind, raised bands, gilt label, marbled endsheets. Nine gilt chromolithographed plates, including half-title, title and sectional titles. Illustrated with engravings. Bookplate, binding a bit rubbed, with some scrapes to the fore-tips, otherwise a very good, clean copy. Second edition (or impression) of the visually remarkable Owen Jones Prayer Book, first published in 1845. In addition to the color and gilt chromolithographed pictorial sectional titles, each page of text is surrounded by decorative frames printed in blue, black and/or red, with large decorated initials printed in colors. The illustrations are engraved by Williams after drawings by Scharf, after various artists, including Warren, Horsley, and Jones. The number of chromolithographs included in this 1850 edition would appear to vary somewhat – Griffith calls for the same number of chromos as in the 1845 edition (9 in addition to the prelims); this copy includes 9 in total, while other pedigreed copies in original bindings include a total of 8. McLean notes that the original 1845 edition was a commercial loss for Murray, and that it was reprinted with fewer colors and without the sectional color titles in 1863. It is just possible that there are variations based on economy or supply between copies of this interim edition or issue. McLEAN, p.88ff. GRIFFITH 1850.26. $250.

261. Jonson, Ben: THE WORKS OF BEN JONSON, WHICH WERE FORMERLY PRINTED IN TWO VOLUMES, ARE NOW REPRINTED IN ONE. TO WHICH IS ADDED A COMEDY, CALLED THE NEW INN. WITH ADDITIONS NEVER BEFORE PUBLISHED. London: Printed by Thomas Hodgkin ..., 1692. [12],264,281-368,371-2,371-382,393- 744,[4]pp. Folio (signed in 4s; 14.5 x 9.25”; 368 x 237mm). Modern paneled dark brown calf, raised bands, gilt spine labels, with earlier gilding to all edges. Engraved portrait of Jonson engraved by Elder after Vaughn. Portrait and title a bit foxed, inky marginal smear to E31r; some old spotting to

C2-4, 3A4 and 4C4-4D4; 3C1-2 on inferior paper (and tanned, as

usual); top edge of 3Y3 shows a bit of slight fraying; other occasional marginal smudges, dusting or trivial spotting; otherwise, generally a very good, crisp copy. Third (and last) folio edition, but the first in one volume, adding “The New Inn” and “Leges Convivales,” which were not included in the collected editions of 1616 and 1640. The

characteristic poor paper and tanning of 3C1-2 often extend

to 2Z2-3, which are here relatively unblemished. The final two leaves are turned over to the “Leges Convivales,” with its own title and imprint. This copy, although in a modern binding, measures somewhat larger than the Hagen-Pforzheimer copy, which is noted as in original calf. ESTC R15282. PFORZHEIMER 561. $2850.

Large Paper Issue 262. [Joyce, James]: Beckett, Samuel, et al: OUR EXAGMINATION ROUND HIS FACTIFI- CATION FOR INCAMINATION OF WORK IN PROGRESS. Paris: Shakespeare & Company, 1929. Large octavo. Printed wrappers. Wrappers lightly dust soiled, tiny nick in fore-edge of upper wrapper, two shallow snags at toe of spine, otherwise a very good, internally fine and unopened, copy. First edition, large paper issue. Copy #73 of 96 machine numbered copies printed on untrimmed Vergé d’Arches paper, in significantly larger format than the trade issue. This collective symposium on Work In Progress includes contributions by Beckett (his first appearance in a book), Williams, Jolas, Gilbert, McAlmon, McGreevy, Paul, Rodker, Budgeon, Dixon, et al. A passage from WIP which did not make it into the final text of Finnegans Wake is included. A few unnumbered copies, presumably hors commerce, also exist. SLOCUM & CAHOON B10. WALLACE B11. F&F 1. $4500.

263. Kaagman, Hugo, and Diana Ozon [a.k.a. Diana Gorenvald] [eds and pub]: PAPUA PUNK KOECRANDT 13. [Amsterdam. nd. but ca. 1979]. 19,[1]pp. Small quarto. Color pictorial self wrappers, stapled. Photomechanically reproduced. Illustrated throughout. About fine. A characteristic number of the Dutch punk-zine edited and published by Hugo Kaagman and Diana Ozon (with participation of Dr. Rat) from 1977-1984. It and its allied publications appeared under variations of the Koecrandt general title, and according to the checklist of publications maintained by Diana Ozon on her web site, 150 copies of this number were distributed. Kaagman and Ozon were associated with the Amsterdam punk club, DDT666. $150.

264. Kaagman, Hugo, and Diana Ozon [a.k.a. Diana Gorenvald] [eds and pub]: DE AU- TONOME UNDERGROUND KOECRANDT 50. [Amsterdam. nd. September 1980]. 39,[1] pp. Small quarto. Pictorial self wrappers, stapled. Photomechanically produced. Illustrated throughout. A bit of toner smudge to rear wrapper, otherwise fine. A characteristic number of the Dutch punk-zine edited and published by Hugo Kaagman and Diana Ozon (with participation of Dr. Rat) from 1977-1984. It and its allied publications appeared under variations of the Koecrandt general title, and according to the checklist of publications maintained by Diana Ozon on her web site, 400 copies of this number were distributed. Kaagman and Ozon were associated with the Amsterdam punk club, DDT666. $150.

265. Katayev, Valentin [sourcework & screenwriter], and Mikhail Shvejtser [screenwriter]: [Vintage Original Rus- sian Theatrical Poster for:] VREMYA, VPERYOD! [TIME, FORWARD!]. Moscow: Mosfilm, 1966. Vintage film poster, 23½ x 16½” [60 x 42 cm.]. Folded, small, unobtrusive tack holes in corners from single display use, otherwise very good or better. A visually appropriate and evocative poster for Katayev’s own adaptation to the screen of his 1932 novel, directed by Sofiya Milkina and Mikhail Shvejtser, starring Sergei Yursky, Inna Gulaya, and Tamara Syomina, et al. The plot involves “workers’ attempts to build the huge steel plant at Magnitogorsk in record time. The title was taken from a poem by Mayakovsky, and its theme is the speeding up of time in the Soviet Union where the historical development of a century must be completed in ten years” – Wikipe- dia. $175.

266. [Kaufman, Bob]: Cohen, Ira: FROM THE WHOLE MEGILLAH A CRYSTAL FOR BOB KAUFMAN [caption title]. Mokum, Holland: Visible Voice Publication, 1986. Oblong folio sheet, folded. With a photograph of Kaufman by the author. Fine. First printing in this format of Cohen’s tribute to the Poet Laureate of San Francisco: “... Oh Goofball Sphinx, we sing your Sovereignty ....” With Cohen’s facsimile signature. $35. 267. Kelley, John-Bartram: THE OUTSIDERS. [Paris: Société Générale D’Imprimerie et D’Édition], 1926. 31,[1]pp. Printed wrappers. Wrappers soiled and creased, with pencil shop- ping list and bridge score, and ink phone number, on lower wrapper, internally very good. First and only edition of this novella by the son of Florence Kelley (the socialist reformer and women’s and civil rights activist) and great grandson of his name-sake. Rare: OCLC locates a single copy, at Cornell. The themes include social criticism and religious skepticism, mixed with elements of dream-fantasy. $125.

268. [Kelmscott Press – Marsden J. Perry Collection]: A CHRONOLOGICAL LIST OF THE BOOKS PRINTED AT THE KELMSCOTT PRESS WITH ILLUSTRATIVE MATERIAL FROM A COLLECTION MADE BY WILLIAM MORRIS AND HENRY C. MARILLIER .... Providence, RI: [Marsden J. Perry May 1928]. vii,[3],42,[2] Octavo. Printed wrappers. Very faint finger smudging to wrappers, otherwise very near fine and largely unopened. First edition of this descriptive catalogue of Perry’s very important collection. With a Fore- word by George Parker Winship. One of 800 copies designed and printed to style at the Merrymount Press for presentation to members of the Grolier Club. SMITH & BIANCHI 669. $125.

269. [Kennerley Imprint]: Swinburne, Algernon Charles: ANACTORIA AND OTHER LYRI- CAL POEMS. New York: Mitchell Kennerley, 1906. 12mo. Quarter navy blue calf and gray boards, spine lettered in gilt, t.e.g. Top edge and endsheets a bit dusty and foxed, else a very good copy. First Kennerley edition, dating from the first year of the imprint’s life. In addition to 1000 copies on Van Gelder handmade paper, this is an unnumbered out of series example of the fifty copies on Japan vellum. BOICE 1906.10.b. $100.

270. Kipling, Rudyard: THE SEVEN SEAS. New York: D. Appleton and Company, 1897. Orange-brown cloth, decorated in gilt, t.e.g., others untrimmed. Some foxing to text and endleaves, cabinet-size print of an early photo of Kipling mounted to verso of preliminary blank via small corner slits, otherwise a very good, externally brilliant copy, in somewhat faded and edgeworn decorative dust jacket with small chips at spine ends and corners and some general tanning and soiling. Second American trade edition (or printing), dated the year following the first US trade edition (which preceded the UK edition). The dust jacket for the 1896 printing is noted by Tanselle, and may or may not be identical to this dust jacket, though one must accept the likelihood that at some point this example will end up married to a copy of the 1896 impression. It does replicate the binding design (as the first dust jacket does) and includes the designer’s initials, a feature that was dropped from the second edition/impression binding. See Richards (Color Images) A92b and A92c for examples of this binding and this dust jacket. STEWART 139 (ref). RICHARDS A92 (note). TANSELLE 96.14+. $600.

271. Langlois, Juan Carlos: [Original Untitled Monochrome Etching]. [Milan: Galerie Schwarz, ca,. 1962]. Original monochrome etching, plate size 15 x 11.5 cm, on 26 x 19 cm sheet. Mounted in stiff board and acetate mat, with printed caption on verso. Fine. One of sixty numbered copies, in addition to twenty-five copies numbered in Roman, signed and dated in the margin by the artist. Printed in Paris in the Atelier of Georges Leblanc on hand made paper from Papeteries de Rives. Langlois (b. Buenos Aires 1926) studied under Pettoruti in Argentina, and then moved to Paris in 1952, where he worked with Hayter at Atelier 17. His paintings are known for their abstract evocations of pre-Columbian themes. This print was published as an element of Galerie Schwarz’s series, L’Avanguardia Inter- nazionale. $250. First Novel 272. Laut, A[gnes] C[hristina]: LORDS OF THE NORTH. New York: J. F. Taylor & Company, 1900. Grey cloth, with pictorial vignette in yellow and gilt snowshoe on spine. Light rubbing at tips, otherwise very good and bright. First U.S. edition of the author’s first novel, first published in Toronto the same year. Laut (1871-1936) moved from Manitoba to New York the year this novel was published, but much of her later work, both fictional and historical, was still tied to her homeland. WATTERS, p. 233. $100.

273. Lawrence, D. H.: THE PRUSSIAN OFFICER AND OTHER STORIES. London: Duckworth & Co. [1914]. Dark blue cloth, stamped in gilt. Spine a shade sunned, characteristic modest tanning to endleaves, but a very good, bright copy, without the rare dust jacket. First edition, in the primary binding, Roberts variant 1 with the 20pp. inserted Duckworth catalogue. Lawrence’s first collection of short stories. ROBERTS A6. $550.

274. Lawrence, D. H.: FIRE AND OTHER POEMS. [San Francisco]: Printed at the Grabhorn Press for the Book Club of California, 1930. Full linen, gilt spine label. Usual tanning to endsheets, otherwise about fine. First edition thus, with a Foreword by Robinson Jeffers and a note on the poems by Frieda Lawrence. One of 300 copies printed on handmade paper at the Grabhorn Press. ROBERTS A80. GRABHORN 336. $250.

275. Lawrence, D. H.: THE VIRGIN AND THE GIPSY. Florence: G. Orioli, 1930. Pictorial white boards, printed spine label. Tiny nick in one fore-tip, trace of dust along extreme edges of boards, otherwise about fine in very good, somewhat faded and rubbed dust jacket with a few small edge tears. First edition. Copy #310 of 800 numbered copies (of 810), printed on Binda handmade paper and issued as the 4th title in the Lungarno Series. ROBERTS A54. $475.

276. Lawrence, D. H.: LIFE. [Leatherhead, Surrey]: Ark Press, [1954]. Pictorial boards. Il- lustrated with wood engravings by Ru Van Rossem. Bookplate on front pastedown, otherwise a near fine copy in very good dust jacket (lightly frayed at crown of spine and fore-tips). First separate edition. One of 250 copies printed after a design by Kim Christen. ROBERTS A93. $75.

277. [Leggett, William]: LEISURE HOURS AT SEA: BEING A FEW MISCELLANEOUS POEMS. BY A MIDSHIPMAN OF THE UNITED STATES NAVY. New York: George C. Mor- gan, and E. Bliss & E. White, 1825. 148pp. 12mo. Original boards, edges untrimmed. Spine chipped and vertically split (severing the sewing), half-title roughly opened at top edge, quite musty-smelling, only occasional scattered foxing, still an internally very good, crisp, bright copy. Half morocco folding case and chemise. First edition of the author’s second (but first procurable) book, preceded by the privately printed Poems, Edwardsville, IL, 1822, of which only a single copy is recorded, in the Harris Collection. Leggett left Illinois in December of 1822 and entered the Navy. He published this collection the year prior to resigning his commission (in April 1826) following a court-martial for dueling. In years following, he served as assistant editor under Bryant of the New York Evening Post, and subsequently made two short-lived attempts at publishing two of his own papers. He is justly credited with one of the first legitimate works of detective fiction by an American. SEVEN GABLES 30:172. $375. 278. [Leggett, William (editor)]: THE PLAINDEALER. New York: Printed for the Proprietors by William Van Norden, 3 December 1836 through 30 September 1837. Whole numbers one through forty-four (all published). Small folio. Contemporary calf and marbled boards, very neatly rebacked to style, with the original backstrip laid down. Some occasional foxing or very minor spotting, but an unusually nice run, very good or better. A complete run of Leggett’s liberal weekly, a short-lived endeavor he undertook after leaving his editorial post with Bryant at the New York Evening Post. Drawing upon his previous experience as theatre and literary critic, The Plaindealer dedicates as much space to reviews (often extended) and criticism as it does to his pronounced political views. The final number, for example, includes 5 1/2 pages (double column) turned over to a consideration of, and ample selections from, the 4th part of The Posthumous Papers of the Pickwick Club, which had appeared recently from Carey, Lea & Blanchard. Leggett was an unflinching advocate of freedom of political debate, an abolitionist, and an advocate of laissez-faire. He was prominently identified as a leader of the Loco-Focos faction of city Democrats. $850.

279. Levy, D. A. [ed & publisher]: THE BUDDHIST 3RD CLASS JUNKMAIL ORACLE. Cleveland. June 1967. [4]pp. Folio leaflet (15 1/2 x 11 5/8”; 39 x 29.5 cm). Heavily illustrated, and printed on newsprint stock. Horizontal fold, uniform tanning to the newsprint, but an unusually nice copy. Edited and published by D.A. Levy. The first number of one of Levy’s last periodicals -- it persisted through thirteen whole numbers, and three issues of a 2nd volume, the last dated Nov. 1968. Apart from adverts of timely interest, this number prints the text and translations of “The Three Refuges” and “The Four Vows,” a poem by David Cunliffe, and a translation of the “Prajna-Pramita Sutra.” Highly perishable and ephemeral. TAYLOR & HORVATH P-149. $250.

280. THE LONDON GAZETTE. PUBLISHED BY AUTHORITY... [caption title]. London: Printed by Thomas Harrison [later: Edward Johnston] in Warwick Lane 2/5 January to 25/28 December 1790. A slightly broken run of over 90 issues encompassing (with exceptions noted below) whole numbers 13163 through 13268. Small folio. Chiefly 4 or 8pp per number. Extracted, with residue of old binding along spine; moderate tide-mark in lower margin through first half of volume, revenue stamps as usual, occasional marginal discolorations limited to individual issues; still, good and crisp. A close to full year’s issues of the original official newspaper of record in England. It was founded in November 1665, while the Court was resident in Oxford due to the plague in London, and the early numbers appeared as the Oxford Gazette. Shortly after the Court returned to London, beginning with whole number 24, the name was altered to reflect the change, and it persisted through the following centuries as the publisher of official information in regard to politics, business, public notices, elections and promotions, etc. As a primary record of Britain’s affairs, both at home and abroad, at peace and at war, it remains invalu- able. Issues not present here, or imperfect: 13162, 13172, 13188 (imperfect), 13196, 13205, 13224, 13237 (imperfect), 13248, and 13253. CRANE & KAYE 665. NCBEL II:1315-6. $775.

Remarks on a Classmate 281. [Lowry, Malcolm (subject)]: Redgrave, Sir Michael: [Original Heavily Revised Au- tograph Manuscript of:] “HIGH WIRE TO THE CRATER” [caption title]. [Np] [nd but ca. 1967]. Seven leaves of ruled 8 x 13” paper. Horizontal fold, paperclip rust mark at top edge, otherwise very good. An extensively revised working manuscript, in blue, red and black ink, of this review of Lowry’s Selected Letters and Under The Volcano, both published by Cape, the former the first UK edition, the latter the first UK edition to include Spender’s Introduction. Redgrave had been at Cambridge at the same time as Lowry, and co-edited Cambridge Poetry 1930, which included Lowry’s first appearance in book form. The actor incorporates in his review a substantial personal component, as well as the critical stance of a reviewer: “I remember him chiefly for his presence, as distinct from his personality. He was bright-eyed, sharp-nosed, burly and probably a bit muscle-bound ...but, with all his strength, extremely gentle ....” The review saw publication in the Sunday Times. $600.

282. Loy, Mina: THE LAST LUNAR BAEDEKER. Highlands: The Jargon Society, [1982]. Large octavo. Cloth, spine label. Photographs. First edition, edited by Roger Conover, with a Note by Jonathan Williams. Signed by Conover and Williams on the half-title. Top edge dust marked, else near fine in lightly edgeworn dust jacket. $125.

283. Madden, David: [Original Autograph Manu- script, and Revised Typescript Poem:] “THOMAS JEFFERSON WALKS AT POPLAR FOREST.” [Baton Rouge]. 7 October 1989 and 12 January 1993. Original autograph manuscript, two leaves, quarto; autograph sheet of notes, narrow quarto, on recto and verso of Jefferson Poplar Forest Fund solicitation; clean revised typescript (denoted “2nd Draft”); and one page a.l.s. (“David”), very good. Enclosed in original mailing envelope. A good mini-archive related to the composition and revision of this poem, attended by a cover letter forwarding the lot as a donation to a professional organization fund-raising auction, noting it is “... one of my most ambitious works....” The poem was published in the Spring 1990 issue of Prism. $175.

284. Malanga, Gerard, et al [contributors]: 15 MINUTES. St. Louis. May 1991 – 1992. May 1991, Oct/Nov 1991, and Whole numbers 9, 11 and 12. Five issues. Quarto. Pictorial wrappers (the May 1991 issue on newsprint). Illustrated throughout. Wrapper for Oct/Nov 1991 issue a bit tanned and soiled, otherwise very good to about fine. Published by Bob Putnam and edited by S. Lynn Lucas. An occasionally combative venue for art matters, both local and national, to which Gerard Malanga and Ira Cohen frequently contributed photographs and text. Issue 12, which includes texts from Julian Beck’s note- books, makes reference to a local censorship crisis, and the “fall” of the “sanctimonious, whore-mongering, tax-money stealing prosecutor” at the center of the mess. NB: Cohen’s signatures on the front wrappers of two of the issues are printed, not original. $75.

Inscribed First Book 285. Manning, Frederic: THE VIGIL OF BRUNHILD A NARRATIVE POEM. London: John Murray, 1907. Gilt decorated cloth. Cloth rather soiled and worn, boards a bit bowed, internally very good. 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 British critic and poet Theodore Watts-Dunton in December of the year of publication, and with the Watts-Dunton library label on the front pastedown. $550.

286. Marcus, Aaron: “The Computer and the Artist,” contained in EYE MAGAZINE OF THE YALE ARTS ASSOCIATION. New Haven: Yale Arts Association, 1968. Whole number two. Oblong quarto. Stiff blindstamped white wrappers. Illustrated throughout. Spine and edges tanned and a bit smudged, internally about fine. Edited by Marjorie B. Noyes. Marcus was then a student in the Graphics Art Department at Yale, doing summer research at Bell Labs with computer displays. Also includes an homage to Josef Albers by Arnold Bittleman; “Is Film an Art,” a discussion by David Rumsey, et al; student portfolios, etc. $50.

287. Marryat, Captain Frederick: THE PRIVATEER’S-MAN ONE HUNDRED YEARS AGO. London: Longman, Brown, Green & Longmans, 1846. Two volumes. Purple-grey vertically ribbed cloth, decorated in blind, spines lettered in gilt. Spines modestly and uniformly sunned, minor rubbing, otherwise an unusually nice copy, very good or better. First British edition in book form, in the primary binding. With the binder’s ticket for Westleys & Clarke in each volume, as expected, and with a 32pp. inserted catalogue in the rear of the first volume (dated ‘October 1846’ – Sadleir’s set has ads dated in May). According to Sadleir, sheets were reissued later in red cloth, and in gilt blue cloth, the latter with added illustrations. Sadleir discusses, without conclusions, a Philadelphia printing based on the serialization in the New Monthly beginning in August of 1845. WOLFF 4535. SADLEIR 1596. $500.

288. Martin, Philip: [Original Untitled Monochrome Etching]. [Milan: Galerie Schwarz, ca. 1961]. Original monochrome etching, plate size 11 x 14.5 cm, on 26.5 x 19.5 cm sheet. Mounted in stiff board and acetate mat (a bit torn), with printed caption on verso. Fine. One of sixty numbered copies, in addition to twenty-five copies numbered in Roman, signed and dated in the margin by the artist. Printed in Paris in the Atelier of Georges Leblanc on hand made paper from Papeteries de Rives. Martin (b. 1927 in Essex, UK) is best known for his fabric collages and paintings, many of which partake of his interest in religious mysticism and symbolism. He has had a number of solo exhibitions, in addition to group exhibitions beginning in the 1950s. This print was published as an element of Galerie Schwarz’s series, L’Avanguardia Internazionale. $250.

289. Martineau, Harriet: ...A MANCHESTER STRIKE. A TALE. Boston: Leonard C. Bowles, 1833. 194pp. 12mo. Publisher’s linen, paper spine label. Endsheets somewhat foxed and discolored, occasional light foxing, rear inner hinge cracking at crown, otherwise very good.

First U.S. edition of No. VII in Martineau’s series of Illustrations Of Political Economy. It is among the most widely read in the series, and is regarded as the first significant fictional depiction of labor strife and exploitation of workers. $125.

290. Matheson, Richard, and Lewis Meltzer [screenwriters]: [Five Original Pictorial Lobby Cards for:] THE BEAT GENERATION. [Culver City: Metro-Goldwyn-Mayer] / Albert Zugsmith Productions, 1959. Five 11 x 14” color pictorial lobby cards. Two short edge tears in card #2, Quebec censors stamp on face of each card, otherwise very good or better. Cards #2, 5, 6, 7 and 8 of the lobby card set issued promoting Albert Zugsmith’s cinematic look “Behind the Weird ‘Way-Out’ World of the Beatniks,” directed by Charles F. Haas, and starring Steve Cochran, Mamie Van Doren, Ray Danton, Jackie Coogan, Vampira, et al. This was a relatively early credit for the immensely talented Richard Matheson, who then had insufficient leverage to -- or perhaps chose not to -- undertake the novelization that appeared under Zugsmith’s name. If a viewer happens to catch this exploitative fiasco on late night television, merciful charity should be extended to the late Mr. Matheson, for whom much greater accomplishments lay ahead. $100.

