Literary Miscellany

A Selection from Recent Acquisitions and Stock Including Prose and Poetry from the 17th - 20th Centuries Association Copies and Letters Fine Printing, Illustrated Books, Film Material, And Varia of Other Sorts

Catalogue 306

WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are considered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inventory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. ______We invite you to visit our web site

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Members ABAA and ILAB 1. Agee, James, and Walker Evans: LET US NOW PRAISE FAMOUS MEN THREE TEN- ANT FAMILIES. Boston: Houghton Mifflin, [1960]. Cloth. Photographs. Top edge quite dust marked, else a nice copy in dust jacket with one tiny nick.

First printing of the expanded edition of an American classic, including Evans’s Foreword, “James Agee in 1936,” and the expanded selection of his photographs. $225.

2. Aiken, Conrad: USHANT AN ESSAY. New York & Boston: Duell, Sloan and Pearce / Little, Brown and Company, [1952]. Cloth. A rather used and edgeworn copy, in slightly worn supplied dust jacket.

First edition of Aiken’s autobiography, a work many regard as his most significant prosework. An inscribed presentation copy from Aiken to the daughter and son-in-law of his friends, Allen Tate and Caroline Gordon: “For Percy and Nancy from Conrad with all the polymorphouses [sic] 1957.” $225.

3. Aldington, Richard [trans]: AURELIA. By Gerard de Nerval. [London]: Chatto & Windus, 1932. Large octavo. Gilt polished buckram and decorated boards, t.e.g. Plates. Faint tanning along top and fore edges of boards, otherwise about fine.

First edition, deluxe issue. One of fifty numbered copies, signed by the translator, from a total edition of seven hundred copies. The plates are original lithographs by Pearl Binder (Lady Elwyn-Jones). Uncommon in this signed issue. $250.

4. [Allen Press]: Allen, Lewis & Dorothy, et al.: THE ALLEN PRESS BIBLIOGRAPHY. A FAC- SIMILE WITH ORIGINAL LEAVES AND ADDITIONS TO DATE INCLUDING A CHECKLIST OF EPHEMERA. [San Francisco: The Book Club of California, 1985]. Small folio. Gilt cloth. Illustrations. Tipped-in specimen leaves. Fine.

First enlarged edition, being a faithful reproduction of the original Allen Press bibliography, with additional descriptions of books published after the bibliography’s appearance, and checklists of ephemeral printings compiled by Steven Corey. Includes commentary by the Allens and Carey Bliss. One of 750 copies printed for sale to members of the Club. $250.

5. [Almanacs – British]: [A Contemporary Nonce Volume of Fourteen London Almanacs for 1759]. London: Various printers, 1759. Small octavo. Con- temporary red morocco, gilt extra, with gilt monogram ‘A’ with crown in each corner of boards and in four of the five spine compartment, a.e.g., marbled endsheets, vellum strip tabs. Woodcuts, figures and diagrams. Printed in black and red. Duty stamp in lower corner of each title-page, modest rubbing at extremities, otherwise an excellent assemblage in near fine condition.