291. [Matthewman Binding, for Thomas Hollis]: Blackburne, Francis: CONSIDERATIONS ON THE PRESENT STATE OF THE CONTROVERSY BETWEEN THE PROTESTANTS AND PAPISTS OF GREAT BRITAIN AND IRELAND; PARTICULARLY ON THE QUESTION HOW FAR THE LATTER ARE ENTITLED TO A TOLERATION UPON PROTESTANT PRINCIPLES .... London: Printed for A. Millar; and T. Cadell, 1768. vii,[1],296,[2]pp.plus 25*-26* Octavo. Contemporary red goatskin decorated in gilt, with standing and seated figures of Liberty, an owl and a cock, for Hollis by John Matthewman. Narrow cracks at crowns and toes of joints, some darkening and slight rubbing at extremities, otherwise a very good copy. Oval signet stamp on preliminary blank. First (British) edition – a Dublin edition appeared the same year. This copy is in an example of the distinctive bindings executed by John Matthewman for the wealthy and somewhat eccentric Thomas Hollis, whose enthusiasm for the principles of liberty extended to having copies of works of which he approved specially bound and presented to libraries and private parties on both sides of the Atlantic. His enthusiasm for this title is reflected by the fact that he presented another copy, in an identical binding, to the British Library (pictured in Nixon) and a copy to the Earl of Shaftesbury (Maggs 1212:138). Boyers and Nichols’s records indicate 750 copies were printed. Blackburne (1705-87), Archdeacon of Cleveland, was a prolific controversialist and generally regarded as unsympathetic to the Catholic cause. The extended title indicates this work is based on two discourses delivered to his clergy in 1765 and 1768. In 1780 he published a highly critical examination of Johnson’s treatment of Milton. ESTC T84941. NIXON 74. $1650.

292. Matthews, Brander: [Autograph Manuscript, Signed, of Prospectus for:] PUBLICA- TIONS OF THE DRAMATIC MUSEUM OF COLUMBIA UNIVERSITY IN THE CITY OF NEW YORK FIRST SERIES: PAPERS ON PLAYMAKING. New York. July 1914. [2],6 leaves, plus cover letter. Octavo. Manuscript on rectos only, in ink, of ruled note paper, letter on sheet of printed letterhead. Top leaf of manuscript a bit dusty, with paperclip mark to first and final leaves, otherwise very good. A rough draft of the prospectus for this series, with a cover letter from Matthews, signed in full, forwarding it to “Dear I. K.” [i.e. publisher Ingalls Kimball]: “... This is the prospectus of that series of mine – with all the titles. Is this enough for your purpose? ....” The series commenced publication in 1914, under the imprint of the Dramatic Museum. $125.

293. [Mazarinade]: LE PACT DE MAZARIN AVEC LE DEMON. [Paris: no imprint], 1648. 8pp. Small quarto (signed in ‘2’s). Extracted and spine backed with marbled paper, some dusting and a few corner creases; very good. First edition. An anonymously published verse dialogue between Mazarin and “Le Demon”. As such items go, possibly somewhat uncommon: Worldcat includes a single record based solely on the BN catalogue entry and a record for a copy at Bibliothèque Mazarine. MOREAU 2642. OCLC: 800759416 & 469550830. $375.

... fort libertin ...fort insolent .. 294. [Mazarinade]: PLAIDOYÉ HEROY-COMIQUE POUR L’EMINENCE CONTRE LE CREUX. [Paris: no imprint], 1649 16pp Small quarto (signed in 2s). Extracted. Verso of terminal leaf somewhat dust smudged, otherwise very good. First edition of this extended verse Mazarinade, about which Moreau comments: “Le sens positif de cette pièce est fort libertin; le sens allégorique pourrait bien être fort insolent.” Worldcat locates six copies between two records.Scarce. MOREAU 2774. OCLC: 460836859 & 831212659. $450.

295. McAlmon, Robert: A HASTY BUNCH. [Paris: Contact Publishing Co., 1922]. Printed wrappers. Some small nicks and tears at spine extremities, otherwise near fine. Half calf folding case (spine somewhat marked and rubbed). First and only edition of McAlmon’s second book, his first collection of prose, and the first volume issued by the publishing company he founded that was to prove such a major influence on American expatriate letters in the ‘20s. This copy bears McAlmon’s late (23 Oct. 1953) presentation inscription to American writer, Edward Dahlberg: “... may these archic [sic] bones of youthful miswriting still live a bit. Bob McAlmon.” Dahlberg befriended McAlmon during the latter’s final years of obscurity, and his memoir of McAlmon was collected in Alms For Oblivion (1964). This copy does not include the printed broadside, “From an h’English Printer to an English Publisher,” which was distributed with copies of the book but is occasionally not present. $1750.

First Book 296. McClure, Michael: PASSAGE. Big Sur: Jonathan Williams, 1956. Quarto. Sewn printed wrappers. Neat ownership signature of bibliographer Marshall Clements inside front wrapper, otherwise fine. First edition of the author’s first book. One of 200 copies printed at the Windhover Press and issued as Jargon 20. Although not called for, this copy has been signed by the author on the title-page. Uncommon, in spite of the generous limitation. $550.

297. Meatyard, Ralph Eugene: THE FAMILY ALBUM OF LUCYBELLE CRATER. [Penland, NC]: The Jargon Society, [1974]. Quarto. Cloth. Photographs. Top edge and binding extremities dust marked (the latter faintly), otherwise very good in like dust jacket with a long scratch and a few rubs to lower panel. First edition, clothbound issue of this posthumously published photo-essay. Published as Jargon 76. Text by Jonathan Greene, Ronald Johnson, Jonathan Williams, Thomas Meyer and Guy Mendes. “... The best-known body of Ralph Eugene Meatyard’s work. At once comic and tragic, grotesque and beautiful, the series of 64 images features his wife, Madelyn, in a hag’s Halloween mask together in each with a different friend or relative in a transparent mask” – blurb for the 2002 edition. ROTH, p.230-1. $475.

298. Melville, Herman: TYPEE: A PEEP AT POLYNESIAN LIFE. DURING A FOUR MONTHS’ RESIDENCE IN A VALLEY OF THE MARQUESAS; THE REVISED EDITION, WITH A SE- QUEL. New York: Wiley and Putnam. London: John Murray, 1847. Two parts bound in one. xiv,149,[7],[151]-307,[3],[xv]-xxiii,[1]pp. Original publisher’s slate blue cloth, stamped in blind, lettered in gilt. Frontispiece map. Scattered foxing, crown and toe of spine slightly frayed, last leaf of terminal adverts roughly opened at top, otherwise about very good. BAL’s fourth printing of the revised US edition, with the sequel, “The Story of Toby.” Published as an element in Wiley and Putnam’s “Library of American Books.” $450.

299. Melville, Herman: MARDI: AND A VOYAGE THITHER. London: Richard Bentley, 1849. Three volumes. Octavo. Turn of the century three-quarter olive calf and marbled boards, spines gilt extra, gilt labels, by Larkins. Extremities a bit rubbed, but a handsome, very good set, with the half-titles in the 2nd and 3rd volumes (none called for in the first).

First edition, preceding the U.S. edition. One of one thousand sets printed. Apart from The Whale, Melville’s only other three volume novel, and while a difficult set indeed in original cloth, even sets in bindings such as that in hand are uncommon. SADLEIR (EXCURSIONS), p.225. BAL 13657. $7500.

300. Melville, Herman: MOBY-DICK; OR, THE WHALE. New York: Harper & Brothers, Publishers / London: Richard Bentley, 1851. xxxiii,[1],634,[2] plus [6]pp. of ads (5 of them bearing adverts for and reviews of HM’s earlier books). Drab purple-brown A cloth, stamped in gilt and blind, orange coated endpapers. Typical light foxing, cloth modestly sunned and lightly soiled, with a few faint spots to the lower half of the upper board, a couple of streaks of darkening along the joints, but a very good copy, significantly above average, with only minimal wear and no fraying, and completely unsullied by repairs or need for same. First American edition, in the first of the two bindings, with blindstamped plain rule frames on the boards and the central publisher’s blindstamped device. Although preceded by a month by the UK edition in three volumes, this edition was set directly from the manuscript and restores some thirty-five passages omitted from the British text. This edition consisted of 2915 copies, and was published on 14 November, at the price of $1.50. A portion of the edition was bound up in 1852 in a secondary binding, and it was not until 1855, after a warehouse fire destroyed the remaining supply of copies from the first printing, that a minuscule second printing was ordered (250 copies). BAL 13664. WRIGHT II:1701. GROLIER AMERICAN HUN- DRED 60. $50,000.

301. Melville, Herman: ISRAEL POTTER: HIS FIFTY YEARS OF EXILE. New York: G. P. Putnam & Co., 1855. Original deep blue cloth, decorated in blind, lettered in gilt. Endsheets tanned, small, shallow, marginal tidemark at fore-edge of pp. 249-76, a bit of light soiling to cloth, otherwise a very good, or perhaps slightly better, copy, with the gilt leather Brackenburn bookplate of Hugh Walpole. Enclosed in a full morocco folding case. First edition, first printing, with the requisite readings on pp. 141 and 237-9, in the first binding, with ornamented pendants in the spine lettering. The blue cloth binding is very uncommon on this title. For the inspiration for this fictional work, Melville turned to the Life and Remarkable Adventures of Israel R. Potter (1824). Potter was captured at Bunker Hill and taken to Britain. He escaped and joined in the circle of rebel agents, and saw involvement in many subsequent major events. BAL 13667. WRIGHT II:1700. $3000.

302. Melville, Herman: THE CONFIDENCE-MAN: HIS MASQUERADE. New York Dix, Ed- wards & Co., 1857. vi,394pp. Original brown cloth, decorated in blind, spine lettered in gilt, green endsheets. Crown and toe of spine a bit frayed, foretips slightly bumped, with some wear, a portion of the spine gilding rubbed away, three minuscule pinholes in upper joint, still a quite sound, internally very good or better copy. First (U.S.) edition of the last of Melville’s novels published during his life-time, and one of his most uncommon. The London edition appeared almost simultaneously. It’s allegorical narrative, featuring a company of riverboat travelers on their way to New Orleans, includes characters partaking of some personality traits of Emerson, Hawthorne, Thoreau and Poe. BAL 13670. WRIGHT II:1699. $5000.

303. Melville, Herman: BATTLE-PIECES AND ASPECTS OF THE WAR. New York: Harper & Bros., 1866. Blue cloth, lettered in gilt, beveled edges, central device stamped in blind. Usual slight tanning of text block, a few stray rubs to cloth, one lower fore-tip bumped, but a very good copy. First edition of Melville’s first collection of verse, printed in an edition of 1260 copies, of which 471 copies found their way into the hands of buyers. There was a single printing, and any reference to the error ‘hnndred’ in the copyright notice (which is the case in all copies), has no bibliographic relevance. BAL 13673. $2000.

304. Melville, Herman: THE APPLE-TREE TABLE AND OTHER SKETCHES...WITH AN INTRODUCTORY NOTE BY HENRY CHAPIN. Princeton: Princeton University Press, 1922. Large octavo. Cloth and boards. First collective edition thus. One of fifteen hundred ordinary copies, from a total edition of 1675. Spine gilding dull, top edge foxed, otherwise a very good copy, with the bookplate of poet/publisher James Laughlin. BAL 136881. $85. 305. Melville, Herman: JOHN MARR AND OTHER POEMS...WITH AN INTRODUCTORY NOTE BY HENRY CHAPIN. Princeton: Princeton Univ. Press, 1922. Cloth and boards. First edition thus, regular issue. One of 1500 (of 1675) copies. Attractive bookplate of poet/publisher James Laughlin, light foxing to top edge, otherwise very nice. BAL 13725. $100.

306. Melville, Herman: THE ENCANTADAS OR, ENCHANTED ISLES ...WITH AN INTRO- DUCTION, CRITICAL EPILOGUE & BIBLIOGRAPHICAL NOTES BY VICTOR WOLFGANG VON HAGEN. Burlingame, CA: William P. Wreden, 1940. Quarto. Linen and decorated boards, paper spine label. Color frontis, vignettes and initials by Mallette Dean. Usual slight offset to endsheets from pastedowns, otherwise fine. First printing in this format. One of 550 copies printed at the Grabhorn Press. BAL 13729. GRABHORN 331. $175.

307. [Melville, Herman, et al]: MEMORIAL OF JAMES FENIMORE COOPER. New York: G. P. Putnam, 1852. 106,[1]pp. Large octavo. Brown cloth, decorated in blind, lettered in gilt. Portrait. Slight foxing to portrait, minute nick in lower margin of title, small bump and nick at crown of spine, otherwise near fine. First edition. A compilation of tributes and letters, many of them printed here for the first time in book form, by Melville, Bryant, Irving, Prescott, Dana, Bryant, Emerson, Bancroft, Hawthorne, Parkman, Simms, Longfellow, Leland, and a number of others. Scarce. BAL 13665, 1650, etc. $500.

308. [Melvilleana]: Cooper, James F.: PROCEEDINGS OF THE NAVAL COURT MARTIAL IN THE CASE OF ALEXANDER SLIDELL MACKENZIE ...TO WHICH IS ANNEXED, AN ELABORATE REVIEW BY JAMES FENIMORE COOPER. New York: Henry G. Langley, 1844. [4],334,12pp. Large octavo. Original blindstamped cloth, lettered in gilt. Small nicks at crown and toe of spine, upper fore-corners of cloth somewhat soiled, usual scattered foxing, preliminary blank neatly excised, otherwise a very good, sound copy. First edition, clothbound issue. Cooper’s contribution occupies pages [263]-344. Copies were also issued in wrappers. Mackenzie was in command of the USS Somers when, in Novem- ber of 1842, he charged members of his crew, including the son of Secretary of War John Canfield Spencer, with inciting a mutiny. Three sailors were sentenced to death by a council of officers, and upon the return of the Somers to port, the incident caused great controversy. A subsequent enquiry, as well as this court martial, exonerated Mackenzie, but the latter did so by a split vote and without commendation of his actions. The controversy over the Somers Affair continued, with vocal partisans on both sides of the issue. The incident may, in part, have been a source for Melville’s Billy Budd. Melville’s first cousin, Lt. Guert Gansevoort, was an officer aboard the brig at the time, and consequently he took an interest in the case. The free endsheet bears the contemporary inscription: “Editor of the Globe From F. Taylor.” BAL 3913. SPILLER & BLACKBURN, p.203. $300.

309. Meyer, Thomas: THE UMBRELLA OF AESCULAPIUS ...Highlands: The Jargon Soci- ety, 1975. Quarto. Handwoven cloth over boards. Illustrations by Paul Sinodhinos. Top edge faintly dust marked, otherwise about fine. First edition, deluxe issue. One of fifty copies numbered in Roman, specially bound, signed by the poet, and in this case, by Jonathan Williams as well. The edition consisted of 1000 copies; another fifty copies were differently bound. Published as Jargon 83. $150.

310. Miller, Arthur: THE AMERICAN CLOCK A PLAY. Los Angeles: Mark Taper Forum, [1984]. 1-51a,2-29 leaves, plus additional lettered inserts. Quarto. Photomechanically reproduced typescript, printed on rectos only. Bradbound in gilt-stamped stiff wrappers. Light use, pencil notes erased from title-leaf; very good. A theatre script for the revised form of Miller’s play, prepared for its premiere run at the Los Angeles Taper Forum in 1984. Though written in the 1970s, Miller’s original version was not produced in New York until 1980, when its run was cut short by lack of budget for advertising. This revised version enjoyed improved longevity as did a later London production featuring even further revisions It was eventually the subject of a television adaptation. Miller’s introduction to the 1989 Grove Press edition (conjoined with The Archbishop’s Ceiling), traces the evolution of the text and outlines the significance of this production. This script evidences the work in progress, including the lettered inserts and other revised leaves, as well as sections based on new typescript in a different typeface versus earlier sections which are occasionally lightly reproduced. The parts for the character Irene are circled in pencil, and occasional small manuscript revisions are reproduced in the copying process. A special reproduction of the 1980 Warner Theatre Production script (i.e. the earlier version) appeared in an edition of 200 copies, signed by Miller. This version does not appear to have seen publication in book form and differs considerably from the 1989 text (a reading copy accompanies the script). $350.

311. [Miller, Henry]: Cendrars, Blaise [pseud. of Frédéric-Louis Sauser]: ANTARCTIC FUGUE NEC SINE TE NEC TECUM VIVERE POSSUM. London: The Pushkin Press, [1948]. Cloth. Foxing early and late, a bit musty, else very good in worn and chipped dust jacket. First British edition, the translation unattributed. Inscribed and signed by Henry Miller: “For ...Blaise Cendrars is the favorite of all the authors I have read. He is truly a literary giant. A non-pariel. Henry Miller 11/9/78.” A quote by Miller is printed on the front jacket flap.$185.

312. [Miller, Henry]: Haynes, Jim [ed]: HOMAGE TO HENRY A HOMAGE TO HENRY MILLER [wrapper title]. Paris: Handshake Editions, [April 1982]. Crudely assembled padbound printed wrappers. Photocopied text, from masters cut and pasted from typescript and other sources. A couple of signatures trimmed out of square at fore-edge during binding process, otherwise a clean, intact copy. Noted as the “second edition, completely re-set” [sic]. The first (limited) edition appeared in October 1980. This copy bears Haynes’s presentation inscription, dated in Paris “7 vi 82,” to novelist/poet John [Clellon Holmes], in reference to Holmes’s poem, “Our Minotaur is Gone,” which appears on p.100. A good association copy of this tribute, reproduced in a small edition by the influential figure of contemporary alternative theatre, sexual emancipation and kitchen table top publishing, S&J B286b. $150.

313. Miller, Henry, and Tommy Trantino: AN OPEN LETTER TO STROKER! INSPIRED BY THE WRITINGS AND ART WORK OF TOMMY TRANTINO, A PRISONER IN TRENTON STATE PRISON, NEW JERSEY. New York: One Nine Two Seven Press / Stroker, [1978]. Pictorial wrappers. Illustrations by Miller. Fine. First edition, signed issue. One of an unspecified number of copies thus, from a total edition of 1000 copies printed. Signed by Miller on the front half of the specially inserted bifolium of Plover Fine Weave paper. Includes “The Lore of the Lamb” by Trantino, an excerpt from the forthcoming Lock The Lock. S&J A216a. $150.

314. Mitchell, Donald G.: RURAL STUDIES WITH HINTS FOR COUNTRY PLACES. New York: Charles Scribner, 1867. [4],vii,[2],295,[1],[3]pp. Green gilt cloth, boards ruled in blind. Illustrated with engravings and maps. Spine very slightly cocked, short snag at toe of spine neatly closed, otherwise a very good or slightly better copy. First edition, BAL’s first state (printing?), with the final page of the preface paginated ‘iv’. Inscribed on the front blank the month after publication “To Dr. T. R. Flagg with the kind regards of Dond. G. Mitchell Edgewood July 26th 1867.” BAL 13944. $175. 315. [Morris, William]: Dufty, A. R.: WILLIAM MORRIS: THE STORY OF CUPID AND PSYCHE, WITH ILLUSTRATIONS DESIGNED BY EDWARD BURNE-JONES, MOSTLY ENGRAVED ON THE WOOD BY WILLIAM MORRIS .... London and Cambridge: Clover Hill Editions, 1974. Two volumes. Small folio. Cloth backed decorated boards, gilt labels. Heavily illustrated. Fine in slipcase with one faint patch of soiling, with the prospectus and specimen leaf laid in. First edition. One of 270 numbered copies, from a total edition of 400 (plus 100 portfolios). Designed and printed by Will and Sebastian Carter at the Rampant Lions Press: the first volume on Barcham Green paper in Monotype Ehrhardt, the second in Kelmscott Troy types on untrimmed Barcham Green paper. The first general publication of forty-four wood engravings by Burne- Jones, initially made for an abandoned 1864 conception of The Earthly Paradise. In the second volume, the engravings are here printed from the original blocks, and the text composed and printed in a sympathetic fashion. The first volume prints Dufty’s well-illustrated scholarly treatise on the text, the original drawings and the wood engravings. 130 copies were specially bound, with a portfolio of proofs of the wood engravings and collotype reproductions of the drawings, and 100 portfolios of proofs of the wood engravings were published without the text. $850.

316. Moser, Barry: [Untitled Original Wood Engraving, Signed]. [Np: The Artist, nd]. Original wood engraving (128 x 128 mm, on 230 x 220 mm sheet). Printed in black on fine Japanese paper, paper untrimmed at extreme left and bottom edges. Fine. A striking image of a heavily bearded character facing image left, mouth open and jaw extended, evidently in an angry roar. Undated, unnumbered, but signed by the artist in pencil in the lower margin, and signed in the block. $150.

Woof, Woof! 317. [Mulock, Dinah Maria (Mrs. Craik)]: JOHN HALIFAX, GENTLEMAN. London: Hurst and Blackett, 1856. Three volumes. Publisher’s cloth. A shabby set, generally somewhat worn and soiled, with damp spotting to upper covers of first and third volumes, penetrating to the endsheets of the third, and with tape residue to the rear pastedown of the third volume from formerly affixed booksellers’ descriptions. Ownership signatures. Contained in three half morocco slipcases with chemises cloaking well the decrepitude of their contents. First edition of this highly popular novel preaching the virtue of hard work and honesty over privilege of birth and wealth. It was adapted for both the screen (1915 and 1938) and television. Volumes one and two exhibit Carter’s spine stamping B, and volume three spine stamping A. The first volume contains the terminal catalogue noted by Sadleir in his primary set. Wolff details how difficult it was for him to acquire a set in decent condition, all but two of the sets he’d seen over the years “such dogs that I could not buy them.” Potentially worth the cost of the slipcases. SADLEIR 1812. CARTER (MORE BINDING VARIANTS), pp.28-31. WOLFF 4996. $375.

318. Mylius, Edward F.: THE MORGANATIC MARRIAGE OF GEORGE V ...[wrapper title]. New York: Privately Printed [by Guido Bruno], [nd but 1916]. Printed wrappers. Near fine, partially unopened. First edition of this account of his arrest, trial and sentencing by the Belgian-born anarchist who was charged and imprisoned for libeling King George V. As a correspondent for the Liberator (London) under the editorship of Edward Holton James, Mylius published an article giving credence to the widespread rumor of the King’s earlier marriage. He was arrested, charged with libel, and sentenced to prison. After serving ten months, he was deported, and after having his entry into the US blocked for a time, he settled in New York, working with Margaret Sanger, Hippolyte Havel and Max Eastman. In later years, after publishing a well-received economic tract, he appears to have gradually sunk into obscurity. $75.

319. NEW MASSES. New York. June 1926. Volume one, number two. Large quarto. Pictorial self-wrappers (by Stuart Davis and Hugo Gellert). Illustrated. Some soiling to white portions of wrappers, a few minuscule nicks and short tears at top edges and fore-edges, spine a bit chipped, but a generally very good copy of one of the visually most striking numbers. Edited by Michael Gold, Egmont Arens, John Sloan, Joseph Freeman. et al. Contributors to this number include: Walkowitz, Dos Passos, Lumpkin, Kreymborg, Norman Thomas, Art Young, D.H. Lawrence, Lawson, Trotsky, Seaver, the editors, and others. The New Masses served as successor to The Masses and The Liberator, and was published monthly from May 1926 through 1933, and thereafter weekly until 12 January 1948. In its earliest volumes, both in content and appearance, the traditions of its predecessors remained strong, but by the mid-thirties, CP USA interests began to hold sway over imagination and artistry and the visual elements. GOLDWATER 181. HOFFMAN, et al, p.281. $250.

320. NEW MASSES. New York. May 1926. Volume one, number one. Large quarto. Pictorial self-wrappers (by Hugo Gellert). Illustrated. Some dust soiling to fore- and top edge of upper wrapper, wrappers relatively neatly split along spine, 4.5 cm closed tear at top edge of upper wrapper, old vertical soft creases, \ just an internally very good copy of an important issue Edited by Michael Gold, Egmont Arens, John Sloan, Joseph Freeman. et al. Contributors to this number include: Deutsch, Jeffers (“Apology for Bad Dreams”), Williams (“The Five Dol- lar Guy” – A Story”), Seaver, Nearing, George Sterling, Whittaker Chambers, Stuart Davis, Young, Asch, Claude McKay, Mary H. Vorse, Bynner, the editors, and others. GOLDWATER 181. HOFFMAN, et al, p.281. WALLACE C105. $225.

321. NEW MASSES. New York. May 1927. Volume three, number one. Large quarto. Pictorial self-wrappers (by Hugo Gellert). Illustrated. Very slight soiling to white portions of upper wrapper, a few minuscule nicks at top edges and fore-edges, but a generally very good copy of one of the visually most striking numbers. Edited by Michael Gold, Egmont Arens, William Gropper and Hugo Gellert. Contributors to this number include: Nearing, Taggart, Freeman, Covarrubias, Art Young, Fearing, Dell, Calverton, Mumford, Powys, the editors and many others. GOLDWATER 181. HOFFMAN, et al, p.281. $375.

322. Newton, A. Edward: REFLECTIONS ON THE CHAR- ACTER OF MADAME THRALE PIOZZI. “Oak Knoll,” Daylesford, PA: Privately Printed, 1921. Sewn printed wrappers. Some faint creases, but a very good copy. First edition, published as Newton’s holiday greeting. This copy is inscribed by Newton to Richard Curle. A decent association copy thus. Includes a quote from a ms diary by Piozzi Newton owned, as well as a letter by T.B. Macaulay. FLECK B.15. $75.

323. Niedecker, Lorine: FROM THIS CONDENSERY: THE COMPLETE WRITINGS OF.... [Np]: The Jargon Society, 1985. Full publisher’s leather, paper labels. Large octavo. One corner of label creased, top edge a bit dust marked, else near fine, without printed dust jacket, as issued. First edition, Patrons’ issue. One of one hundred specially bound copies, signed by the editor, Robert Bertholf, and by Jonathan Williams. $225.

324. [Nineties Literature]: White, J.W. Gleeson, and C. Hazelwood Shannon [eds]: THE PAGEANT. London: Henry & Co., 1896. Quarto. Lavender cloth, decorated in gilt. Plates and illustrations. Cloth lightly sunned and soiled, but very good. First edition, regular paper issue, of the first of only two volumes issued of this distinguished annual, including literary contributions by Yeats, Gray, Moore, Johnson, Beerbohm, Cunning- hame-Graham, “Field,” Henley, et al. Illustrative material by Rossetti, Ricketts, Millais, Whis- tler, Housman, et al, is included. This copy still has the original lithograph by Whistler intact. WADE 295. $225.

325. Nugent, Frank: [Original Corrected Typescript of:] A MATTER OF PRINCIPLE [caption title]. [Np: The Author], 1 August 1941. 10 leaves. Quarto. Original typescript, on rectos only of onionskin stock. Stapled in plain stiff wrappers. Edges of wrappers a bit sunned, otherwise very good. A corrected typescript of a short story (or just possibly, a film treatment) by Nugent, with scattered deletions and revisions in pencil on the first six leaves. The subject of the piece is a writer who bridles at requests that his writing commissions serve as propaganda for the RAF. 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. $150.

With a Letter from Frank Capra 326. Nugent, Frank, and Curtis Kenyon: [screenwriters]: [Small Archive of Material for an Unproduced Film:] THE THIRD FORCE. Los Angeles. Various dates but chiefly 1962 – 1963. Two carbon typescripts, plus file of correspondence. Generally good to very good. A small but interesting file of material relating to this unproduced film project, a fictionalized treatment of UN Peace Keeping Forces drawing on their involvement in the Congo. The lot includes two variant drafts of a treatment, 99 leaves and 86 leaves, the latter in specially printed production binder, with several rather frayed revised inserts laid in, with scattered manuscript corrections and deletions. Also present is a file of a dozen pieces of correspondence relating largely to research, but as well to trying to place the project. The most significant item among the latter is a long, single-spaced typed letter to Nugent from Frank Capra, rather messily typed, with corrections, signed “Warmest regards, Frank,” responding in enthusiastic detail after his reading of the treatment, but declining to get involved due to commitment to another project. He writes, in part: “The best dramatic impact your script has for me is the glorification of men who give their lives to help avert another World War. This is new and important and dramatic. This is worth making a picture about; volunteer soldiers from every clime who give their all to prevent a holocaust....” $750.

327. O’Neill, Eugene [sourcework], and Thomas Quinn Curtiss [screenwriter]: “THE ICEMAN COMETH.” New York: The Ely Landau Organization, Inc., 29 November 1972. [1],A-I,208 leaves. Quarto. Mechanically duplicated typescript, printed on rectos only of pale green stock. Bradbound in production company binder. Light soiling to fore-edge, otherwise very good to fine. A “revised” draft of this adaptation for film of O’Neill’s masterpiece, undertaken as the first production of the innovative, but short-lived, American Film Theatre. The script is accompanied by a two page “Production Requirements” list, dated 12 January 1973, and a “Staff and Crew List” dated 3 days earlier. John Frankenheimer directed the November 1973 release, starring Lee Marvin, Frederic March, Robert Ryan, Jeff Bridges, Bradford Dillman, et al. The 239 minute film does, in the minds of many critics, great honor to the sourcework, and stands among the finest moments of the two seasons of the American Film Theatre. A substantially truncated version saw some distribution on television in later years, but only recently has the original full-length version (which required two intermissions) been made available on DVD. Robert Ryan was the posthumous recipient of several awards for his role as Larry Slade, and contrary to expectations, Lee Marvin excelled in the role of Hickey, a role virtually defined by Jason Robards. Legitimate examples of the scripts for the American Film Theatre productions are uncommon. $1250.

328. Olson, Charles, and Robert Creeley: THE COMPLETE CORRESPONDENCE. VOLUME I [through:] VOLUME 7. Santa Barbara: Black Sparrow Press, 1980-5. Seven volumes. Cloth and pictorial boards. Top edges dust marked, otherwise near fine. First editions, limited issues. Edited by George F. Butterick. All but the sixth and seventh volumes are limited to two hundred and fifty numbered copies (of 276), specially bound, and signed by Creeley. The latter two volumes are each one of two hundred copies thus. $225.

329. [Olympia Press]: [Five Titles Published in the Othello Books Series]. Paris: Othello Books / The Olympia Press, [June – August 1962]. Five volumes. Original printed pictorial wrappers. A couple of top edges dusty, minor rubbing to spine ends, otherwise a very nice set, near fine. First editions of the five titles published in this short-lived series, consisting of the following: #111, The Beaten and the Hungry, by “Bernhardt von Soda” [i.e. Robert Waltz]; #112, Lash, by “Ruth Less” [i.e. John Millington-Ward]; #113, The Corpse Wore Grey, by “Peter O’Neil” [undisclosed pseud]; #114, Without Violence, by Robert Desmond; and #115, Whipsdom, by “Greta X” [i.e. John Millington-Ward]. KEARNEY (1987), p. 64 KEARNEY & CARROLL 11.1 – 11.5. $150.

330. Orwell, George [pseud. of Eric Blair]: DOWN AND OUT IN PARIS AND LONDON. London: Victor Gollancz, 1933. Black cloth, spine lettered in yellowish-green. Pencil name on free endsheet, Times Book Club label on rear pastedown, faintest hint of foxing at edges and endleaves, otherwise a very good, or better, copy, without the rare dust jacket. First edition of Blair/Orwell’s scarce first book. One of 1500 copies in the first printing. The author’s selection of his life-long pseudonym had not been settled as late as his return of the first corrected proofs. FENWICK A.1a. sold.

331. Orwell, George [pseud of Eric Blair]: BURMESE DAYS. New York: Harper & Bros., 1934. Orange cloth. Minute nick at crown of spine, small rubber-stamped star on free endsheet, otherwise very good and tight, in largely complete printed dust jacket with shallow chipping at crown and toe of spine, several short, closed edge-tears, a long tear down the lower joint to midway, and a horizontal tear across spine panel and partially into rear panel from there, showing vestiges of old internal mends. First edition of the author’s second book, preceding British publication. The first printing was published in late October and consisted of 2000 copies, and a second printing followed in late December. The British edition, with slight alterations (made for the sake of legal concerns) in the text and an “Au- thor’s Note,” appeared in June of the following year. For the 1944 Penguin edition, Orwell utilized a revision of this text rather than that of the British edition. Uncommon in dust jacket. FENWICK A.2.a. $4750.

332. Orwell, George [pseud. of Eric Blair]: A CLERGYMAN’S DAUGHTER. London: Victor Gollancz, 1935. Black cloth, spine lettered in yellowish-green. Spine a bit cocked, some foxing at edges, rear free endsheet cut away, otherwise a good, sound copy, without the dust jacket. First edition of Blair/Orwell’s scarce third book. The first printing consisted of 2000 copies; Fenwick notes that 500 (or 1000) sets of Gollancz’s sheets were exported for the US issue, but does not indicate if they were in addition to the 2000. FENWICK A.3a. $750.

333. Orwell, George [pseud. of Eric Blair]: KEEP THE ASPIDISTRA FLYING. London: Victor Gollancz, 1936. Medium blue cloth, lettered in darker blue. Spine slightly sunned and cocked, slight tanning and a few pencil highlights; still, about very good, without the scarce dust jacket. First edition. The first printing consisted of 3000 copies, of which 2500 were bound. In 1942, the remaining sets of sheets and 219 bound copies were destroyed in the Blitz. FENWICK A4a. $950.

334. Orwell, George [pseud. of Eric Blair]: HOMAGE TO CATALONIA. London: Secker & Warburg, [1938]. Large octavo. Pale green cloth, lettered in gilt. Faint offset to endsheets delimited by jacket flaps, otherwise a fine copy in very near fine pictorial dust jacket with some minor fraying at the crown of the spine, a couple of tiny edge tears/nicks, and some tiny fingernail dents along the upper spine fold. First edition, one of only 1500 copies printed. Orwell’s great personal account of his experiences while actively engaged in Spain on behalf of the Spanish Republic, and his summary of the political and military factions and influences then in play. One of the key works on the subject, and a very scarce book in this condition – this was the only edition (and printing) to appear in the UK during Orwell’s life time. FENWICK A.6.a. $10,000.

335. Orwell, George [pseud. of Eric Blair]: THE LION AND THE UNICORN SOCIALISM AND THE ENGLISH GENIUS. London: Secker & Warburg, 1941. Natural linen, stamped in green. About fine in very good or better dust jacket with small edge mend, a stray pencil stroke on the front panel, and a shade of dusting.

First edition of the first title in the series of Searchlight Books, a series co-edited by Orwell and T. R. Fyvel. The edition consisted of 5000 copies, and there were no contemporary editions published in North America. FENWICK A9.a. $200.

336. Orwell, George [pseud of Eric Blair]: ANIMAL FARM A FAIRY STORY. London: Secker & Warburg, [1945]. Green cloth, stamped in white. A bit of modest foxing to endsheets, soft vertical crease in rear free endsheet, small chip or paper flaw at extreme lower forecorner of front free endsheet, otherwise a very good to near fine copy in dust jacket, the latter with the Searchlight design on the verso (the result of wartime paper conservation) and a few small nicks, smudges and tiny edge tears. First edition of the most widely known beast-fable in 20th century English letters. Published under wartime manufacturing constraints – albeit in a sizeable first printing of 4500 copies – this title has been difficult to locate in this condition for some time now. A reprint was called for almost immediately, and the second printing of 10,000 copies was published later the same month. The work’s popularity demonstrated, Harcourt ordered a first printing of the American edition consisting of 50,000 copies. MODERN MOVEMENT 93. FENWICK A10a. $4000. 337. Orwell, George [pseud. of Eric Blair]: KOLGOSP TVARIN [ANIMAL FARM in Ukrainian]. [Munich]: Vi- davnitstvi Prometei, [1947]. 90,[1]pp. Octavo. Stiff pictorial wrappers. Portrait.Half-title has short tear at gutter from the staple, Saskatoon bookseller’s stamp on title, very good. First Ukrainian edition, translated by Ivan Chernyatinskii (a pseudonym of Igor Shevchenko).This edition is of particular significance, as in March 1947 Orwell wrote a 6pp. Preface specifically for this edition. Fenwick discusses the Preface on pp.97-8, and it was translated back into English for its appearance in the Collected Essays, Journalism and Letters. The edition was intended for distribution among Ukrainian refugees, and after some 2000 copies were distributed, the remainder of the edition was confiscated by the American military and turned over to the Soviet repatriation authorities. Although one would assume a certain degree of scarcity, OCLC locates a decent number of copies – nineteen. FENWICK A.10.T25. OCLC: 37521170. $450.

338. Orwell, George [pseud of Eric Blair]: LES ANIMAUX PARTOUT! (ANIMAL FARM) [Mo- naco & Paris]: Éditions Odile Pathé, [October 1947]. Decorated wrappers. Uniform tanning of text block, light use to wrappers, very good.

First edition, trade issue, of the first edition in French of Animal Farm, translated by Sophie Devil and with a Preface by Jean Texcier. There were also thirty numbered and ten hors commerce copies on vélin. FENWICK A10.T7a. $55.

339. Orwell, George [pseud. of Eric Blair]: POLITICS AND THE ENGLISH LANGUAGE AN ESSAY .... [Evansville, IN: Printed by Herbert W. Simpson, Inc.], December 1947. 12mo. Printed wrappers. Illustrations. A fine copy.

First separate US edition of this essay, reprinted from its US publication in The New Republic. From a total edition of 470 copies, this is one of fifty copies designated for distribution as a Christmas Greeting to friends of Paul A. Bennett. The text first appeared in Horizon in April 1946, and soon became one of Orwell’s most frequently anthologized and reprinted essays. One among several of his observations, at least when judging the utterances of the vocal extremes, remains particularly timely: “In our time, political speech and writing are largely the defense of the indefensible.” FENWICK C.679n. $750.

340. Orwell, George: [pseud of Eric Blair]: HOMAGE TO CATALONIA. New York: Harcourt, [1952]. Cloth. About fine in near fine dust jacket with a trace of slight dust tanning. First U.S. edition, including an introduction by Lionel Trilling. 4000 copies were printed. FENWICK A6c. $225.

341. Orwell, George [pseud of Eric Blair]: LA CATALOGNE LIBRE (1936 – 1937) HOMAGE TO CATALONIA). Paris: nrf / Gallimard, [1955]. Large octavo. Printed wrappers. Fine, in glassine. First edition of this translation into French by Yvonne Davet. Copy #37 of sixty numbered copies, in addition to six hors commerce copies, printed on vélin pur fil Lafuma-Navarre. FENWICK A.6T5a. $150. An Interesting Separate Printing 342. Orwell, George [pseud. of Eric Blair]: JAMES BURNHAM AND THE MANAGERIAL REVOLUTION [wrapper title]. Berkeley: Berkeley Young Socialist League, [1955]. [2],15 leaves. Quarto. Mimeographed typescript, printed on rectos only. Stapled at left, with mimeographed upper wrapper. Old folds from mailing, lacks lower wrapper (which included YSL info and adverts), a bit of sunning, else very good. A possible candidate for being the first separate US printing of Orwell’s essay, first published in Polemic (May 1946), then published separately in the UK the same year by the Socialist Book Centre, and eventually collected in Shooting An Elephant (both UK and US, 1950). The 1 1/3 page “Publisher’s Remarks” by James Robertson is dated 29 January 1955, and, curiously, remarks about the lack of availability of the essay in the US. The YSL was one of the most visible and influential of the leftist campus groups of the 1950s, and evolved as an offshoot of Max Shachtman’s Workers Party. Robertson’s “Prefatory remarks” reflect the YSL’s Trotskyite affiliation by taking issue with Orwell’s “slight acquaintance” with Trotsky’s writings. OCLC/Worldcat locates a single copy, at Brown. Not In Fenwick, and even if wanting in chronological priority (and perhaps even wanting in authorization by Orwell’s estate), of significant bibliographic and contextual interest. OCLC: 54827397. $350.

Will Ecstasy Be A Crime? 343. [Orwell, George]: [Studio Publicity Campaign Press- book for:] 1984. [Los Angeles]: Columbia Pictures, 1956. 11,[1]pp. Folio (401 x 305 mm). Glossy pictorial self-wrappers. Illustrations. Very minor handling use, but a very good copy, perhaps even double-plus good. An original studio publicity campaign pressbook for the Columbia Pictures U.S. release, directed by Michael An- derson, from a screenplay by William P. Templeton and Ralph Bettinson, based on Orwell’s novel. Starring Edmond O’Brien, Michael Redgrave and Jan Sterling. For what was, for its time, the ultimate dystopian novel, and not exactly a film with a happy ending, the Columbia flacks outdid themselves with goofy ideas to promote this film . $150.

344. Orwell, George [pseud. of Eric Blair]: LA RÉPUBLIQUE DES ANIMAUX. [Paris]: nrf / Gallimard, [1964]. Printed wrappers. Spine very slightly rolled, otherwise fine and unopened in lightly used glassine. First edition, limited issue, of this new translation into French, the translator unidentified. Copy #11 of 31 numbered copies printed on vélin pur fil Lafuma-Navarre. FENWICK A10.T7b. $125.

345. Orwell, George [pseud. of Eric Blair]: THE COLLECTED ESSAYS, JOURNALISM AND LETTERS OF GEORGE ORWELL [series title]. New York: Harcourt, Brace and World, [1968]. Four volumes. Large, thick octavos. Gilt blue cloth. About fine in dust jackets with a couple trivial nicks and a bit of sunning to the spines. First editions, U.S. issues, bound up from sheets for the UK edition, with altered prelims. Edited by Sonia Orwell and Ian Angus. Each volume has a volume specific title: An Age Like This 1920-1940; My Country Right Or Left 1940-1943; As I Please 1943-1945; and In Front Of Your Nose 1945-1950. FENWICK D12b. $175. 346. [Orwell, George (Eric Blair)]: Symons, Julian: [Four Typescripts of Essays on George Orwell]. [Np: The Author, nd. but 1960s – 1970]. Quarto. Carbon typescript, with occasional minor manuscript or typed corrections or captions, as detailed below. Very good or better. Author’s carbons of four of Symons’s essays about his friend, correspondent, and frequent subject, George Orwell, consisting of the following: an “Introduction” (4 leaves) and “An Appreciation” (28 leaves), written for the 1970 Heron House edition of 1984, both docketed in Symons’s hand; “A Great Social Critic” (7 leaves), with ms. docket and a few tiny corrections and a manuscript alteration of the title – a review of Collected Essays, Journalism & Letters written for London Magazine, ca, 1968; and “George Orwell,” (7 leaves) noted as written for the Folio Society Magazine (possibly ca. 1970, but not accessibly indexed under this title in Walsdorf & Allen). Accompanied by two later publicity prints of photographs of Orwell, one taken on the Spanish front, and one taken of him at a writing desk. Enclosed, appropriately, in a manila folder with a George Sims label. $450.

347. Orwell, George [pseud of Eric Blair], and Reginald Reynolds [eds]: BRITISH PAMPHLE- TEERS VOLUME ONE FROM THE SIXTEENTH CENTURY TO THE FRENCH REVOLUTION. London: Allan Wingate, 1948. Cloth. Frontis and illustrations. Endsheets moderately foxed, usual slight toning to textblock, otherwise a very good or better copy in very nice dust jacket with one short, closed edge tear. First edition, and the only volume published during Orwell’s lifetime. FENWICK B.31. $85.

348. Palmer, Opal: MARKET WOMAN. San Francisco: Poetry for the People, 1979. Small quarto. Pictorial wrappers. About fine. First edition of this very early collection by the Jamaican-born poet, novelist, and educator, published the year she moved to the Bay area and began work on her MA. $45.

349. Parker, Robert Andrew: [Original Watercolor Drawing of Three Elephants]. Original watercolor on paper (13.5 x 8.25”; 345 x 209 mm). Signed by the artist in the left lower corner. About fine. A watercolor depiction of three elephants wallowing in a mud or waterhole, against a background of trees and foliage. This watercolor was painted at the approximate time of Parker’s work on the illustrations for the limited edition of Marianne Moore’s Eight Poems, published by the Museum of Modern Art. It is a much more detailed and finished piece than the drawings executed for that work. $450.

350. Parker, Robert Andrew: [Original Watercolor Drawing of a Pangolin]. [Np: The Artist, ca. 1962]. Original watercolor on paper (13.5 x 8”; 345 x 200 mm). Signed by the artist in the left lower corner, and captioned in pencil on verso. About fine. A close-up full-body rendering of a pangolin next to a waterhole, with a suggestion of its focusing on its own reflection in the water. This watercolor was painted at the approximate time of Parker’s work on the illustrations for the limited edition of Marianne Moore’s Eight Poems, published by the Museum of Modern Art. It is a much more detailed and finished piece than the drawings executed for that work. $450.

351. Parker, Robert Andrew: [Original Watercolor Drawing of a Pangolin]. [Np: The Artist, ca. 1962]. Original watercolor on paper (13 5/8 x 8 3/8”; 345 x 215 mm). Signed by the artist in the left lower corner, and captioned in pencil on verso. About fine. A full-body rendering of a pangolin in a trek across a barren landscape, with the setting sun in the far background. This watercolor was painted at the approximate time of Parker’s work on the illustrations for the limited edition of Marianne Moore’s Eight Poems, published by the Museum of Modern Art. It is a much more detailed and finished piece than the drawings executed for that work. $450.

352. Parker, Robert Andrew: [Original Watercolor Draw- ing of a Plumet Basilisk]. [Np: The Artist, ca. 1962]. Original watercolor on paper (13.5 x 8.75”; 342 x 222 mm). Signed by the artist in the left lower corner, and captioned in pencil on verso. About fine. A lovely rendering of a Plumet Basilisk perched on a stalk, cast against an orange sun and sky. This watercolor was painted at the approximate time of Parker’s work on the illustrations for the limited edition of Marianne Moore’s Eight Poems, published by the Museum of Modern Art. It is a much more detailed and finished piece than the drawings executed for that work. $450.

353. Parker, Robert Andrew: YIDDISH LEXICON VOL- UME ONE WORDS THAT HAVE PRACTICALLY EN- TERED THE ENGLISH LANGUAGE. [New York]: Ink, Inc., 2013. Quarto. (298 x 210 mm). Thirty-six handcolored prints from drawings, laid into printed stiff wrapper. Fine Final state (of three) of the first edition of this always charming and frequently hilarious portfolio of hand watercolored prints by Parker illustrating a selection of Yiddish words which have become largely assimilated into common usage. From a total edition of 100 numbered copies, signed by the artist on the justification, this is one of an unspecified number of copies in the published state of the binding, with the upper panel purely typographical, and with the extra hand colored image on the back wrapper panel. The glossary of terms printed on the inner rear wrapper panel includes “Shikse” and the “Shikse” plate has replaced the “Shemozzle” plate that appeared in the preliminary states. $325.

354. Patchen, Kenneth: FIRST WILL & TESTAMENT. Norfolk: New Directions, [1939]. Gilt cloth. Small quarto. Fine in very near fine dust jacket with two small edge tears and a bit of tanning at the extremities. First edition of the author’s second book (800 copies printed).Publisher’s review slip laid in. $250.

355. Patchen, Kenneth: PANELS FOR THE WALLS OF HEAVEN. [Berkeley]: Bern Porter, 1946. Oblong small quarto. Painted boards. A bit of offsetting to endsheets and rubbing to edges of boards, upper forecorner of upper board a bit dust darkened, but a very good copy in remnants of glassine wrapper. First edition, painted issue. One of 150 numbered copies, with a hand-executed colophon signed by the author, with the upper and lower boards painted in color by him. MORGAN A12b. $2750. 356. Patchen, Kenneth: FABLES AND OTHER LITTLE TALES. Karlsruhe / Baden: Jonathan Williams, 1953. Large octavo. Printed wrapper over plain wrapper. Wrappers a bit tanned and soiled, with discoloration at lower edge of rear wrapper, otherwise about very good. First edition. One of 450 copies (of 500), published as Jargon 6. This copy bears Patchen’s signed March 1959 inscription. MORGAN A21a. $350.

357. Patchen, Kenneth: HURRAH FOR ANYTHING POEMS & DRAWINGS. Highlands: Jonathan Williams, 1957. Pictorial wrapper over stiff wrappers. Neat ink name, forecorners slightly bumped, else about fine. First edition, ordinary issue. Issued as Jargon 21. With Patchen’s eight line presentation inscription to a friend of Miriam’s, dated 16 July 1957. MORGAN A27d. $250.

358. Patchen, Kenneth: POEMSCAPES. Highlands: Jonathan Williams, 1958. Pictorial wrapper over boards. Faint tanning at wrapper edges, otherwise near fine. First edition, ordinary issue. Preceded by a piracy in Italian of ten of the 42 poems. One of 325 copies, from a total edition of 442 copies. This copy bears Patchen’s April 1958 presentation inscription to California poet Marie de L. Welch. MORGAN A28d. $300.

359. Patchen, Kenneth: WONDERINGS. New York: New Directions, [1971]. Green cloth, lettered in gilt. Illustrated by the author. Fine in dust jacket. First edition, clothbound issue, ostensibly one of one hundred copies bound thus. This copy was inscribed on the half-title in April 1971 by Kenneth Patchen, on behalf of Miriam and himself, to California poet Marie de L. Welch. On the first pastedown, he has also written out the text of the poem “Ghost Story,” beginning “I met a fellow searching by the sea ...,” the inscription extending to fifteen lines and concluding with his attribution of the poem to her. MORGAN A40. HARRISON, NEWTH & CANDIDO, pp.77-78. $500.

360. [Payne, John Howard]: Harrison, Gabriel: JOHN HOWARD PAYNE, DRAMATIST, POET, ACTOR, AND AUTHOR OF HOME, SWEET HOME! HIS LIFE AND WRITINGS. Philadel- phia: J. B. Lippincott & Co., 1885. Large octavo. Heavily gilt decorated cloth. Portrait, folding facsimile. Lower edge dust marked, otherwise fine and bright in lightly edgeworn and faintly nicked example of the printed dust jacket. Second, revised edition, following the first edition of 1875. This is BAL’s variant A (no priority), with all edges trimmed. A modest Connecticut remainder of this title – in jacket – distributed into the trade in the 1970s, mitigates against it being as uncommon in dust jacket as one might otherwise expect. TANSELLE 85.14. BAL 15808. $550.

361. [Peccary Press]: Fontana, Bernard L.: TRAILING THE HOLY CROSS SOLDIERS’ FEET, APACHE EARS, AND THE SANTA CRUZ VALLEY. Tucson: Peccary Press, [1991 (i.e. 1994]. Quarto. Three piece cloth binding, leather spine label, the whole shaped so that when opened, it approximates (ostensibly) the shape of a mission bell. Bookplate on front pastedown, a couple tiny bubbles to cloth on lower board, otherwise fine. First edition. One of 150 numbered copies (of 176) printed by hand on the Vandercook Universal I press formerly utilized by Jack Rittenhouse for his Stagecoach Press imprints, and signed by the author. Printing began in 1991 upon the acquisition of the press by Mark and Linda Sanders, but an amendment to the colophon in type indicates work continued into 1993, and a manuscript correction indicates the edition was not finished until 1994. $85. 362. Pindar, Peter [pseud of John Wolcot]: THE CAP. A SATIRIC POEM. INCLUDING MOST OF THE DRAMATIC WRITERS OF THE PRESENT DAY … WITH NOTES, ILLUSTRATIVE OF HIS ROYAL HIGHNESS THE DUKE OF YORK. LORD MULGRAVE, DOCTOR MOORE, MR. CUMBERLAND, MR. RICHARDSON, MR. JEPHSON, MR. GREATHEAD. LADY WALLACE, MRS. PIOZZI, MISS BURNEY, MRS. GOOCH, MRS. INCHBALD, MRS. COWLEY, MISS HUGHES, MRS. ROBINSON, LORD MOUNTMORRES, MR. REYNOLDS, MR. O’KEEFE, MR. HOLCROFT, MR. BOADEN, MR. MORTON, MR. COBB, MR. I. P. KEMBLE, MR. HAR- RIS, MR. LEWIS, MR. DIVES, MR. COLMAN, MR. BREWER, MR. JERNINGHAM, MAJOR SCOTT, MR. BERRINGTON, MR. PYE, MR. WATSON, MR. MURPHY. MR. M. P. ANDREWS, MR. HOARE, MR. TOPHAM, MR. DIBDIN, MR. HURLSTONE, MR. H. BATE DUDLEY, MR. J. TAYLOR, MR. WOODFALL, MR. LITCHFIELD, REV. MR. ROSE, MR. STEWART, MR. OULTON, MR. PEARCE, MR. WALDRON, MR. CROSS, MR. HOLMAN, MR. BENSON, MR. H. SIDDONS, MR. HOOK, MR. MACREADY, MR. ARNOLD, MR. BIRCH, MR. WALTER, JUNR. JEW KING, &C. &C. London: Printed for the Author; and Sold by J. S. Jordan, [nd but ca. 1797]. viii,41,[1]pp. Quarto (signed in 2s). Later drab wrappers. Very good. “Third edition. With Interesting Alterations & Additions.” The most immediate alteration ob- servable is the new dedication of the poem to the Duke of Hamilton, accompanied by an extended prose dedication; the first two editions – of which one may more properly be a second issue rather than edition – were dedicated to Sheridan, and are generally ascribed the date of 1795. The new dedication to this edition is dated February, 1797. Curiously, this edition is not in ESTC online. OCLC: 24182795. NCBEL II:696. $150.

363. Piozzi, Hester Lynch (formerly Mrs. Thrale): [Original Autograph Letter, Signed with Initials, to Ann Glover Leak]. [Bath.] “Monday Morning 1st May 1815.” Three pages, written on large [40.5 x 25.5 cm] bifolium lettersheet, folded and addressed in her hand on fourth panel with post cancellations indicating time and date. Once folded for posting, vestiges of sealing wax. Some loss where seal was opened, affecting last few letters on one line, and one small tear from opening, not affecting any text. Some residue of old glassine album mounting along fold of address panel, some dust darkening to blank verso and shallow fraying along lower edge, but very good. An intimate, highly detailed letter written by Piozzi to Ann Glover Leak, wife of Alexander Leak. Alexander Leak was hired by Hester Lynch Piozzi ca. 1806 to serve as steward at her Brynbella estate near Denbigh, Wales. In 1813, he was commissioned to oversee repairs and troublesome tenants at Piozzi’s Streatham Park estate near London. Piozzi resided in Wales and Bath, and leased out her life interest in Streatham Park. On 1813 Oct. 9, Leak married Ann Glover, who had been employed as a Piozzi servant since 1809. Leak assisted in the auction of contents of Streatham Park in May of 1816, and died the following month. In this letter, written to Ann at Streatham Park, Mrs. Piozzi opens: “My dear Leak is a good girl and tries to keep my spirits & her own,” and endeavors to make light of some trying financial pressures: “If all my good Fortune left me with my last Husband – – who can help it? The best is – – I am still able to obtain Attention by my Talents, tho’ not Money: and if I can go on canvassing so for fresh Friends & acquaintance[s] a Year or two longer; Why the Debts will be outlived – – – & I may snarl in a corner then, instead of smiling in the Pump Room; and Mr Davies may lose his Joke, & get a good Dinner instead of it.” [Reverend Reynold Davies was the curate of St Leonard’s, Streatham, and head of a boys’ school, built on the Piozzi’s land, at which John Salusbury Piozzi was educated]. She continues her lament regarding the leasing of Streatham Park: “Some tenant will offer I dare say: The Duke of Orleans would have been just what I like, who love the Bourbons: – they never were Selfish People, & no Misfortunes can make them such. When I wrote to Miss Thrale, in answer to a Letter from her who writes regularly every Third Month – – I said that my London Friends advised me to sell my Life Interest in Streatham Park, but that I hoped it was going to be occupied by the Duke of Orleans. Nothing more on the Subject.” She continues her letter citing death, illness, and troubles of friends and family: “Dear Mrs Siddons is very much afflicted at losing her affectionate Son ____. [Actress Sarah Siddons’ forty-year-old son, Henry Siddons, had died of tuberculosis in 1815.] What Fun does Mr Davies make out of poor Lady Coventry’s Vexa- tions? Everybody here speaks bad about them. Whilst I keep clear of Guilt and of Disgrace I will not break my heart, tho’ How we are to live if The Count – or some one for him, does not pay the 150£ per Quarter, which used to go to Gillow, – – I guess not. – Lady Williams writes me Word that Salusbury has been Innoculated with the CowPox – how odd! She like- wise tells me he will be a Father by the time the 9 months are up – after his Marriage: Poor old Mr. Lloyd of Wikwor that we called the Philosopher, is dead; and pretty Mrs.Downing in a very bad way. – – – Everybody and every thing is in a a bad Way – Miss Sharpe ill & can’t give Lessons, and Two of the Young Salusburys that so much Money has been spent to bar out – – – your husband will understand me, – – are already dead of the Infectious Fever at the University.” She returns to her concerns for the lease of Streatham: “My Spirits now do begin to give Way: So many strange Things public and private – – – & that odious Lease too! Bad Luck! bad Luck! I look in all News Papers for a Description of Streatham Park but finding none – – hope it will be let. – – – At least dear Leak, I shall be sure I suppose, of The Two next Quarters from the Count, or from Somebody – – – Else what will come of your poor H: L: P.?” As a footnote, Piozzi adds a less than sympathetic account of the death of a servant: “James the Footman you saw here, is dead poor Wretch, of the Disorder I at first suspected – – but denied it till just at last Expiring however in a Charitable Refuge for the Distressed, The Surgeons found their Verdict – -. His rotten Carcass will be buried on Wednesday. Poor Jones’s Charity toward his Did her Purse no good ...I gave him only 12 shgs. & that was more than I could afford, & more than was bestow’d. ---” She concludes poetically: “The Wind has blown Westward from Novr. to the beginning of April – – I suppose `tis beginning as long a Course of East Winds now.” “ Ca. 550 words. A substantial number (154) of Piozzi’s letters to both Alexander and Ann Glover Leak are now in the Houghton Library, a consequence of the 2004 Mary Hyde Eccles bequest. $3500.

364. Pittore, Carlo: ME [with] ME ME ME TOO [with:] SUPPLEMENT TO ME. New York: Pittore Euforico, 1980 – 1981. I:1, II:1, and Supplement II:2. Three issues. First two pictorial self wrappers, the third stapled sheets laid into pictorial outer eight-panel folder. About fine. Three issues of the painter, performance artist and mail-art practitioner’s personal vehicle, including in the second number an unblemished sheet of perforated “Post Me” stamps. The text includes much relevant to Pittore’s activities in Maine, as well as to those of Bern Por- ter. $150.

365. [Ploog, Jürgen]: ROLLERCOASTER #6 JÜRGEN PLOOG SPECIAL. Hamburg: Verlag Thomas Collmer, November 2009. 206pp. Quarto. Pictorial wrappers. Heavily illustrated throughout. About fine. Edited by Thomas Collmer and Hilmar Kunath. A substantial special number devoted to works by and about Ploog, including contributions by Ira Cohen, Burroughs (reprinted excerpts), Collmer, et al. Colophon: “Auflage: 5 x 23 = 115 Exemplaires.” OCLC locates only three holdings of any issues of this periodical, all in Germany. $35.

366. [Porter, William S.]: “O. Henry” [pseud]: 200 PROOFS WANTED FOR MAY 14 MC- CLURE’S SYNDICATE – FOR JULY 7, 1907 THE GENTLE GRAFTER ...THE HAND THAT RILES THE WORLD [caption title]. [Np: McClure’s Syndicate], 1907. Two long narrow folio galley slips. Folded in quarters, very good. Two long galleys of this story, prepared for copyright registration and syndicate distribution. The copyright statement is amended by an ink stamp to include “In United States AND Great Britain.” While Clarkson asserts that the story was first published via the syndicate in the summer of 1908, copyright is explicitly taken here in 1907 and copyright deposit copies for other stories in the same sequence, and in the same format, were received by LC in 1907. This story was subsequently collected in the volume of the same general title, The Gentle Grafter, published in September of 1908. QUEEN’S QUORUM 40. BAL 16276 (ref). CLARKSON, p.36. $475. 367. [Porter, William S.]: “O. Henry” [pseud]: FOR PUBLICATION JULY 14 MCCLURE SYN- DICATE PROOFS WANTED THE GENTLE GRAFTER ...THE EXACT SCIENCE OF MAT- RIMONY [caption title]. [Np: McClure’s Syndicate], 1907. Two long narrow folio galley slips. Folded in quarters, one pencil correction, upper blank corner of first slip trimmed, very good. Two long galleys of this story, prepared for copyright registration and syndicate distribution. While Clarkson asserts that the story was first published via the syndicate in the summer of 1908, copyright is explicitly taken here in 1907 and copyright deposit copies for other stories in the same sequence, and in the same format, were received by LC in 1907. This story was subsequently collected in the volume of the same general title, The Gentle Grafter, published in September of 1908. QUEEN’S QUORUM 40. BAL 16276 (ref). CLARKSON, p.36. $400.

368. [Porter, William S.]: “O. Henry” [pseud]: FOR PUBLICATION JULY 14 PROOFS RE- QUESTED NEXT WEEK THE GENTLE GRAFTER ...CONSCIENCE IN ART [caption title]. [Np: McClure’s Syndicate], 1907. Two long narrow folio galley slips. Folded in quarters, a couple of pencil corrections, very good. Two long galleys of this story, prepared for copyright registration and syndicate distribution. While Clarkson asserts that the story was first published via the syndicate in the summer of 1908, copyright is explicitly taken here in 1907 and copyright deposit copies for other stories in the same sequence, and in the same format, were received by LC in 1907. This story was subsequently collected in the volume of the same general title, The Gentle Grafter, published in September of 1908. QUEEN’S QUORUM 40. BAL 16276 (ref). CLARKSON, p.36. $400.

369. [Porter, William S.]: “O. Henry” [pseud]: THE MCCLURE NEWSPAPER SYNDICATE THE GENTLE GRAFTER ...THE CHAIR OF PHILANTHROMATHEMATICS FOR PUBLICA- TION JUNE 20, 1907 [caption title]. [Np: McClure’s Syndicate], 1907. Two long narrow folio galley slips. Folded in quarters, upper blank corner of first slip trimmed, extended masthead title folded in, with slight splitting at fold, very good. Long folded galley sheet of this story, prepared for copyright registration and syndicate distribution. While Clarkson asserts that the story was first published via the syndicate in the summer of 1908, copyright is explicitly taken here in 1907 and copyright deposit copies for other stories in the same sequence, and in the same format, were received by LC in 1907. This is the Library of Congress Duplicate Deposit copy, with stamp and annotations noting that it was received June 28 1907, and copyright was granted the same date. This story was subsequently collected in the volume of the same general title, The Gentle Grafter, published in September of 1908. QUEEN’S QUORUM 40. BAL 16276 (ref). CLARKSON, p.36. $500.

370. [Porter, William S.]: “O. Henry” [pseud]: PROOFS WANTED MCCLURE SYNDICATE – PUBLICATION JULY 28 THE GENTLE GRAFTER ...A MIDSUMMER MASQUERADE [caption title]. [Np: McClure’s Syndicate], July 1907. Two long narrow folio galley slips. Folded in quarters, very good. Two long galleys of this story, prepared for copyright registration and syndicate distribution. While Clarkson asserts that the story was first published via the syndicate in the summer of 1908, copyright is explicitly taken here in 1907. This is the Library of Congress duplicate deposit copy, with dated receipt stamp and with ms. notation that it was entered for copyright on “Jul 15 1907.” Copyright deposit copies for other stories in the same sequence, and in the same format, were received by LC in 1907. This story was subsequently collected in the volume of the same general title, The Gentle Grafter, published in September of 1908. QUEEN’S QUORUM 40. BAL 16276 (ref). CLARKSON, p.36. $550. 371. [Pound, Ezra, and James Joyce (subjects)]: THE ANALYST. Evanston: Dept. of English/ Northwestern University, March 1953 through April 1969. Whole numbers 1-14, 16, 19, 22-25. Quarto. Mimeographed typescripts, stapled. First leaf to first number creased, occasional modest dusting or soiling; very good to near fine. Edited by Robert Mayo. A long but slightly broken run of this forum for the explication of Pound’s Cantos and Joyce’s Finnegans Wake (and other works). Number 14 is an annotated reprinting of Joyce’s “From a Banned Writer to a Banned Singer,” elucidated by Mason and Ellman. Number 18 is also present, but lacks the terminal leaf. In years past, uncommon and sought-after; presently, alas, not so much. $150.

372. [Psychedelic Themed Exploitation Film]: Zugsmith, Albert; Graham Lee Mahin, and Lulu Talmadge [screenwriters]: [Original Publicity Pressbook for:] MOVIE STAR, AMERICAN STYLE OR LSD, I HATE YOU. Sepulveda, CA: Famous Players Corp., [1966]. [12]pp. Folio (435 x 285 mm). Pictorial self-wrappers. Black & white photo illustrations. Previously folded, rubbed area at fold, else very good or better. Directed by Albert Zugsmith, this exploitation film ostensibly explored the effects of LSD on a film star. The film, including “hilarious scenes in LSD color,” starred Robert Strauss, Del Moore, T.C. Jones, Paula Lane (as ‘Great Film Star Honey Bunny’), and a whole host of others who should know better. The publicity material includes images of M. Monroe and Elizabeth Taylor look-a-likes bordering on the scandalous, as well as backdrops of sensationalized press coverage of LSD of the times. $50.

373. [Publisher’s Dummy]: Browning, Robert: [Publisher’s Dummy for:] AUTOGRAPH EDI- TION THE COMPLETE WORKS OF ROBERT BROWNING. New York: George D. Sproul, 1899. Large, thick octavo. Elaborate deep red full crushed morocco, boards double-ruled in gilt with large floral device in each corner, raised bands, gilt compartments, blue morocco doublures, with gilt floral device with inlays in center, gilt inner dentelles, t.e.g. A bit of minor rubbing at tips, otherwise near fine. A rather lavish sample/dummy for this edition deluxe, the binder unidentified but of superior quality. The present printed leaves (considerably bulked out with blanks) include the half- title, portrait (in two states), the limitation page, the title, and four leaves of text, followed by eleven plates. The edition consisted of twelve volumes, and was limited to 275 sets. The text was edited by Charlotte Porter and Helen Carter. Sproul also published a far more modest configuration, denoted the “Arno Edition.” The Zinman collection includes a sample / dummy for that version, but not this. ZINMAN 196 (ref). $200.

374. [Punk (Magazine)]: YOUR ARE CORDIALLY INVITED TO ATTEND THE 1ST ANNUAL PUNK MAGAZINE AWARDS CEREMONY ...[caption title]. [New York: Punk Magazine], Prior to 13 October [1978]. Folio pictorial broadside (43 x 28 cm; 17 x 11”). Printed in black and red on heavy canary yellow stock. About fine. A fine promotional poster for the event (in effect, a fundraiser), scheduled for Friday 13 October at Club Hollywood. Headliners slated to appear and present awards included the Ramones, Blondie, Dead Boys, Richard Hell, Dictators, and others, along with surprise appearances and other live entertainment and such. The artwork was executed by then art director Bruce Carleton, and John Holmstrom contributed a vivid account of the event, its lead-up and aftermath, to the Punk Magazine website -- including such stumbling blocks to success as Sid Vicious having murdered Nancy the day before the event. This poster has enjoyed some spirited auction appearances. $800.

375. [Punk (Magazine)]: Holmstrom, John; Eddy “Legs” McNeil, et al [editors and artists]: PUNK. New York. January 1975 through May/June 1979 [and later]. Volume one, numbers 1 through 17 (barring the unpublished numbers 9 and 13), plus additions noted below. Fifteen issues (with additions, as below). Variously folio folded tabloid and quarto, pictorial wrappers. Heavily illustrated throughout. An excellent set, near fine and fine. A complete run of the original incarnation, accompanied by the special D.O.A. The Official Film Book (1981), and four issues of the second incarnation: II:0 (Win- ter 2001), and #s 19-21, Winter through Fall 2007. Edited by John Holmstrom, and associates, as a voice of the burgeoning NYC club scene -- notably CBGB, Zeppz, and Max’s Kansas City -- and of the artists opposing the perfumed miasma of disco (and other symptoms of cultural and intellectual decay), Punk was often as much a catalyst for, as it was a record of, events, and the active involvement of graphic artists, new journalists and brilliant satirists resulted in a fresh and vivid record of much more than a new movement in contemporary music. Early issues are uncommon in decent condition, as here. For the lot: $2750.

376. Purdy, James: [Series of Six Typed Letters, Signed (“James”), with Accompani- ments]. Brooklyn, NY. 7 April 1984 – 14 January 1985. Six pages, on rectos only of quarto lettersheets. Folded for mailing, some creasing, upper margin of one sheet cut away (cost- ing his usual typed return address), another trimmed at bottom edge; still good-very good.

To his then British publisher, Peter Owen, concerned largely with the publication of Mourners Below, other works in progress, republication of earlier works in Britain, self-promotion, etc. Chatty, characteristic letters, representative of Purdy’s early dealings with a publisher while relations were still atypically placid. Accompanied by a Viking publicity flyer for Mourners Below, with a.n.s. in margin, and one envelope. $375.

377. Putnam, Samuel, et al [eds & trans]: THE EUROPEAN CARAVAN AN ANTHOLOGY OF THE NEW SPIRIT IN EUROPEAN LITERATURE ...PART I FRANCE, SPAIN, ENGLAND AND IRELAND [all published]. New York: Brewer, Warren & Putnam, 1931. xviii,577pp. Cloth. About fine, in very good, price-clipped dust jacket with two short edge tears, a thin paint drop on the spine panel, a shallow chip at the crown of the spine, and a few smaller, internally mended chips and edge tears. First edition of this noble experiment, introducing to the general public the rich panorama of postwar literary activity on the continent, in England and in Ireland, much of the material translated here for the first time. The editors paid considerable attention to dada and super- realism in France, and works (several for the first time in book form) by Beckett, Joyce, Cu- nard, H.D., Auden, Cunard, Woolf, Aldington, et al, represent the English language. George Reavey served as one of the co-editors, and special introductions were contributed by several distinguished hands. The publisher went out of business in 1932, which may account for the fact that no second volume appeared, as well as for the fact that this title is somewhat more uncommon than many of its contemporaries of generic similarity. F&F 9. $750.

378. Queneau, Raymond: ZAZIE DANS LE METRO. Paris: The Olympia Press / Traveller’s Companion Series, [September 1959]. Printed wrappers. Illustrations by Jacqueline Duhéme. About fine in dust jacket. First edition in English, translated by Eric Kahane and Norman Rubington (under the pseudonym Akbar del Piombo), and published in the same year as the French text as TC #74. The source for the 1960 Louis Malle film, based on a screenplay by Paul Rappeneau, starring Catherine Demongeot and Philippe Noire. KEARNEY (1987) 149. KEARNEY & CARROLL 5.74.1. $100. 379. Quentin, Bernard: [Original Untitled Monochrome Etching]. [Milan: Galerie Schwarz, ca. 1961]. Original monochrome etching, plate size 11 x 14.5 cm, on 26.5 x 19.5 cm sheet. Mounted in stiff board and acetate mat, with printed caption on verso. Fine. One of sixty numbered copies, in addition to twenty-five copies numbered in Roman, signed and dated in the margin by the artist. Printed in Paris in the Atelier of Georges Leblanc on hand made paper from Papeteries de Rives. Quentin (b. 1923 in Flamicourt) arrived in Paris c. 1940, where he studied painting, sculpture and architecture at the École des Arts Deco- ratifs and the École des Beaux-Arts. A member of the Resistance during WWII, he became acquainted with Picasso and was linked to the Communist Party. His work encompasses painting (including gouache and watercolors), and he was a draftsman, sculptor lithographer, illustrator, designer of tapestries, mosaics, stain glass, and stage sets. Although his work varied greatly through different periods of his life, he is based firmly on the object-letter and the object-word, treating poems as architecture, and contributing to the development of “semotic” art. Quentin traveled and exhibited widely. This print was published as an element of Galerie Schwarz’s series, L’Avanguardia Internazionale. $275.

380. Quesnay, M. [Francois]: TRAITÉ DE LA SUPPURATION. Paris: Chez d’Houry pere ..., 1749. [12],432pp. 12mo. Contemporary speckled calf, raised bands, spine gilt extra. Stamps and spine label of the “Société vaudoise de médecine,” spine extremities a bit chipped but sound; otherwise, a very good copy. First edition. Quesnay (1694-1774) served as physician to Louis XV, and in the following decade he embarked upon a series of economic studies and publications that proved of considerable influence on the study of economics and society. Although this work is clearly of a purely medical nature -- suppuration, its treatment and prevention -- there might be some inclined to suggest that occasionally the topics have some commonality. $375.

381. Randall, Margaret, and Felipe Ehrenberg [illustrator]: WATER I SLIP INTO AT NIGHT. [Mexico City: El Corno Emplumado, 1967]. Square octavo. Full wine- red morocco, lettered in gilt. Illustrations and plates. Faint crease in upper board and tiny scrapes at two foretips, otherwise about fine. First edition. Copy #3 of thirty numbered copies, specially bound, signed by the author and the artist, and with all but one of the illustrations embellished and handcolored by the artist. A very scarce issue of this collection of poems by the then expatriate poet/editor/ activist, most sympathetically juxtaposed with Ehren- berg’s frequently captivating illustrations. The following year, Ehrenberg left Mexico in the wake of the political and artistic repression manifested most dramatically in the Tlatelolco massacre. The entire edition consisted of 1500 copies, and the very limited deluxe issues of the El Corno Emplumado books are, in the main, quite uncommon. $850.

382. Reddy, Krishna N.: [Original Untitled Monochrome Etching]. [Milan: Galerie Schwarz, ca. 1961]. Original monochrome etching, plate size 14.5 x 11 cm, on 26.5 x 19.5 cm sheet. Mounted in stiff board and acetate mat, with printed caption on verso. Fine. One of sixty numbered copies, in addition to twenty-five copies numbered in Roman, signed and dated in the margin by the artist. Printed in Paris in the Atelier of Georges Leblanc on hand made paper from Papeteries de Rives. Reddy (b. 1925 in Chittoor, India) studied at Vishva-Bharati University, Shantiniketan, West Bengal, from 1941 to 1946, with a degree in Fine Arts. From 1947-1950, Reddy was head of the Art section at Kalakshetra, Madras. From 1951-1952 he continued his studies at the Slade School of Fine Art in London; it was here that he studied sculpture with Ossip Zadkine. He studied further with Marino Marini in Milan, and engraving under Stanley William Hayter at Atlelier 17 in Paris. Solo exhibitions include: Bronx Museum, New York, 1981; Rupankar MuseumBhopal, and Sir J.J. School of Art, New Delhi, 1981; National Academy of Fine Arts Galleries, New Delhi and the Lincoln Center, New York, 1984, 1985. This print was published as an element of Galerie Schwarz’s series, L’Avanguardia Internazionale. $125.

383. Reinhardt, Ad, and Bridget Riley: POOR OLD TIRED HORSE [# 18]. Ardgay, Scotland: Wild Hawthorne Press, [ca. 1965]. [8]pp. Stapled self wrappers. Trace of faint tanning along spine, else very good. Edited by Ian Hamilton Finlay. This issue is devoted entirely to text by and calligraphed by Ad Reinhardt, with layout and drawings by Bridget Riley. Uncommon. SULLIVAN (MODERN), pp. 373-7. $175.

384. [Rexroth, Kenneth]: ELECTRIC REXROTH [#2]. Nada-Ku, Kobe: TB Design Inst., 1994. Whole number two (of 2 published). 12mo. Pictorial wrappers. Illustrated. Usual slight tanning to text stock, otherwise fine, with the errata slip and postcard laid in, as issued. Edited by Tetsuya Taguchi, bound dos-a-dos with a special section guest edited by Doren Robbins. In part, a tribute to Rexroth, with contributions by Ginsberg, Ricky Jay, Solt, C.H. Ford, Ira Cohen, Corman, Laughlin, Malanga and many more, in English and Japanese. Contributors to the special section include Bly, Stern, Levine, Eshleman, Bell, et al. The first number, a small leaflet, is scarce, and apart from contributors’ copies, such as the one in hand, the second number is uncommon in the US. $200.

385. Riggs, Lynn, and Lipscomb, W.P. [screenwriters]: “THE GARDEN OF ALLAH” DIA- LOGUE CONTINUITY AMERICAN VERSION. [Culver City] Selznick International Pictures, [ca 1936]. [37] leaves, paginated in reel format. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in stencil-printed production company wrappers. About fine. A Dialogue Continuity script of this adaptation of Robert Hichens’s novel. The adaptation was based on a treatment by Willis Goldbeck, and a screenplay by Lipscomb and Lynn Riggs, who is credited as dialogue writer. The November 1936 release was directed by Richard Boleslawski, and starred Marlene Dietrich, Charles Boyer, Basil Rathbone, et al. The association by Lynn Riggs, the Oklahoma-born, part-Cherokee gay playwright and poet with this project is very interesting. It was his second screen credit, albeit shared with Lipscomb -- Goldbeck did not get screen credit -- and it is unclear how much of the dialogue was ex- clusively Riggs’s work; a draft of this script is present in his archive at Yale. Riggs is most widely known for his play, Green Grow The Lilacs, which was immensely popular as the musical adaptation, Oklahoma!, but little has been written about his years as a screenwriter for United Artists (who distributed this film), MGM, RKO, Paramount and Universal. $125.

One of Nine on Green Paper 386. Robinson, Edwin A.: SONNETS 1889-1927. New York: Crosby Gaige, 1928. Gilt vellum backed decorated boards, t.e.g. Faint offset to endsheets, trace of dust soiling to vellum and boards, a couple small rust marks on upper board, otherwise very good or better. First edition. Printed after a design by W.A. Dwiggins. One of only nine copies printed on green paper and specially bound, from a total edition of 561 copies, signed by the author. This copy is not numbered, but is signed. By virtue of its limitation, very scarce. HOGAN, pp.33-4. $1750.

387. [Rogers, Bruce]: [Seven Specimens or Proofs of Half-Titles and Proof of Binding Paper for the LEC Shakespeare]. [New York: For the Limited Editions Club, ca. 1939]. Seven sheets (32 x 22 cm), enclosed in custom cloth-backed decorated paper over boards portfolio; accompanied by 43 x 56 cm folded sheet. Tiny corner creases to smaller sheets; larger sheet a bit dusty and slightly smudged. Very good. An interesting assemblage of specimens or proofs associated with the monumental multi- volume edition of Shakespeare’s Poems and Plays designed by Bruce Rogers for the Limited Editions Club (1939-41). Here present are examples of the decorated half-titles for the Son- nets, The Phoenix & Turtle, Sonnets to Sundry Notes of Musicke, A Lovers Complaint, The Passionate Pilgrime, and Venus and Adonis. The larger sheet is an untrimmed example of the specially produced decorative binding paper used for the set, based on the contemporary wallpaper pattern. Although not evidenced physically, formerly in the collection of typographer / designer Carl P. Rollins. $400.

388. [Rubington, Norman]: THE TRAVELLER’S COMPANION. By “Akbar del Piombo” [pseud]. Paris: The Traveller’s Companion Series / The Olympia Press, [April 1957]. Printed wrappers. Original price scratched from lower wrapper, otherwise a very good copy, near fine. First edition. Published as TC #43. One of the several erotic novels by the New Haven-born American painter, filmmaker and collage artist to appear under the Olympia imprint. KEARNEY (1987) 118. KEARNEY & CARROLL 5.43.1. $75.

389. [Ruff, David (engraver)]: INFERNO. San Francisco. [nd. but ca. 1951 or 2]. Whole number 5 (of ten published). Printed wrappers. Wrappers a trifle tanned at edges, but very good. Edited by Leslie Woolf Hedley, and occasional associates. An eclectic Bay-area journal, printing work by Treece, Beaudoin, Beum, Crew, Orlovitz, et al. Of particular note is the inclusion in this issue of two separately printed original soft ground etchings by San Francisco resident artist and printer, David Ruff. $150.

390. [Russian Exhibition Poster:] [Original Triptych Poster:] ETO NYE DOLZHNO POVTORIT’SYA! [In Russian: IT MUST NOT HAPPEN AGAIN!]. Moscow. 1989. A visually remarkable three panel full color pictorial poster, which, when assembled horizontally, measures 97 x 197 cm (ca. 38 x 78”). Rolled, but near fine. A powerful poster triptych which reflects glasnost-era exposés of the crimes of the Stalin era including collectivization, purges, and the gulag. The quotation from Pravda (5 April 1988) reads: “The guilt of Stalin, as well as the guilt of those around him, toward the party and people for the mass purges [and] lawlessness [they] committed is huge and unforgivable.” As noted in the catalogue for “Goodbye, Comrade: An Exhibition of Images from the Revolu- tions of ’89 and the Collapse of Communism,” George Washington University, the operative translated title of the assembled triptych is “It Must Not Happen Again.” $125.

391. [San Francisco Poster Brigade – Internationalist Art Festival]: INTERNATIONALIST ARTS FESTIVAL ANTI-WORLD WAR 3 AND FOR THE FUTURE. San Francisco: Inter- nationalist Arts Festival / Southern Exposure Gallery, April 1982. [28] leaves. Small quarto. Comb-bound stiff pictorial wrappers. Photomechanically reproduced, on rectos only. Exten- sively illustrated. Fine. A collection of the highly visual material produced promoting this last stop on the Festival’s itinerary, as well as soliciting further contributions. A manifestation of the next generation of the San Francisco Poster Brigade (earlier the Wilfrid Owen Brigade), it was organized as a mail-art event, with associated performance art, film and video, music and allied events. After a call for submissions in August 1980, it opened in San Francisco in October, moved to Los Angeles for November/December, opened in Tucson in March 1981, moved to the Parsons School of Design in New York in July 1981, and finished up at the Southern Expo- sure Gallery in San Francisco in May 1982 (with additional venues for film, performances, readings and music). Contributions were solicited and added during the length of the exhibit’s existence. $125. 392. [San Francisco Poster Brigade – Internationalist Art Show]: A SELECTION OF ART & POETRY FROM THE INTERNATIONALIST ART SHOW ANTI-WW3 CONTEMPORARY ART AND POETRY FROM AROUND THE WORLD. San Francisco: S.F. Poster Brigade / Internationalist Art Publications, 1981. [32]pp. Small quarto. Pictorial wrappers, contents produced by photocopy. Profusely illustrated. Near fine. A catalogue of some of the visually striking protest art and poetry submitted from around the world for this touring exhibition/event, 1980-81. A manifestation of the next generation of the San Francisco Poster Brigade (earlier the Wilfrid Owen Brigade), it was organized as a mail-art event, with associated performance art, film and video, music and allied events. After a call for submissions in August 1980, it opened in San Francisco in October, moved to Los Angeles for November/December, opened in Tucson in March 1981, moved to the Parsons School of Design in New York in July 1981, and finished up at the Southern Expo- sure Gallery in San Francisco in May 1982 (with additional venues for film, performances, readings and music). Contributions were solicited and added during the length of the exhibit’s existence. $45.

393. Sarenco, [Isaia Mabellini]: BELLA CIAO E ALTRE VOCAZIONI ALL’INSOFFERENZA [/] BELA CIAO AND OTHER CALLS TO EXASPERATION. [Colognola: Parise Adriano Edi- tore, [2003]. 160pp. Quarto. Stiff pictorial wrappers. Color photographs throughout. Small inventory sticker on the lightly handsoiled lower wrapper, otherwise near fine. First edition. A record of Sarenco’s installation in Malindi, Kenya, with texts by Klaus Bru- derholz, Enrico Mascelloni, Silvana Orpelli, Daniela Padoan and the artist, with English translations by Michael Heggerty. $85.

394. Sarenco, [Isaia Mabellini] and Paul de Vree [editors]: LOTTA POETICA ...POETIC WAR ...[First Series]. Villanuova sul Clisi; Antwerp; Brescia, etc. June 1971 through June / July 1975. Twenty-two numbers, in fourteen issues. Quarto. Pictorial stiff wrappers. Heavily illustrated. First number has some ink doodles across the lower wrapper, small inventory sticker on rear wrapper of each issue, otherwise very good to near fine. A good, representative lot of issues from the first series of de Vree and Sarenco’s iconoclastic multi-national, multi-lingual periodical, projected as a monthly, but often irregular with partial compensation by double, triple or quadruple numbers. Described at times as “a communist, anti-imperialist, anti-capitalist monthly devoted primarily to poetry with visual elements,” Lotta Poetica was also a forum for a number of the visual poets associated with “Gruppo 70.” Included here are special numbers to (or works by) single artists/poets, including Aldo Mondino, Jean-Francois Bory, Franco Fabiano, and Jiri Kolar. The numbers present are 1-5, 7, 17/18/19, 23/24, 28/29/30/31 (devoted to Rossana Apicella’s “Proposal for a Decade”), 32/33, 44, 47, 48, and 49/50. $650.

395. Sarenco, [Isaia Mabellini], and Paul de Vree [eds]: FACTOTUM-ART [Whole # 1]. Calaone-Baone (PD): Factotum-Art, 1977. Whole number one (of 7 published). 264pp. Quarto. Stiff pictorial wrappers. Illustrated throughout. Glossy wrappers dust spotted, small sticker shadow on lower wrapper, small erasure-smudge to blank area of first page; internally a very good or better copy. Edited by Sarenco and Paul de Vree. A substantial multi-lingual, intended quarterly of visual and conceptual arts and poetry, with contributions by Raoul Hausmann, Jean-Francois Bory, Lamberto Pignotti, Sarenco, de Vree, Perfetti, and others. $100.

396. Sarenco, [Isaia Mabellini], and Paul de Vree [eds]: FACTOTUM-ART [Whole # 2]. Calaone-Baone (PD): Factotum-Art, 1978. Whole number two (of 7 published). Quarto. Stiff pictorial wrappers. Illustrated throughout. A couple finger smudges and a small sticker shadow to lower wrapper, otherwise very good or better. Edited by Sarenco and Paul de Vree. A multi-lingual, intended quarterly of visual and conceptual arts and poetry, with contributions to this number by the editors and Henri Chopin. $100. 397. Sarenco, [Isaia Mabellini] and Anna Guglielmi [editors]: LOTTA POETICA ...POETIC WAR ...[Second Series]. Verona. March / April 1982 through July / August 1984. Seventeen numbers, in eleven issues. Quarto. Pictorial stiff wrappers. Heavily illustrated. Small inventory sticker on rear wrapper of each issue, otherwise very good to near fine. A good, representative lot of issues from the second series of Sarenco’s iconoclastic multi- national, multi-lingual periodical devoted primarily to poetry with visual elements. Lotta Po- etica was also a forum for a number of the visual poets and artists associated with “Gruppo 70.” This series reflects a considerable step-up over the first series in terms of production values, incorporation of color pictorial wrappers, and commercial sponsorship by galleries and publishers. The numbers present here are: 2/3, 4, 7/8, 9 ,10, 11/12, 13, 15/16, 18, 19/20 and 23/24. Extra postage will be necessary due to weight. $350.

398. Sarenco, [Isaia Mabellini], and Diego Strazzer [editors]: PORTFLUXUS ...FACTOTUM- BOOK 28. [Verona: Edizioni Factotum-Art, February 1981]. Quarto. Printed wrappers. B & w illustrations. Small inventory sticker on rear wrapper, else about fine. First edition, with prefatory essays by Dick Higgins, Sarenco and Emmett Williams, with parallel English and Italian texts. Representative works by 14 poets/artists: E. Anderson, Ay-O, G. Brecht, P. Corner, R. Filliou, G. Hendricks, Higgins, J. Jones, A. Knowles, Nam June Paik, T. Schmitt, B. Vautier, D. Watts, and Williams. $85.

Amy Lowell “...a worse than indifferent aesthetic philosopher ....” 399. Schauffler, Robert Haven: [Two Autograph Letters, Signed]. Greenbush, MA, and Norcross, ME. 9 & 23 June 1916. Eight pages, on rectos and versos of three sheets (one quarto, two quarto folded to four panels), in ink. With envelopes. Folding cloth slipcase. Schauffler (1879 – 1964), American poet, editor, musician and biographer, writes to Margaret B. Conkling (as “Mrs. Roscoe P. Conkling”) on a variety of subjects, but chiefly poetry and music, and their mutual acquaintance, Amy Lowell. He writes, in part: “I have also re-read your Mexican Garden Symphony and like it. Curiously enough, I too once wrote a poetic symphony. That was fourteen years ago, and ever since I have been studying with increas- ing interest that gory battlefield of aesthetics called Poetry vs. Music ...I have lots to say about your verse, both in sheer praise and in the way of constructive criticism. At the risk of offending you before the very start I’m going to make one suggestion. I’m sure that it would be better for your art to influence our friend Miss Lowell’s technic rather than to allow yours to be influenced by her. In some of her verse she shows herself to be a true poet. In nearly all of her theorizing about verse she shows herself to be a worse than indifferent aesthetic philosopher; and she knows I think so, for we never mince words, she and I together ....” Signed in full. After the death of his wife in the year of these letters, Schauffler enlisted in the US Army, and was decorated for his wounds at the Battle of Montfaucon. In 1919, he remarried, to poet Margaret Widdemer. Ms. Conkling seems not to have ventured much more along the road of poetry, as her most substantial achievement is her co-authorship with her husband of the definitive historical work, The Butterfield Overland Stage 1857 – 1869. $125.

400. Serviss, Garrett P.: THE MOON METAL. New York & London: Harper, 1900. Small octavo. Pictorial cloth, stamped in white, green and silver. Lower boards a bit soiled, with small nicks along lower edge, but a good, tight copy. First edition of this novel set four decades in the future, combining something of an attack on metal-based economic standards and concerns with moon-mining. BLEILER (SF) 1996. WRIGHT III:4869. $150.

401. [SF Fanzine]: Danner, William M. [printer and publisher]: STEFANTASY. Pittsburgh. November 1950; November 1951; August 1952, and August 1954. Whole numbers 20, 22, 24 and 30. Printed and pictorial wrappers. About fine. Four representative numbers of Danner’s fanzine, “Published and printed for the hell of it and for the Fantasy Amateur Press Association.” Norman L. Knight is a regular contributor, some reprints of Manley K. Hall appear, and Danner comments on complaints against some FAPA mailings that bang up against certain norms, defending their publishers. $100.

402. Shahn, Ben: [World War II Poster:] ....WE FRENCH WORKERS WARN YOU ...DEFEAT MEANS SLAVERY, STARVATION, DEATH [caption title]. Washington, DC: GPO / Office of War Information, 1942. Oblong folio broadside (28.5 x 40”; 72 x 102 cm). Printed by offset lithography in colors, with OWI/GPO imprint and date in extreme lower margin. Professionally linen mounted, retaining full margins, with no signs of restoration in the process. A bright, fine example. A superb poster attacking the suppression of workers’ freedom under the Vichy government as symptomatic of the far greater possibilities of brutality. The image depicts a group of French workers, from shoulders up with hands raised above their heads, against the background of a brick wall on which is posted a scarlet broadside printing in pseudo- Gothic lettering an “Official Vichy Decree” ordering the compulsory service of all men between 18 and 50 in matters “necessary in the superior interest of the state.” This is one of the two posters produced from artwork by Shahn during his tenure with the OWI from the Autumn of 1942 until the Summer of the following year. Although he produced a number of images for the agency, the others were dismissed as too violent, or as not sufficiently appropriate to the topic of the home front and were not used. Shortly thereafter, he began his work with the CIO-PAC. $1150.

403. Sharpe, Tom: WILT ON HIGH. London: Secker & Warburg, [1984]. Gilt cloth boards. First edition. Signed and dated on the title page by the author in the year of publication. Light erasure mark on front free endpaper, else fine, in fine dust jacket. $75.

The Copyright Performance 404. [Shaw, George Bernard]: [Programme for:] “THE DEVIL’S DISCIPLE” ...[wrapper title]. London: Bijou Theatre, Saturday, 17 April 1897. [4]pp. Printed self-wrappers. Small nick at lower edge, but a very good copy of a fragile item. A program for the sole performance of the British copyright production of Shaw’s play, noting: “This will be the sole performance of ‘The Devil’s Disciple’ in England prior to its production in the United States, at the Garrick Theatre. New York, by Mr. Richard Mansfield.” The role of Anthony Anderson (a Presbyterian minister) was played by “Mr. Cashel Byron” (i.e. Shaw). $150.

405. Smith, Harry B.: THE NEW DON QUIXOTE. A CONTINUATION OF CERVANTES’ FAITHFUL RELATION OF THE MOST MARVELOUS ADVENTURES OF THE GALLANT KNIGHT AND HIS FAITHFUL SQUIRE. Buffalo, NY: Complete Art-Printing Works of the Matthews-Northrup Co., 1892. 67,[28]pp. Small quarto. Pictorial wrappers. Illustrations. A couple of rust-stains from staples on lower wrapper at spine, some corner creasing, but a very good copy. First edition. A very uncommon – perhaps even rare – Cervantes pastiche by the prolific librettist, book collector and (briefly) bookseller. It may very well have been work-for-hire, as the setting is Niagara Falls, and the substantial supplement of heavily illustrated advertisements tend to be for resorts, hotels and spas, many connected with various railroad lines. Rare. Wright notes the LC copy, to which OCLC adds only two copies, at Arizona State and Buffalo & Erie County Public Library. This would appear to be among Smith’s earliest non-musical publications, preceding Lyrics & Sonnets by two years. WRIGHT III:5022. OCLC: 18656674. $225.

A “Sentimental” Copy 406. Smith, Harry B.: STAGE LYRICS. New York: R.H. Russell, Publisher, 1900. Pictorial brown boards, lettered in gilt. Frontis, portraits and illustrations. Small surface scrapes to upper fore-tips, minute cracks at ends of joints, otherwise an unusually nice copy of a book prone to destruction. Slightly oversize half morocco folding case. First edition. Illustrations by Archie Gunn, Ray Brown and E.W. Kemble. An interesting association copy of this work by the librettist, book collector and (briefly) bookseller, much in line with the criteria in place for his “Sentimental Library” – it bears his presentation inscription to his sister: “To Bessie Van Nostrand Smith with love on her birthday, 1903, Harry B. Smith.” $185.

407. Smith, Harry B.: A SENTIMENTAL LIBRARY COMPRISING BOOKS FORMERLY OWNED BY FAMOUS WRITERS, PRESENTATION COPIES, MANUSCRIPTS, AND DRAW- INGS. [New York]: Privately Printed, 1914. Quarto. Quarter vellum and cloth, t.e.g. Frontis, plates (some in color) and facsimiles. Mild mottling to the vellum, usual slight tanning to endsheets, very good or better. First edition of this lavish collection catalogue, printed at the DeVinne Press. Smith’s library epitomized the taste and fashion of the time, and included some remarkable items. This copy was a family copy, and is inscribed on the free endsheet “For Camilla Parker Smith, grand-daughter of the Author, from her father Sydney R. Smith. Dec 25th 1954.” $275.

408. Smith, Harry B.: RICHARD WAGNER HIS LIFE AND ADVENTURES RELATED IN HIS OWN WORDS WITH MUSIC AND SCENES FROM HIS MUSIC DRAMAS A PICTURE PLAY [with:] A CHAINED EAGLE A PICTURE PLAY BEING THE LIFE AND ADVENTURES OF RICHARD WAGNER .... [New York: Printed for the Author by The Press of Chauncey Holt Co., 1921 and 1922]. Two volumes. Printed and pictorial crimson wrappers. Modest rubbing to wrappers, but a very good to near fine set. First edition, first issue, and first edition, second issue, of this play, the latter distinguished by the new title and copyright date (accomplished via a cancel title leaf) and redesigned wrappers. An obscure and uncommon undertaking by the prolific librettist, book collector and (briefly) bookseller. He originally conceived it as a property for film, but the project was greeted with negligible enthusiasm on the part of potential producers due to perceived lack of audience appeal. Worldcat locates only one copy of the first issue (UT/HRC), and five of the second. OCLC 51930141 and 51930132. $175.

409. Smith, Harry B.[lyrics], and Thiele, H.H. [composer]: AMARYLLIS, OR MAMMON AND GAMMON, AN ORIGINAL COMIC DRAMA IN TWO ACTS. Milwaukee: F. Meyer, Printer, [nd. but ca. 1884]. 25,[1]pp. Original printed rose wrappers. Upper fore-corner of upper wrapper creased, pencil signature of “L. B. Smith” on upper wrapper, otherwise a very good or better copy. First edition of the first operetta to see production by the prolific future Broadway librettist, prominent book collector and (briefly) bookseller. Smith wrote this piece while still in his teens, as an offshoot of his activities touring with a boys chorus. The music was provided by the director of the tour. It saw production in Milwaukee in the spring of 1884 by a group known as “The Arlington Quartette,” and Smith played the character McNab. Positive reviews led Smith and Thiele to undertake the publication of the libretto. Evidently, its publication was not enormously successful, as OCLC locates only two copies, both in Wisconsin institutions. OCLC: 16769786. Franceschina, HARRY B. SMITH DEAN OF AMERICAN LIBRETTISTS (referenced online). $175.

410. Smith, Harry B. [lyrics], and Reginald DeKoven [music]: ROBIN HOOD, A COMIC OPERA IN THREE ACTS. Chicago: Slason, Thompson & Co., 1890. 47,[1]pp. Pictorial wrappers. Wrappers lightly creased and used, small chip at crown of spine and at fore-edge of upper wrapper, otherwise very good. First edition of this libretto by the popular lyricist, book collector and (briefly) bookseller. This was a family copy, with the 1892 ownership signature of Gertrude P. Smith on the title. A copy in the later, purely typographical, state of the wrappers (chipped and partially detached) is also included. The opera was first performed at the Chicago Opera House on 9 June 1890. It was produced by the Ideal Opera Company, also known as the Bostonians. The opera opened in New York at the Standard Theatre on September 22, 1891 and was produced in London at the Prince of Wales Theatre in 1891 with a new title, Maid Marian. It was revived at the Knickerbocker Theater on Broadway on April 30, 1900. $85.

411. Smith, Harry B. [lyrics], and Adam Itzel, Jr. [music]: LYRICS OF THE TAR AND THE TARTAR A COMIC OPERA IN THREE ACTS. Chicago: Slason, Thompson & Co., 1891. 39,[3]pp. Typographically decorated wrappers. Hint of trivial dust soiling to wrappers, otherwise near fine. First edition of this libretto by the popular lyricist, book collector and (briefly) bookseller. The opera was notable as Leila Marie Koerber’s (a.k.a. Marie Dressler) first role on Broadway. Uncommon – OCLC locates but two copies, at Brown and at the HRC. OCLC: 10239329. $85.

412. Smith, Winston: FALLOUT POSTER COLORING BOOK COLOREMIN TEAREMOUT PUTTEMUP. San Francisco: Fallout Productions, 1979. Quarto. Tape-backed stapled pictorial wrappers. Photomechanically reproduced, Very near fine.

An uncommon early collateral publication to the important punk zine, Fallout, published by Smith and Jayed Scotti from 1978 – 1985. The upper wrapper denotes this “Special Color Blind Issue #1.” The content is made up of examples of Smith’s well-known collage work, then closely associated with the promotional graphics and album covers for bands such as the Dead Kennedys, and the Alternative Tentacles label. His illustration commissions have as well encompassed more mainstream venues, including covers for The New Yorker. Scarce. $250.

413. Smith, Winston: “HOW ABOUT SOME TRUFFLES AND CATCHUP?” [caption title]. [San Francisco: The Artist, 1982]. [12] leaves (including wrappers). Quarto. Plastic comb bound pictorial stiff wrappers. Photomechanically reproduced. Signs of adhesion offset to upper wrapper, otherwise very good. A sequence of photomechanically reproduced examples of Smith’s political collage work from the period 1979-1982. The caption title above is based on the caption to the image laid down on the upper wrapper, but each constituent piece has either a caption in the margin (reproduced in the photocopy), or a title implicit in the collage. However, the caption for one (“Aren’t you glad you use Flobar? Don’t you wish everybody did?”) is in original ink, and that for the collage on the rear wrapper (“The World in the Palm of Our Hand,” with copyright statement and Smith’s signature) appears to be original ink as well. $225. 414. Snyder, Gary: MYTHS & TEXTS. New York: Totem Press / Corinth, [1960 (i.e. 1961)]. Semi-glossy wrappers, printed in red. Cover and drawings by Will Peterson. Wrappers somewhat tanned and soiled, a number of pencil underscores in text (see below), but a sound copy. Second printing of the first edition of the author’s second book. This copy is inscribed and signed by Snyder on the title-page to novelist John Clellon Holmes (Go, The Horn, etc) and his wife. The pencil underscores are presumably his or theirs. A decent period association. $150.

415. Somerville, Edith O., and “Martin Ross” [pseud. of Violet F. Martin]: IN MR. KNOX’S COUNTRY. London: Longmans, Green and Co., 1915. Light green cloth, lettered in white, black and gilt. Frontis and illustrations by Somerville. Light foxing, spine and lower edge of upper cover a bit dull, tiny nick at toe of spine, but otherwise a very copy. First edition of the third and last collection of tales of the Irish R.M. Published in an edition of one thousand copies. Violet Martin died in December of the same year. SADLEIR 3121. HUDSON, p.30-2. NCBEL IV:740. $100.

Interesting Imprint 416. Southey, Robert: JOAN OF ARC, AN EPIC POEM .... London [i.e. Boston]: Printed for G. G. & J. Robinson, 1797 [i.e. 1798]. 254pp. 12mo. Contemporary tree calf, gilt extra, gilt label, marbled endsheets. Edges rubbed, hinges cracking slightly (but sound), internally very good and fresh. An interesting case of a possible false imprint, treated as such by ESTC: “The imprint may be false. Typographically identical, except for the imprint, with the Boston issue: ‘Printed by Manning & Loring, for J. Nancrede, 49, Marlbro-Street. 1/98’. It is not clear whether this is simply a false imprint or whether sheets of the Boston edition were sold to the Robinsons to be issued in London with a new titlepage.” Like the copy referenced by ESTC, this copy has page 69 misnumbered ‘66’, but unlike it, it does not include the ten pages of adverts for the American publisher at the end, and the title-leaf is a singleton. Turning to the ESTC entry for the Boston edition, four states are noted there, and apart from the imprint, this copy matches the criteria for the first state: the misnumbering of p.69, the presence of a proposal to publish an edition of Southey’s Poems at the foot of p.254, and the absence of the catalogue. While it is quite possible the catalogue was simply discarded by the early binder, it would certainly make sense if sheets were sold by the Boston publisher to the London publisher that the catalogue of American publications would not accompany them. While copies with the Boston imprint are very common, copies with the London imprint are not: ESTC locates copies at AAS, Columbia, NYPL, Univ. of Chicago and University of Delaware. The first edition was published in Bristol in 1796, and Coleridge helped revise some portions of it for the 1798 Bristol printing. An article in the AAS Proceedings (Oct. 1973, pp.275-6), describes a copy with the catalogue beginning on p. [253], while in this example pp. 253 and 254 are occupied with the conclusion of the ‘Notes’ and the proposal for the edition of Southey’s Poems. ESTC N52605 & ESTC W20560 (ref). EVANS 34583 & 34584 (ref). NCBEL III:255. $450.

417. [Spanish Civil War]: [Fox, Paul Hervey and Elsie (sourcework)]: Stevens, Louis, and Robert Wyler [screenwriters]: [Original Studio Publicity Campaign Pressbook for:] THE LAST TRAIN FROM MADRID. [London]: Paramount, [1937]. 10pp. Quarto. Pictorial self-wrappers (with upper wrapper bearing Paramount’s standard house imagery). Heavily illustrated. About fine. Original campaign pressbook for the British release of this film adaptation of a story by Paul and Elsie Fox, with the screenplay by Louis Stevens and Robert Wyler. Directed by James P. Hogan, starring Dorothy Lamour, Lew Ayers, Gilbert Roland, Lionel Atwill, Anthony Quinn, et al. The film is obviously set within the context of the Spanish Civil War (and was touted as the “First Spanish War Romance”), but the war serves chiefly as a backdrop, affording little insight into the causes and events. The publicity paper, however, offers some dramatic period imagery. $125. 418. Spencer, Captain [Edmund]: THE FALL OF THE CRIMEA. London: G. Routledge & Co., 1854. iv,[2],500,[4]pp. Gilt decorated red cloth. Frontis and plates. Slight darkening and edgewear to cloth, early ink name on free endsheet, foxing early and late, otherwise very good. First edition of this historical novel, with an introduction by the author stressing his reliance on factual material. Although he published at least one other novel, the 1855 Constantine ..., the majority of his works were literal travel/historical accounts. $125.

419. [St. Dominic’s Press]: Pepler, H., and David Jones [illus]: LIBELLUS LAPIDUM ...THE FIRST PART OF A COLLECTION OF VERSES AND WOOD-ENGRAVINGS .... Ditching: Printed and Published by the Author, 1924. Printed pictorial grey wrappers, with letterpress in red and woodcut in black. Old unfortunate offset from tape used to affix a “protective’ wrapper present in the blank corners of the first two and last two leaves (and very faintly in the third), otherwise about fine, unopened. First edition of this collection of poems, a number of them taking as their subjects such figures as Shaw, Chesterton, Epstein, Inge, Knox, Sadler, G. Murray, et al. Illustrated with 16 wood engravings by David Jones. $200.

420. Stoddard, Richard Henry: THE KING’S BELL. New York: Carleton, 1863. Original plum-brown cloth, beveled edges. Crown and toe of spine frayed, edges and tips a bit shelfworn, otherwise a good copy. First edition, BAL’s probable first state (printing?), with the Craighead imprint on p. [4]. With a presentation inscription from the author to Eugene Field on the first blank: “To the Grand Man of the West / from the little man in [?] the East. / R.H.S. / ‘It’s awful to be writ to death’ / [indecipherable word].” With Field’s bookplate on the front pastedown. BAL 19081. $250.

421. [Stone & Kimball]: Kramer, Sidney: A HISTORY OF STONE & KIMBALL AND HER- BERT S. STONE & CO. WITH A BIBLIOGRAPHY OF THEIR PUBLICATIONS 1893 – 1905. Chicago: Norman W. Forgue, 1940. Large octavo. Gilt cloth. Plates, folding table. Small duplicate release stamp in corner of front pastedown, otherwise about fine, without slipcase. First edition. One of 1000 copies on laid paper, from a total edition of 1500 copies, signed by the compiler. Still, a high water mark of excellence in the field of imprint bibliography. $125.

422. [Swift, Jonathan – Pastiche]: [Three Broadsheet Playbills for Performances of:] HARLEQUIN GULLIVER OR, THE FLYING ISLAND [etc]. London: Theatre Royal, Covent Garden, 24 Jan., 2 March and 11 May 1818. Three small folio broadsides, various sizes, 320 x 200 mm and slightly smaller. Somewhat ragged at edges, with small chips, one with discoloration in left margin from having been mounted, but good. Three broadsheets for performances of this pantomime pastiche of Gulliver, in company with performances of other works. It is most likely an adaptation of Friar Bacon, Or Harlequin Gulliver (ca. 1783) attributed to Charles Bonner. This version of Harlequin Gulliver was first presented at the Theatre Royale in late Dec. of 1817, and two of the three broadsheets specifically promote the scene designs by John Henderson Grieve: the Isle and Palace of Laputa, The Astrologer’s Cave, etc. The broadsheets also announce productions of Guy Mannering; Egerton’s Fazio, Duke Of Florence; Zuma, Or The Tree Of Health; Bombastes Furioso; and Bellamira; Or, The Fall Of Tunis. $350. 423. Symonds, John A.: VAGABUNDULI LIBELLUS. London: Kegan Paul [et al], 1884. Dark blue cloth, lettered in gilt. Cloth lightly rubbed, with a bit of shelfwear at the spine ends, but a very good, bright copy. First edition, first state of the binding. A good association copy, inscribed by Symonds on the half-title to his friend, Greek scholar Henry Graham Dakyns: “To his friend H. G. Dakyns the Writer Davos Platz Oct 26 1884.” Dakyns (1838 – 1911) served as tutor to Tennyson’s children following his graduation from Cambridge. From 1881-3, he took a sabbatical from his post as Assistant Master of Classics at Clifton College in order to work on his edition of the works of Xenophon. He was among the circle of Symonds’ friends who on occasion received copies of JAS’s privately printed works: his copies of A Problem In Greek Ethics and Rhaetica sold at Sotheby’s London in 2004, £8,500 and £3,800 respectively. Symonds inscribed another copy of this collection of verse to Eugene Lee Hamilton on the same date (see Colbeck). BABINGTON 38. D’Arch Smith, LOVE IN EARNEST, pp. 251-2. COLBECK II:813. $650.

Possible Association Copy 424. 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. Minor rubbing at extremities, endsheets a bit foxed and tanned, as usual, small bookseller’s ticket on pastedown, edges faintly tanned, trace of cracking to rear inner hinge, but a very good, bright 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. This copy bears an interesting gift inscription on the front free endsheet: [Recipient erased] “in memory of pleasant days at Deal July-August 1894. CEM / R.M. Dawkins. Jan. 1912.” That the inscription potentially is by the eminent archaeologist and classical scholar (1871 – 1955), and friend of Baron Corvo and Norman Douglas, does not seem beyond possibility. Certainly it is a topically probable association. BABINGTON 56. COLBECK II:815. $1000.

425. Symonds, John Addington: STUDIES OF THE GREEK POETS. London: Smith, Elder & Co., 1873. Blue-purple cloth, stamped in gilt and black. Spine chipped and mended, inner hinges cracked, half-title a bit torn at gutter; a well used copy with interesting provenance. First edition. A presentation copy (recorded in the hand of the recipient) from Symonds to his friend and correspondent, Greek scholar Henry Graham Dakyns, inscribed on the half-title: “HGD from J.A.S.” Dakyns (1838 – 1911) served as tutor to Tennyson’s children following his graduation from Cambridge. From 1881-3, he took a sabbatical from his post as As- sistant Master of Classics at Clifton College in order to work on his edition of the works of Xenophon. He was among the circle of Symonds’ friends who on occasion received copies of JAS’s privately printed works. BABINGTON 7. $150.

426. Symonds, John Addington: BEN JONSON. London: Longmans, Green, and Co., 1886. Olive-gray cloth, lettered in gilt. Spine dull, with some wear and fraying to crown and toe, front inner hinge neatly repaired, otherwise a very good copy. The errata slip is not present, and there is a small pencil note on one page. First edition, published in the “English Worthies” series edited by Andrew Lang. A good association copy, inscribed by the author on the title: “H.G. Dakyns from J.A. Symonds.” BABINGTON 44. $450. 427. Symonds, John Addington: ESSAYS SPECULATIVE AND SUGGESTIVE. London: Chapman and Hall, 1890. Two volumes. Publisher’s plum cloth, spines lettered in gilt, boards ruled in black. Spines sunned, a few rubs to binding, but a good, tight set. First edition. With the author’s compliments slip laid in, and with the ownership inscription (initials) in each volume of Symonds’ friend and correspondent, Henry Graham Dakyns, noted as received from “J.A.S. July 1890.” Dakyns neatly annotated the source of the Greek quotation on the title-page of the first volume. BABINGTON 52. $175.

428. Symonds, John Addington: WALT WHITMAN A STUDY. London: John C. Nimmo, 1893. Large octavo. Gilt dark green and olive green cloth, t.e.g.. Portrait and plates. A bit of rubbing and extremities a bit frayed, but a good copy. First edition, trade issue, of one of the first significant studies of Whitman and his themes, including eroticism and comradeship. This is an interesting association copy, inscribed by Symonds’ long-time friend and correspondent, Henry Graham Dakyns, to poet T.E. Brown, his colleague at Clifton College: “TE. Brown from H.G. Dakyns. May 1893.” Another inscription appears (faintly) on the front pastedown: “Henry Graham Dakyns from his Father & Mother Xmas 1901 in memory of his Godfather.” Brown died in 1897, and it would appear this copy made its way back to Dakyns, who then presented it to his son, H.G. Dakyns (Jr.). Dakyns, the senior, (1838 – 1911) was among the circle of Symonds’ friends who on occasion received copies of JAS’s privately printed works. BABINGTON 58. $250.

429. Synge, John M.: POEMS AND TRANSLATIONS. Churchtown, Dundrum: The Cuala Press, 1909. Linen-backed boards, paper label. Title-page woodcut pressmark “Lady Emer and tree” by Elinor Monsell. Tiny nick to fore-edge of upper board, otherwise a near fine copy, accompanied by the panels of the plain paper shipping wrapper. First edition. One of two hundred and fifty copies printed. Edited, with a substantial prefatory essay, by Yeats. Synge’s death on 24 March 1909 is noted in the colophon, and the presswork on this book was completed on 8 April. Actual publication occurred in July. WADE 243. MILLER 13. $950.

Inscribed to the Daughter of his Amanuensis 430. Tarkington, Booth: PRESENTING LILY MARS. Garden City: Doubleday, Doran & Co., 1933. Black cloth, lettered in gilt. Near fine, in very good, price-clipped dust jacket with a bit of corner wear and several short tears at edges. First edition. Inscribed by the author to, inferentially, the daughter of his close friend, amanuensis, and the dedicatee of his novel Rumbin Galleries: “Inscribed, with all good wishes, for the presenting of Lily Mars by Betty to Miss Trotter, Booth Tarkington, Kennebunkport, Oct. 28, 1933.” For a brief summary of Betty Trotter’s significance in Tarkington’s career, see Russo & Sullivan, p. xiv. The source for the 1943 MGM film, starring Judy Garland. RUSSO & SULLIVAN, pp. 99-100. $200.

431. Tastu, Amable [née Sabine Casimire Amable Voïart]: POESIES NOUVELLES. Paris: Denain et Delmare, 1835. [4],378pp. Small octavo. Quarter 19th century plum morocco and marbled boards, spine elaborately gilt extra, with crowned initials “A.O.”, a.e. marbled. Pictorial title and head-pieces by Porret. Moderate foxing, otherwise very good and crisp, in an attractive Romantic era binding. First edition, ordinary issue. Vicaire and Carteret report that a few copies were printed on variously tinted papers. The second collection of poems by Tastu (1798 – 1885), supplement- ing her 1826 debut publication that contributed to the bankruptcy of her husband’s printing concern. Although her poetry is now viewed as sentimental, Saint-Beuve, among others, considered her among the leading female poets of her age. Her translation of Robinson Crusoe was published the same year. VICAIRE VII:761. CARTERET II:385. $275. 432. [Teen Exploitation Film]: Blees, Robert [sourcework], and Lewis Metlzer [screenwriter]: [Vintage Studio One Sheet for:] THE YOUNG HELLIONS [formerly HIGH SCHOOL CONFIDENTIAL!]. [Np.]: Cinema Associates, 1961. Original 27 x 41” (68 x 105 cm.) pictorial one sheet poster. Folded as issued, pinhole at each corner, one minor break at fold apex, else very good.

A visually sensational one sheet issued to promote the 1961 retitled rerelease of High School Confidential. Directed by Jack Arnold, this naive teenage drug film was originally released in 1958 and starred Russ Tamblyn, Jan Sterling, John Drew Barrymore, Charles Chaplin Jr., Mamie Van Doren, Michael Landon, and, most notably, Jerry Lee Lewis as himself. $50.

433. THIS QUARTER. Paris. Spring. 1925. Volume one, number one. Large octavo. Printed wrappers. Frontis and plates. Wrappers tanned and modestly soiled, rather frayed at spine ends and overlap edges, a few pencil strikes to lower wrapper; internally very good. The scarce first number of one of the seminal periodicals of the Paris expatriate community, edited by Ernest Walsh and Ethel Moorhead. This number is dedicated to Ezra Pound, who actively gathered contributions for the first three numbers. However, after Walsh’s early death, Moorhead retracted that dedication in an editorial in the 3rd number, a Walsh memorial issue. This original sequence suspended publication after that number (Spring 1927), and Edward Titus launched its second, and somewhat less vital incarnation in the Summer of 1929. Contributors to this number include: Carnevali, Stein, Winters, Boyle, H.D., Heming- way (“Big Two Hearted River”), McAlmon, Williams, Bryher, Turbyfill, Joyce, Brancusi, et al. HOFFMAN, et al, p.279. $600.

434. [Thompson, Edward]: TRINCULO’S TRIP TO THE JUBILEE. London: Printed for C. Moran ...[et al], 1769. [2],iv,5-47,[1]pp. Quarto. 20th century quarter calf and marbled boards. Bound without the half-title. Title leaf shows staining in upper fore-quadrant, scattered spotting in the lower margin of a few leaves, verso of terminal leaf (bearing adverts) soiled and with some small ink splotches; withal, just a good, sound copy. First edition of the naval officer and poet’s extended poetical account of the Shakespeare Jubilee, including mention of those involved in the proceedings, Garrick most frequently and prominently among them. Thompson (1738? – 1786) rose through the ranks as a seaman, eventually achieving a number of military and exploratory commands, while during peace time “he acquired a wide circle of political and literary acquaintances including John Wilkes, David Garrick, and Richard Brinsley Sheridan whom he apparently detested, describing him as a ‘parliamentary impostor and swindler’ ...His satires ‘The Demi-Rep’ (1756) and ‘The Meretriciad’ (1763), published anonymously, proved very popular, the former recounting the attractions of London society and its corrupting moral influence. These and several other pieces were collected in 1770 under the title ‘The Court of Cupid’” – DNB. A second edition appeared the following year, but this work seems never to have achieved the wide popularity of some of his other works. ESTC locates three copies in the UK, and ten in North America. NCBEL II:687. ESTC T756. JAGGARD, p.665. $450.

435. [Thoreau, Henry D. (contributor)]: THALATTA: A BOOK FOR THE SEA-SIDE. Boston: Ticknor, Reed and Fields, 1853. viii,206pp. plus 8pp. inserted catalogue (dated April 1853) at front. Brown ribbed cloth, decorated in blind, lettered in gilt. Brick orange coated endsheets. Light foxing at a few margins, crown and toe of spine a bit nicked and frayed, two tiny ink flecks on upper board, small, early gift inscription on free endsheet and early notation on blank; a very good copy, with the contemporary label of Francis Putnam, of Salem. First edition of this varied anthology of the works of US, British and continental poets, distinguished chiefly by the inclusion of Thoreau’s poem, “My Life is Like a Stroll Upon the Beach,” constituting the first appearance of any of his poetry in an anthology. BORST C1. BAL VIII, p. 281 (Thoreau) and 1380 (full entry). $250. A 19th Century American Classic 436. Thoreau, Henry D.: WALDEN; OR, LIFE IN THE WOODS. Boston: Ticknor and Fields, 1854. 357,[1]pp. plus 8pp. inserted April terminal catalogue. Original brown cloth, stamped in blind and gilt, pale yellow coated endsheets. Map inserted before p.307. Early small ink signature on front pastedown, gilt leather bookplate (offset opposite) of John Stuart Groves, small signet blindstamp with initials in upper forecorner of title-leaf and pp.5/6, spine extremities a bit frayed, with 2 cm. closed surface crack along upper joint, subtly recased, with careful repairs to inner hinges, a bit of tanning to text block, small constellation of ink flecks on upper board; generally a good, (now) sound copy. Half morocco slipcase and chemise. First edition, first printing. One of two thousand copies printed. Some copies were issued without catalogues, and others with any one of five variously dated catalogues, the April catalogue being the earliest observed. The book was published in early August. “Solid chunks of thought, in the midst of a solid chunk of nature ...an inspiration to nature-lovers, to philosophers... [we’ll skip the Calvin Coolidge reference], and to persons who love to read the English language written with clarity” – Grolier American Hundred. Laid in is an old catalogue description from a well-known bookseller, proclaiming the copy described therein “a fine copy” – which this is not. However it does bear that bookseller’s inventory code. A modest copy of one the key works of 19th century American literature. BORST A2.1.a. GROLIER AMERICAN HUNDRED 63. $8500.

437. Thoreau, Henry D.: THE MAINE WOODS. Boston: Ticknor and Fields, 1864. [8],328,22,[2] pp. Purple cloth, stamped in gilt and blind. Spine a trace sunned, tiny spot at toe of fore- edge, otherwise a very good to near fine copy. Enclosed in an undistinguished half morocco slipcase with insert. First edition, first printing, with the list of Thoreau’s books facing the title-page priced, and with the inserted adverts dated April 1864. Borst reports the edition consisted of 1450 copies; BAL reports 1650 copies. BAL 20113. BORST A4.1.a. $3500.

438. Thoreau, Henry D.: A YANKEE IN CANADA, WITH ANTI-SLAVERY AND REFORM PAPERS. Boston: Ticknor and Fields, 1866. [4],286pp. Octavo. Forest green cloth, spine gilt extra, blindstamped side panels with center wreath. Minor nicks at crown and toe of spine, trace of soiling to cloth, tiny ink notation in upper corners of free endsheet and first blank, narrow strip of offsetting to verso of front free endsheet, narrow 8mm snag near crown of lower joint, very slight starting to the inner hinges; near very good. First edition, BAL’s binding A (priority undetermined). Edited by Sophia Thoreau. Notable for among other things, the first book publication – apart from the one-shot Æsthetic Papers – of “Civil Disobedience.” One of 1546 copies printed (or 1500 according to BAL). BAL 20117. BORST A7.1.a. Downs, BOOKS THAT CHANGED AMERICA 8. $1250.

439. Thoreau, Henry D.: SUMMER: FROM THE JOURNAL OF.... Boston: Houghton Mifflin, 1884. Gilt green cloth, t.e.g. First edition. Edited by H.G.O. Blake. 1260 copies were printed. Some isolated flecks to the cloth sizing, otherwise a bright, tight, very good or better copy. BAL 20127. BORST A9.1.a. $300. 440. Thoreau, Henry D.: WINTER: FROM THE JOURNAL OF.... Boston: Houghton Mifflin, 1888. Gilt green cloth, t.e.g. Folding map. First edition. Edited by H.G.O. Blake. 1550 copies were printed. Some minor rubbing, otherwise a bright, tight, very good or better copy. BAL 20129. BORST A10.1.a. $300.

441. Thoreau, Henry D.: AUTUMN: FROM THE JOURNAL OF.... Boston: Houghton Mifflin, 1892. Gilt green cloth, t.e.g. Some minor rubbing, and a bit of edgewear to spine ends, otherwise a bright, tight, very good copy, with the tasteful booklabel of eminent collector William Harris Arnold. First edition, BAL’s first printing. Edited by H.G.O. Blake. BAL reports the first printing consisted of 1020 copies. BAL 20130. BORST A11.1.a. $300.

442. Thoreau, Henry D.: POEMS OF NATURE. London & Boston: John Lane the Bodley Head / Houghton Mifflin, 1892. xix,[1],122,16pp. 12mo. Pale green polished buckram, untrimmed. Pictorial title. 16pp. publisher’s catalogue. Spine a bit sunned, edges a bit rubbed, with light hand-soiling to cloth, usual faint tanning to textblock; a very good copy. First edition, British issue, BAL’s binding A. One of 500 copies thus, from a total edition of 750. The spine imprint and the catalogue conform to those copies distributed in the UK. Several poems appear here for the first time in book form, and copies are somewhat less common than the large edition would suggest. BORST A14.1. BAL 20134. $175.

443. Thoreau, Henry D.: HUCKLEBERRIES. [Iowa City] & New York: Windhover Press / New York Public Library, 1970. Narrow small quarto. Cloth. Fine, without printed dust jacket, as issued. First edition. Edited by Leo Stoller with a preface by Alexander C.Kern. Published here for the first time from a manuscript located in the Berg collection of The New York Public Library. One of 330 copies printed by Kim Merker and associates in Emerson types on Rives Heavy. BAL 20174. BORST A38.1. $75.

444. [Thoreau, Henry David – His Copy]: Chapin, L[oring]. D[udley].: THE VEGETABLE KINGDOM; OR, HAND-BOOK OF PLANTS AND FRUITS. New York: Jeromme Lott, 1843. xi,[1],[18],182;vii,227pp. Two parts in one volume. Original publisher’s plum cloth, lettered in gilt, decorated in blind. Engraved title to each part. Text illustrations. Scattered foxing, one signature starting, spine a trace sunned, front pastedown a bit ragged at leading edge, otherwise an unusually nice copy, with the bookplate of Stephen Wakeman on the front pastedown. First edition. A highly attractive association copy of an uncommon book, from the library of Henry D. Thoreau, signed thus in ink by him on the pastedown. Aside from institutional concentrations, such as that presented by Sophia Thoreau to the Concord Free Public Library in 1874, books from Thoreau’s library are uncommon in the marketplace, and those that have appeared in the last several decades frequently share with this example the provenance of the Wakeman collection. Among the titles recorded in Wakeman’s sale catalogue, few had the topical relevance that this title has. WAKEMAN SALE 1062. $5500. 445. [Tidal Press]: Fry, Christopher: DEATH IS A KIND OF LOVE. Cranberry Isles, ME: The Tidal Press, 1979. Cloth and marbled boards. Frontis and illustrations. Fine in cloth slipcase. The limited issue of the first edition in this format of Fry’s November 1977 talk at Chichester Cathedral. Illustrations by Charles E. Wadsworth. Calligraphy by Lance Hidy. One of fifty numbered copies, specially bound, and signed by the author, the artist and the calligrapher, from a total edition of 600 copies. $125.

446. Tomlinson, H.M.: THE SEA AND THE JUNGLE. London: Duckworth, [1912]. Large octavo. Original cloth, lettered and decorated in gilt, t.e.g. Ten leaves of terminal ads. Pictorial frontis. Bookplate (see below), otherwise about fine, in an imperfect example of the very uncommon dust jacket (the spine panel is defective, though the title, imprint and price are still intact). Cloth slipcase and chemise. First edition of the author’s first and most widely known book. From the collection of Paul Lemperly, with his bookplate and pencil signature. Inscribed by Tomlinson to Lemperly on the half title, and dated 23 October 1927. The front jacket blurb draws parallels with Conrad’s “Heart of Darkness.” $750.

447. Tomlinson, H.M.: LONDON RIVER. London: Cassell, 1921. Brown cloth, stamped in gilt. Frontis. Foxing early and late, spine stamping dull, but a very good copy. First edition. With the ink ownership signature on the front pastedown of Siegfried Sassoon. Sassoon inserted a clipped photo of Tomlinson on the verso of the frontis, below which Tomlinson has written (at a later date): “H.M. Tomlinson (waiting at his Croydon window for the flea bomb. 1937).” Sassoon has laid in a clipped article by HMT, as well as another magazine photo of him. Sassoon became and remained Tomlinson’s friend and enthusiast for the remainder of the elder writer’s life; he dedicated Sequences to Tomlinson in 1956. With the posthumous monogram library dispersal label on front pastedown. $250.

448. Tomlinson, H.M.: GIFTS OF FORTUNE WITH SOME HINTS FOR THOSE ABOUT TO TRAVEL. London: William Heinemann, 1926. Large octavo. Gilt navy cloth. Small rust mark on front pastedown, some foxing, but otherwise very good and bright in modestly tanned and frayed dust jacket. First edition. Inscribed by the author on the half-title: “To Siegfried Sassoon from H.M. Tomlinson Campden Hill Square Christmas 1926.” With the posthumous monogram library dispersal label on the pastedown. $350.

449. Tomlinson, H. M.: UNDER THE RED ENSIGN. London: Williams and Norgate, 1926. Brown cloth, stamped in gilt and blind. Heavy tan offsetting to endsheets delimited by jacket flaps, some foxing early and late, otherwise a very good or better copy, in modestly tanned dust jacket with small smudge on front panel. First edition of this personal memoir of Tomlinson’s association with the shipping industry. Inscribed on the half-title by the author: “This salute of the Ensign to Siegfried Sas- soon from H. M. Tomlinson Christmas 1926.” $350.

450. Tomlinson, H. M.: THE WIND IS RISING. London: Hodder & Stoughton, [1941]. Cloth. Top edge dusty, cloth a bit soiled and with some small bleached spots to the color, otherwise good and sound. First edition. Inscribed by the author on the half-title: “to Siegfried from Tommy Christmas 1941.” Tomlinson also corrected an error on p. 17 and signed this copy at the end of the text. With the posthumous monogram library dispersal label on the pastedown. $225. 451. Tomlinson, H.M.: A MINGLED YARN AUTOBIOGRAPHICAL SKETCHES. London: Duckworth & Co., [1946]. Gilt cloth. A trace of foxing, otherwise a very good copy in lightly used pictorial dust jacket. First edition. Inscribed by the author on the half-title: “to Siegfried Sassoon with affection H. M. Tomlinson Christmas 1953.” With the posthumous monogram library dispersal label on the pastedown. $275.

452. Tomlinson, H.M.: MORNING LIGHT THE ISLANDERS IN THE DAYS OF OAK AND HEMP. London: Hodder & Stoughton, [1946]. Cloth. A very good copy in lightly used pictorial dust jacket with shallow chipping at spine ends. First edition. Inscribed by the author on the half-title (incorporating the printed title): “Praise Morning Light (and plenty of it). To Siegfried Sassoon (& George!) from H. M. Tomlinson Christ- mas 1946.” With the posthumous monogram library dispersal label on the pastedown. $300.

453. [Treason Ordinance – Cromwell]: AN ORDINANCE DECLARING THAT THE OFFENCES HEREIN MENTIONED, AND NO OTHER, SHALL BE ADJUDGED HIGH TREASON WITHIN THE COMMON-WEALTH OF ENGLAND, SCOTLAND, AND IRELAND, AND THE DOMINIONS THEREUNTO BELONGING. London: Printed by William du-Gard and Henry Hills, 1653 [i.e. 1654]. [2],59-66,[2]pp. Folio. Extracted from nonce volume. Text in black letter. Manuscript ‘4’ at upper left corner of title, otherwise very good. Promulgated on 19 January. Issued both separately and possibly as an element in a contigu- ous sequence, according to ESTC, where 12 copies are located in the UK and 4 in North America. Advocacy of the Stuarts, possession or distribution of seditious Catholic publications and counterfeiting come in for particular attention ESTC R209542. ABBOTT 688. $275.

454. Truffaut, Francois [director], and Henry James [sourcework]: THE GREEN ROOM UN FILM DE FRANCOIS TRUFFAUT [wrapper title]. [Paris: Artistes Associes, March 1978]. 10 leaves. Folio (310 x 225 mm). Stapled printed stiff wrappers. Mechanically reproduced typescript, printed on rectos only. Near fine.

An English language promotional for Truffaut and Jean Gruault’s film, Le Chambre Verte, inspired by Henry James’s short story, “The Altar of the Dead.” Two pages are turned over to Truffaut’s “Why ‘The Green Room’?” The film was released in France in April 1978, and in the UK later that Autumn. $85.

455. Trumbo, Dalton [sourcework & screenwriter]: JOHNNY GOT HIS GUN ...FROM HIS NOVEL OF THE SAME NAME. Beverly Hills: The Bruce Campbell and Dalton Trumbo Company, [nd. but ca 1968]. [1],v,136 leaves plus lettered inserts. Quarto. Mimeographed typescript, printed on rectos only of white, yellow and salmon stock. Bradbound. Chip from blank fore-edge of terminal leaf, not affecting text, otherwise very good or better. An unidentified, undated, but revised pre-production draft of Dalton Trumbo’s own screenplay adaptation of his novel. A multitude of revises on various colored papers, as well as lettered inserted half-pages, suggests the script was still in flux, and a section preceding the opening of the script includes a brief history of the novel, and quotes international comments about it, clearly in an effort to generate studio interest in the project. We’ve handled two other drafts of this screenplay, both denoted “final” (but also with revises and similar collations), both dating from the first quarter of 1968. Trumbo also directed the 1971 release, starring Timothy Bottoms, Jason Robards, Donald Sutherland, and Donald Barry. Trumbo won two awards at Cannes for his work on this film. $600.

456. [Tyler, Anne (sourcework)]: Kasdan, Lawrence [screenwriter]: THE ACCIDENTAL TOUR- IST SCREENPLAY BY ...BASED ON THE NOVEL BY ANNE TYLER. Burbank: Kasdan Company / Warner Bros., 30 October – 14 December 1987. [1],141,[1] leaves. Quarto. Me- chanically reproduced typescript, printed on rectos only of rose paper. Bradbound in production company wrappers. Accompanied by a separate lot of revises on blue paper, punched and bradbound. Title lettered on spine, lower wrapper lightly used, otherwise very near fine. Copy #54 of this “Final Revised” draft of Kasdan’s 1985 adaptation of Tyler’s novel, but accompanied by a substantial number of leaves of revises on blue paper from December, which have not been interpolated into the body of the script, allowing comparison of both the revised and original leaves. Kasdan, who also directed the 1988 film, shared screen credit for the script with Frank Galati upon final release. The film was nominated for a broad range of awards, including an Oscar nomination for the script, and Gena Davis won an Oscar as Best Supporting Actress. William Hurt, Kathleen Turner, Bill Pullman and Ed Begley, Jr., also starred. While copies of the final script, distributed for Academy consideration, turn up with some frequency, preproduction scripts such as this are less common. $225.

457. Vassos, John (1898 – 1985): [Typed Letter, Signed]. [New Canaan?]. 28 December 1937. One page, quarto, on printed letterhead. Folds for mailing, otherwise about fine. A letter of gratitude from the eminent industrial designer and artist to fellow artist “Willis” [Birchman], thanking him for the copy of Faces & Facts he sent him: “...it will undoubtedly be a collector’s item, because it is hitherto unpublished personal facts about contemporary illustrators – and certainly makes very interesting reading. I can’t help but feel that some have been left out – but on the other hand, a small number makes a far more interesting – and perhaps more valuable book. I am very glad you included [Ralph] Barton.” He continues, ordering an additional copy, and extending cordial wishes for the coming year. Signed in full. $100.

458. Venturi, Robert; Denise Scott Brown, and Steven Izenour: LEARNING FROM LAS VEGAS. Cambridge: MIT Press, [1972]. Small folio. Gilt lettered gray cloth, pictorial label. Illustrated throughout with photographs, drawings, renderings and facsimiles. Laid in errata slip. Minute traces of very faint foxing to endleaves, top edges a trifle sunned, hint of dust to the cloth, otherwise near fine in chipped, but substantially complete printed glassine wrapper. First edition of this controversial and subsequently immensely influential monograph, the product of a collaborative graduate undertaking at Yale in the fall of 1968, based on the outline first presented in the essay “A Significance for A&P Parking Lots, or Learning from Las Vegas” (Architectural Forum, March 1968). $2500.

459. VIEW [III:4]. New York. December 1943. Series three, number four. Quarto. Pictorial wrappers (but see below). Heavily illustrated. Light use to wrapper edges, otherwise very good. Edited by Charles Henri Ford and a large and impressive board of associate and advisory editors. View carried on in the tradition of the continental surrealists displaced by the war, and featured many of the expatriated artists and writers, as well as their American heirs and other young writers. Contributors to this number include Tchelitchew (upper wrapper), Calas, Roussel, Ford, Roditi, Macpherson, et al. This is an interesting variant, with the rear wrapper blank rather than bearing the advert for “Shocking Radiance.” In its place at one edge is the typographic bookplate of Carl Van Vechten, and his minor annotations appear on the t.o.c. and facing page, the latter an advert for the View Exhibition of New Drawings, which bears printed pasteovers altering the text as well as his notations. $150.

460. Viseux, Claude: [Original Untitled Monochrome Etching]. [Milan: Galerie Schwarz, ca. 1961]. Original monochrome etching, plate size 11 x 14.5 cm, on 26.5 x 19.5 cm sheet. Mounted in stiff board and acetate mat, with printed caption on verso. Fine. One of sixty numbered copies, in addition to twenty-five copies numbered in Roman, signed and dated in the margin by the artist. Printed in Paris in the Atelier of Georges Leblanc on hand made paper from Papeteries de Rives. Viseux (b. 1927 in Champagne-sur-Oise) studied art the École des Beaux-Arts in Paris from 1946 to 1949. This print was published as an element of Galerie Schwarz’s series, L’Avanguardia Internazionale. $150. 461. [Visual Poetry]: Mascelloni, Enrico [ed]: POESIA VISIVA E DINTORNI (L’ULTIMA AVANGUARDIA). Spoleto: Musei di Spoleto, 1995. 476,[2]pp. Large, thick quarto. Pictorial stiff wrappers. Extensively illustrated in b&w and color. Small sticker residue in lower margin of rear wrapper, minute bit of laminate peel at extreme lower fore-corner of upper wrapper, otherwise near fine. The trade issue of this massive and beautifully illustrated catalogue of the exhibition, featuring the work of over thirty artists from around the world, with a lengthy introduction, brief biographical sketches, etc. A limited issue of 1000 numbered copies also appeared. $75.

462. Wainhouse, Austryn: HEDYPHAGETICA A ROMANTIC ARGUMENT AFTER CERTAIN OLD MODELS .... Paris: Collection Merlin, 1954. Decorated wrapper over stiff wrappers. Faint dust smudges to outer wrapper, else about fine. First edition, ordinary issue, of one of the seven joint Merlin / Olympia imprints. One of 1020 numbered copies, from a total edition of 1053. KEARNEY (1987) 30. KEARNEY & CARROLL 2.4.1. $75.

463. Wakoski, Diane: SMUDGING. Los Angeles: Black Sparrow Press, 1972. Cloth and boards. Fine in acetate dust jacket. First edition, deluxe limited issue. Copy #9 of thirty copies specially bound, with a manuscript poem by the poet bound in front, in addition to 250 regular signed copies. $175.

Association Copy 464. Wallace, Lew: COMMODUS. AN HISTORICAL PLAY. [Crawfordsville, IN?: Privately Printed for the Author, 1877]. 61,[3 blank]pp. Octavo. Sewn, in original printed wrappers. A few short, closed tears to the spine, original glue partially dried out, wrappers a bit dusty, with soft creases at lower corners, but a very good copy. Second (revised) edition, following the private edition of 1876. This copy bears the author’s signed presentation inscription on the title leaf: “To B.H. Ticknor, Esq With regards of his friend, Lew Wallace.” Ben- jamin Holt Ticknor was a partner in Fields, Osgood & Company, later James R. Osgood & Company, publishers of Wallace’s first novel, The Fair God ...(1873). This copy exhibits a pasted-in copyright statement, much like the LC copy of the 1876 printing reported by BAL. Russo & Sullivan note that the dedication, to S. R. Crocker (editor of The Literary World), appears for the first time in this revised printing. Both the 1876 and the 1877 printings are scarce: BAL locates the LC and Lilly copies of the 1876 edition, while OCLC locates only a copy at Indiana State Library. BAL locates the BPL and Lilly copies of this printing, and OCLC locates a total of eight copies between three entries, although copies at LC and Indiana are reported twice. The second literary work of substance undertaken by the General, published the year prior to his appointment to the Governorship of New Mexico, and three years prior to the publication of Ben-Hur. BAL 20797. RUSSO & SULLIVAN, p.314. $650. 465. Wallace. Lew: BEN-HUR A TALE OF THE CHRIST. New York: Harper & Brothers, 1880. 552,12pp. Original powder blue-gray cloth, with floral decorations in red, black, and darker gray. Pencil name on endsheet, spine darkened and with shallow fraying at crown and toe, otherwise a very good, tight copy. First edition, first printing, of the author’s second novel, the source for the several film adaptations, and the American best-seller of the 19th century. This copy conforms to all of the legitimate indicators of the first printing, and is in the standard trade binding (Russo & Sullivan State I), with a 12pp. trade catalogue in the rear (the form described as earliest by Russo & Sullivan). The first printing consisted of only 2500 copies (according to BAL), but it was reprinted quickly and frequently thereafter. The early form of the dedication and the occasionally mentioned error on page 11 persisted through many of the reprintings. BAL 20798. RUSSO & SULLIVAN, pp.315 ff. WRIGHT III:5720 $850.

466. Warhol, Andy, et al [contributors]: SOME/THING. New York. Spring 1965 through Winter 1966. Whole numbers one through three (wanting double number 4/5 for all published). Three issues. Decorated wrappers. A bit of faint offsetting and trivial foxing to lower wrappers, otherwise a near fine set.

Edited by David Antin and Jerome Rothenberg. The first two issues appeared under the imprint of Rothenberg’s Hawk’s Well Press. Contributors include Blackburn, Hollo, Ignatow, Mac Low, Wakoski, Schwerner, Berrigan, Enslin, Eshleman, et al. The third number is a “Vietnam Assemblage,” and adds Kelly, Duncan, Jess, Ginsberg, Bukowski, Bergé, et al. It features the famous perforated “Bomb Hanoi” sticker wrapper by Warhol which, in recent years, has become difficult to acquire with all the twelve stamps intact. CLAY & PHILLIPS, pp.118-9. $1500.

467. [Washington, Booker T.]: Thrasher, Max Bennett: TUSKEGEE ITS STORY AND ITS WORK ...WITH AN INTRODUCTION BY BOOKER T. WASHINGTON. Boston: Small, Maynard & Company, 1900. xvi,215pp. plus plates. Pictorial charcoal cloth, stamped in cream and gray. Frontis and photographs. First edition. Slight shelf-wear at extremities, small patch of adhesion at gutter between xvi and [1], affecting a few letters, otherwise very good. WORK, p.426. sold.

468. Waters, Frank: PEOPLE OF THE VALLEY. New York: Farrar & Rinehart, 1941. Cloth. Bookplate on front pastedown, glue discoloration to free endsheet and half-title (see below), else a good copy, without dust jacket. First edition. Pasted to the verso of the front free endsheet (and brown stained due to the glue utilized to accomplish the act), is a closely written one-page a.l.s. from Waters, signed “Frank,” Hollywood, 12 March 1941, octavo, to “Dear Ted -.” Waters writes about the present book’s reception (utilizing a variant working title “Doña Maria”) noting reviews are “without exception middling good to excellent...,” and commenting on the recipient’s trip to Mexico and his own desire to make a river trip in the same area: “...That narrow liquid-soap-green river dripping down from the high cliffs and squivering with the jungle growth. And all the people so small & quick, with the beady eyes of a kinkajou, and carrying such wonderful big black leaves of tobacco ....” TANNER A6a. $150. 469. [Weber, Max]: Cahill, Holger: MAX WEBER. New York: Downtown Gallery, 1930. Small quarto. Chocolate brown cloth, lettered in silver. Frontis and thirty-two plates. Extremities rubbed, a few stray marks to cloth, bookplate on front pastedown, but a good, internally very good copy. First edition, limited issue. One of 225 numbered copies (of 250), specially printed and bound, and signed by the artist (the author did not sign this copy). Bound in as the frontis is an original black & white lithograph, signed in the lower margin in ink by Weber. Weber handcolored the lithograph in the first twenty-five copies; this is #215. $450.

470. Weir, Peter [director], and David Williamson [screenwriter]: [Original Australian Color Daybill for:] GALLIPOLI. [Np]: Associated R&R Films [1981]. Vintage color daybill poster (30 x 13 1/4”, 76 x 34cm). Folded, as issued, with a bit of creasing at left margin along one fold, but a near fine, fresh example A pictorial promotional poster for the original (i.e. Australian) release of Peter Weir’s award- winning WWI film, based on a screenplay adaptation by David Williamson of Weir’s story and Ernest Raymond’s novel, Tell England. The film starred Mark Lee, Mel Gibson, et al. For its year, Gallipoli swept top awards from the Australian Film Institute. $60.

471. Welles, Orson [director & lead]: [Original Belgian Souvenir Program for:] OTHELLO. Brussels: Royal Films Societe Anonyme, [nd. but ca.1952]. Six panel gatefold. Quarto. Picto- rial self wrappers. Illustrated with stills. Light use at edges, pencil erasure from one corner of upper panel, otherwise very good or better.

A souvenir program for the Belgian release of Welles’s film adaptation of Othello. Finally produced under the auspices of Mercury Productions Inc. and Les Films Marceau, it first started filming in 1949. After several financial mishaps, it saw first release at Cannes in May of 1952, with distribution in Europe thereafter. It did not see general distribution in the US until Sept. 1955, and then in a revised edit. Besides Orson Welles, the cast consisted of Micheál MacLiammóir as Iago, Robert Coote as Roderigo, Suzanne Cloutier as Desdemona, Michael Laurence as Cassio, Fay Compton as Emilia and Doris Dowling as Bianca. $175.

472. Welty, Eudora: THE PONDER HEART ...DRAWINGS BY JOE KRUSH. London: Hamish Hamilton, [1954]. Cloth. Fine in near fine, price-clipped dust jacket with small sticker mark on front flap. First British edition. Signed by Welty on the half-title. POLK AB6:1. $350.

473. Welty, Eudora: PLACE IN FICTION. [Np]: Reprinted from The South Atlantic Quarterly, January, 1956. Stapled printed wrappers. Upper wrapper a bit darkened and spotted, with a couple ink squiggles, otherwise a very good copy. First separate issue, reported as being one of about fifty copies specially gotten up for distribution by the author and publisher. The pagination remains the same as in the periodical appearance. This copy is inscribed by Welty on the front wrapper to one of her former editors at Harcourt, Lambert Davis, and his wife, as a New Year’s greeting. POLK C20 (ref). $1500.

474. Welty, Eudora: PLACE IN FICTION. New York: House of Books, 1957. Gilt cloth. Very slight darkening to endsheets, else fine in glassine wrapper (possibly original). First edition in book form, numbered issue. One of three hundred numbered copies, from a total edition of 326 copies signed by the author. This copy bears the author’s later signed inscription on the free endsheet. Published as Crown Octavo 13, and among the more difficult titles in the series, due to a portion of the edition being damaged by damp and destroyed. Preceded by publication as an author’s offprint. POLK A12:1. $750. 475. Wharton, Edith [Foreword to]: BENEDICTION A NOVEL. By “Claude Silve” [pseud. of Philomène de Laforest-Divonne]. New York: Appleton-Century, 1936. Gilt cloth. First U.S. edition, translated by Robert Norton, and with a Foreword by Wharton. Faint offset from jacket flaps to endsheets, top edges dusty, else a very good or better copy in lightly edgeworn dust jacket. GARRISON B25. $75.

476. Whitman, Robert: [Original Untitled Monochrome Etching]. [Milan: Galerie Schwarz, 1961]. Original monochrome etching, plate size 10 x 15cm, on 26 x 19 cm sheet. Mounted in stiff board and acetate mat, with printed caption on verso. Fine. One of sixty numbered copies, in addition to twenty-five copies numbered in Roman, and signed in the margin by the artist. Printed in Paris in the Atelier of Georges Leblanc on hand made paper from Papeteries de Rives. Whitman (1935) was an active performance artist in the experimental New York theatre scene of the 1060s. In the following decades he has been among those at the forefront of integrating technology and art, and was one of the cofounders of Experiments in Art and Technology. This print was published as an element of Galerie Schwarz’s series, L’Avanguardia Internazionale. $200.

477. Wieners, John: NERVES. [London]: Cape Goliard Press, [1970]. Large octavo. Faux- reptile skin over boards. Photographs by Gerard Malanga. Boards slightly bowed (as usual), else fine in very faintly soiled dust jacket. First edition, limited issue. One of one hundred numbered copies, specially bound and signed by the author. $100.

478. Wilcox, Ella Wheeler: [Manuscript Quotation, Signed]. New York. 15 October 1886. One page, in ink, on recto of oblong octavo sheet, most likely extracted from an album amicorum. Folding cloth slipcase. A manuscript quotation of two stanzas from Wilcox’s best known poem, “Solitude,” opening “Laugh and the world laughs with you – ....” The poem was first published in the February 25, 1883 issue of the New York Sun. 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. An attributed quotation from Tennyson, written and signed by American artist Francis Lathrop in May of the same year, appears on the verso. $450.

479. [Wilde, Oscar – ana]: TELENY OR THE REVERSE OF THE MEDAL. Paris: The Trav- eller’s Companion Series / The Olympia Press, [May 1958]. Printed green wrappers. Spine extremities moderately rubbed, spine creased from reading, otherwise a good copy. First and sole Olympia Press printing of the 1893 gay novel which has been persistently associated with Oscar Wilde, although his involvement is now thought to have been secondary. Published as TC #62. KEARNEY & CARROLL 5.62.1. YOUNG 3762. $75.

480. Williams, Jonathan: AMEN HUZZA SELAH POEMS .... Black Mountain: Jargon (13a), 1959 – 1960 [i.e. 1960]. Pictorial wrappers over stiff wrappers. Top edge dusty, otherwise fine in acetate wrapper. First edition. One of a total edition of 750 copies, of which this is one of 50 special copies printed on laid paper. “Preface?” by Louis Zukofsky. Briefly inscribed and signed by Wil- liams, and embellished with the “Jargon Saves” cross device. JAFFE 15. $225.

481. Williams, Jonathan: ELEGIES AND CELEBRATIONS. Highlands: Jargon (13b), [1962]. Pictorial wrappers over stiff wrappers. About fine, though the glassine wrapper has a small chip. First edition. One of a total edition of 750 copies, of which this is one of 52 special copies printed on laid paper. Preface by Robert Duncan. Briefly inscribed and signed by Williams. JAFFE 22. $150. 482. Williams, Jonathan: THE LUCIDITIES SIXTEEN IN VISIONARY COMPANY ...DRAW- INGS BY JOHN FURNIVAL. [London]: Turret Books, [1967]. Small quarto. Cloth. Fine in dust jacket. First edition, signed limited issue. One of one hundred numbered copies, signed by the author, from a total of 280 copies. $100.

483. Williams, Jonathan: PORTRAIT PHOTOGRAPHS. Frankfort: Gnomon Press, 1979. Quarter blue calf and cloth. Tipped-in color plates. A couple minor rubs to spine ends, otherwise about fine in slipcase. First edition, limited issue. One of fifty numbered copies, specially bound, and with an original cibachrome print of a portrait of Basil Bunting mounted opposite the prefatory Note, signed by Williams on the mounting leaf. This copy also bears Williams’s brief personalization of this copy on the half-title. Other subjects include Ezra Pound, William Carlos Williams, L. Zukofsky, M. Loy, D. Levertov, K. Rexroth, T. Merton, C. Olson, A. Ginsberg, G. Davenport, Aaron Siskind, Minor White, David Hockney, R. B. Kitaj, Claes Oldenburg et al. This issue is now uncommon. $350.

484. Williams, Jonathan: IN THE AZURE OVER THE SQUALOR RANSACKINGS & SHOR- INGS. [New York: Jordan Davies], 1983. Quarto. Quarter vellum and green pastepaper boards, printed label. Top edge dust darkened a bit, otherwise fine. First edition. From a total edition of one hundred copies, this is one of the twenty-five bound thus, and printed on Penshurst paper (a few in this binding were also printed on Japanese etching paper). This copy is briefly inscribed and signed by the author on the colophon. $250.

485. Williams, Tennessee [sourcework & screenwriter]: [Original Australian Color Litho- graphed Daybill for:] BOOM! [Sydney]; Universal Pictures, [1968]. Vintage brilliant color lithographed daybill poster (30 X 13.25”, 76 X 34cm). Folded, as issued, about fine. A vivid pictorial daybill poster for the Australian release of Tennessee Williams’s own adaptation to film of “The Milk Train Doesn’t Stop Here Anymore” (1962). Joseph Losey directed Richard Burton, Elizabeth Taylor and Noel Coward, et al, and Williams is said to have favored it among all film adaptations of his work. The color lithography is by Burton PTY.Ltd. of Sydney. $100.

With Several Hundred Story Board Drawings 486. [Williams, Tennessee (sourcework)]: Coppola, Fran- cis Ford; Fred Coe, and Edith Sommer [screenwriters]: “THIS PROPERTY IS CONDEMNED” SCREENPLAY BY .... Beverly Hills: Seven Arts Associated Corp., [no earlier than 12 August 1965]. [1],151 leaves. Quarto. Mimeographed typescript, printed on rectos only of white, blue and salmon stock. Ink name on upper wrapper and occasionally on revision sections (see below), modest use and smudging to wrappers, closed tear at lower overlap edge of rear wrapper, a few annotations, very good. A “revised final” draft of this film adaptation of Williams’s 1941 play by Coppola and associates. Sydney Pollack directed the 1966 release, starring Natalie Wood, Robert Redford, et al. This copy evidences even further substantial revision via dated inserts on blue and salmon paper. This script bears the ownership signature of Hol- lywood story board artist John L. Jensen who, although not formally credited in that capacity for the film by IMDB, was clearly involved. The script is accompanied by a binder containing ca. 125 leaves of highly finished story board drawings, usually three per leaf, with neatly handwritten captions, variously dated, but signed and dated by him on the first leaf on 7 October 1965. Various sequences, all of which are reproduced via a photo-chemical process, bear dates in October, November, or December, and a few are noted as revisions. There are a few corner creases and an occasional fore- margin shows some use, but it is in all a rather striking presentation. Natalie Wood received a Golden Globe nomination for her role. Preservation of such a substantial sequence of story boards is an uncommon occurrence. $1500.

487. Woolf, Virginia: ORLANDO A BIOGRAPHY. London: Hogarth Press, 1928. Large octavo. Orange cloth. Portrait and plates. Year of publication ownership inscription of William York Tindall, darkening to endsheets and edges, else a very good copy, in significantly darkened, substantially imperfect dust jacket. First British, and the first trade edition, preceded by the Crosby Gaige limited edition. One of 5080 copies printed. This copy is in the normal binding; copies in brown cloth have been reported and Kirkpatrick suggests they may have been advance copies. WOOLMER 185. KIRKPATRICK A11b. $275.

488. [World War I Fiction]: Tomlinson, H.M.: ILLUSION : 1915. London: Heinemann, 1929. Cloth and batik boards, t.e.g. About fine in very lightly soiled dust jacket with some offsetting to the lower fore-corner of the rear panel. First U.K. edition, limited issue. One of 525 numbered copies, specially printed and bound, and signed by the author. $75.

489. [World War I Fiction]: Tomlinson, H.M.: ALL OUR YESTERDAYS. New York: Harper & Bros., 1930. Gilt cloth. A dull, but sound copy. First U.S. edition, trade issue, preceding the UK edition. An excellent presentation copy, inscribed by the author: “For Henry Seidel Canby, whose review of this book was the first I read & shall be the last, when I feel unhappy about it. H.M. Tomlinson. New York 10.II.30.” It “is a very fine book...Certain of its scenes, as that when the principal character drives from G.H.Q. to revisit his old comrades in the trenches, are perfection itself” – Falls. FALLS, p.299.$55.

490. [World War II]: [Koerner, Henry (artist)]: [Vintage World War II Poster:] UNITED WE ARE STRONG / UNITED WE WILL WIN [caption title]. Washington, D.C.: U.S. Government Printing Office / Office of War Informa- tion Poster 64, 1943. Vintage color offset lithographed poster (28 x 20”). Previously folded, neat pinpricks in each of the top corners, one panel on verso dust smudged, short split at lower edge of midpoint margin, else very good or better. One of the canonical WWII posters presenting a visual metaphor for the Allied nations, executed by the Austri- an-American artist (1915-1991) after his 1938 emigration to the US in the wake of Hitler’s annexation of his home country. The image depicts a battery of artillery gun barrels decorated with the flags of the Allies, all firing in unison into a tumultuous sky. Koerner later gained wide recognition for his portrait commissions for the covers of Time magazine. This particular poster was produced in several sizes for different uses. $475. 491. Yeats, William Butler: THREE THINGS. London: Faber & Faber, 1929. Pale blue boards, stamped in gilt. Drawings (one colored) by Gilbert Spencer. Modest rubbing at tips, faint dusting at board edges, tiny stray ink fleck on free endsheet, otherwise a near fine copy of this fragile book, with the backstrip wholly intact. First edition, limited issue. One of five hundred numbered copies, specially printed and bound, and signed by the author. Ariel Poem 18. WADE 166. $1750.

492. Yeats, William Butler: SEVEN POEMS AND A FRAGMENT. Dundrum: The Cuala Press, 1922. Linen-backed boards. Woodcut title pressmark (“Candle and waves”) by T. Sturge Moore in red. Lower corner a trifle bruised, toe of spine bumped, faint spot of darkening to upper board, slight soiling along top edge of lower board, but otherwise a very good copy. First edition of this major collection from Yeats’s height, signed by him on the title-page. One of 500 copies. The first book publication of “All Soul’s Night,” “A Prayer for my Son,” “Thoughts Upon the Present State of the World,” (the latter collected in The Tower as “Nine- teen Hundred and Nineteen”), etc. WADE 132. MILLER 32. MODERN MOVEMENT 56(ref). $2250.

493. Yeats, William Butler: THE WINDING STAIR. New York: The Fountain Press, 1929. Blue cloth, stamped in gilt, red morocco label, t.e.g. Usual slight fading at edges of lavender blue endsheets, a few faint bubbles to cloth; a nice copy. First published issue, likely preceded by the largely aborted issue intended to consist of 712 copies under Crosby Gaige’s imprint. Copy #113 of 642 numbered copies, signed by the author. WADE 164. MODERN MOVEMENT 56b. $3500.

494. Yeats, William Butler: THE WORDS UPON THE WINDOW PANE: A PLAY IN ONE ACT, WITH NOTES UPON THE PLAY AND ITS SUBJECT. Dublin: The Cuala Press, 1934. Linen-backed boards, paper spine label. Title woodcut engraving “Monoceros de Astris” by T. Sturge Moore. Spine a bit darkened and light ruffling of the spine label along the edges, but a very good copy. Half morocco case and insert, the former graced with a clumsy spelling error in the imprint.

First edition. One of 350 copies. An association copy of a high order, inscribed on the first blank: “His friend Olivia from W B Yeats.” Yeats met Olivia Shakespear through her cousin, Lionel Johnson, in May 1894. In the double shadows of her troubled marriage to Henry H. Shakespear and Yeats’s unrequited love for Maud Gonne, they began a close and enduring friendship that was punctuated by at least one, if not two, periods of genuine intimacy. In 1896, Yeats entered into a year-long affair with Olivia, counted as his first consummated physical relationship. However, Yeats’s ties to Maud Gonne were irrevocable, and resulted in the emotional termination of the affair recorded in “The Lover Mourns for the Loss of Love.” Several of the other poems he wrote to her are also collected in The Wind Among The Reeds. They remained close friends and correspondents nonetheless, and it was Olivia who introduced Yeats to Pound in 1909. After her death in October 1938, Yeats wrote about her in a letter: “For more than forty years she has been the centre of my life in London and during all that time we have never had a quarrel, sadness sometimes but never a difference.” WADE 174. MILLER 52. $17,500. 495. YOUTH POETRY OF TODAY. Cambridge, MA. October 1918 through August 1919. Volume one, numbers one through six (all published). Small quarto. Printed wrappers. Some dust-tanning to a few wrappers, sharp corner crease to rear wrapper of last number, otherwise very good or better. Edited by Royall Snow, Jack Merten and Donald B. Clark. Published by a group of Harvard undergraduates, but without direct affiliation to the university. Contributors include E.A. Robinson, Amy Lowell, Bynner, J.G. Fletcher, S.V. Benet, Damon, Conkling, Aiken, Yvor Winters, Mark Turbyfill, et al. Uncommon. HOFFMAN, et al., p.255. $250.

496. [Zadkine, Ossip]: WENDINGEN. Amsterdam. 1929. Series 10, number one. Oblong quarto. Open sewn pictorial woodcut wrappers. Photographs. Wrapper very slightly tanned and rubbed, trace of foxing to endleaves, else very good. A special number devoted to Zadkine (chiefly his sculpture), with an introductory essay and fifteen plates. The woodcut wrapper is by Hildo Krop . $100.

497. Zangwill, Israel: CHILDREN OF THE GHET- TO. Philadelphia: Jewish Publication Society, 1892. Two volumes. Small octavo. Crimson cloth, stamped in black and gilt. Spines a bit faded, light soiling to cloth, 1894 ownership inscription in each volume, clipping offset to title verso and contents leaf in first volume, but a good, tight set. First U.S. edition, published the same year as the uncommon London triple-decker, of the author’s most widely read work of fiction. $175.

498. Zimmermann, Jacques: [Original Untitled Monochrome Etching]. [Milan: Galerie Schwarz, ca. 1961]. Original monochrome etching, plate size 11 x 14.5 cm, on 26.5 x 19.5 cm sheet. Mounted in stiff board and acetate mat, with printed caption on verso. Fine. One of sixty numbered copies, in addition to twenty-five copies numbered in Roman, signed and dated in the margin by the artist. Printed in Paris in the Atelier of Georges Leblanc on hand made paper from Papeteries de Rives. Zimmermann (b. 1929 in Anvers) is noted for work that lies within the realm between fantasy landscapes and Formal Abstractionism; the term “magic Symbolism” has been applied to describe his body of work. He exhibited with the Phases group in an exhibition held at the Klosque Center Cultural and the Centre Noroit in Arras in 2000. This print was published as an element of Galerie Schwarz’s series, L’Avanguardia Internazionale. $300.

499. Zinovich, Jordan: COBWEB WALKING. [Brooklyn]: Artichoke Yink Press & Alley Pro- ductions, [nd but ca. 2003]. Square octavo. Pictorial self-covers. Open sewn pictorial stiff card stock. Illustrations. Fine. Limited to an edition of 130 copies, signed by the author/artist. “The face for the body text and titles is De Vinne, set in linotype at Woodside Press. Linoleum cuts by Jordan Zinovich based on rock art images he collected at various sites over a period of seven years. Page design by Christopher Wilde and Jordan Zinovich. Printed at Brooklyn artist bookmakers’ alliance, Greenpoint, Brooklyn, on a Vandercook SP15” -- colophon. An uncommon collection of poems by the Canadian-born poet/novelist/theorist/historian. $300.

500. Zukofsky, Louis: A TEST OF POETRY. New York: Jargon / Corinth, 1964. Printed wrappers. Spine sunned else a very good or better copy. First Jargon printing, with a brief note by J. Williams. Inscribed by the author: “Polly’s ‘home- work’ and all happiness Louis Zukofsky 3/1/66.” $100.