A lovely period nonce volume of a variety of London almanacs for the year, made up of the following titles: a) The Ladies’ Diary: Or Woman’s Almanack, For The Year Of Our Lord 1759 … Containing New Improvements In Arts And Sciences, And Many Entertaining Particulars; Adapted For The Use And Diversion Of The Fair-Sex…. Printed by A. Wilde. 48pp. ESTC T58263. Edited by Thomas Simpson; b) The Gentleman’s Diary, Or The Math- ematical Repository; An Almanack For The Year Of Our Lord, 1759. .. Containing Many Useful And Entertaining Particulars, Peculiarly Adapted To The Ingenious Gentlemen Engaged In The Delight- ful Study And Practice Of The Mathematicks… [Printed by W. Bowyer?] For the Company of Stationers. 48pp. ESTC T57480; c) [In Greek: Olympia Domata]; Or, An Almanack For The Year Of Our Lord God, 1759 … Wherein Is Contained The Lunations, Conjunctions, Aspects, And Effects Of The Planets; The Increase, Decrease, And Length Of The Days And Nights; With The Rising, Southing, And Setting Of The Planets And Fixed Stars Throughout The Year; Whereby May Be Known The Exact Hour Of The Night At All Times … By Tycho Wing. Printed by T. Parker .... [48]pp. ESTC T28606; d) [In Greek: Ephemeris]. Or, A Diary Astronomical, Astrological, Meteorological, For The Year Of Our Lord 1759 .... Printed by John Hughs. [48]pp. By John Gadbury (or heirs). ESTC T18174; e) Parker’s Ephemeris For The Year Of Our Lord 1759. For the Company of Stationers. [56]pp. Compiled by George Parker. ESTC T29526; f) Merlinus Liberatus … Wherein Is Contained All Things Fitting And Useful For Such A Work, As An Ephemeris Of The Daily Motions Of The Planets, With Their Various Configurations, Aspects, Conjunctions, Lunations, Eclipses, Astronomical, Astrological, Meteorological Observations ... Printed by R. Reily. [48]pp. Update of John Patridge’s series. ESTC T17055; g) Vox Stellarum: Or, A Loyal Almanack For The Year Of Human Redemption, 1759 .... Printed by J. Bettenham. [32],16pp. Update of series by Francis Moore. ESTC T16901; h) Remarkable News From The Stars: Or, An Ephemeris For The Year 1759. Printed by A. Wilde. [48]pp. Update of series by William Andrews. ESTC T26971; i) The English Apollo: Or, Useful Companion ... Particularly Applied To This Present Year 1759 .... Printed by A. Wilde. [48]pp. Update of series initiated by Richard Saunders, and heirs. ESTC T17741; j) The Coelestial Diary: Or, An Ephemeris For The Year Of Our Blessed Saviour’s Incarnation, 1759. Printed by J. Bettanham [and for second part:] Robert Brown. [48]pp. Update of series by Salem Pearse; k) Merlinus Anglicus Junior: Or, The Starry Messenger, For The Year Of Our Redemption, 1759 .... Printed by R. Reily. [48]pp. Update of the series by Henry Coley. ESTCT16993; l) Speculum Anni Redivivum: Or, An Almanack For The Year Of Our Lord 1759 .... Printed by T. Parker. 7,[41]pp. Compiled by Henry Season. ESTC T55892; m) [In Greek: Atlas Ouranios]. The Coelestial Atlas; Or, A New Ephemeris For The Year Of Our Lord 1759 ... Printed by T. Parker. [48]pp. Compiled by Robert White. ESTC T59963; and n) Poor Robin. 1759. An Almanack After The Old And New Fashion.... Printed by [William Bowyer? first part] Thomas Parker [second part]. [48]pp. Update of the series by William Winstanley. ESTC T17641. In addition to the standard fare of calendars, tables of tides and eclipses, interest rates and such, many of the almanacs here include diversions and amusements, including among them enigmas, rebuses, paradoxes, and poetry, some of them of a ribald nature. Some have endeavored to make the case that Poor Robin provided Franklin with a model for Poor Richard. $1250.

6. [Alphabet Press]: Curle, Richard: WATCHING BIRDS WITH W. H. HUDSON. New York: The Alphabet Press, 1936. Sewn printed wrappers. A couple minor marks to wrappers, otherwise near fine.

First separate edition. One of thirty-three numbered copies (the entire edition) printed as the first publication of the Alphabet Press. Fulsomely inscribed and signed by Curle in 1937. This edition preceded its publication in Caravansary And Conversation. $125.

7. [American Book Illustration]: Hamilton, Sinclair: EARLY AMERICAN BOOK ILLUSTRA- TORS AND WOOD ENGRAVERS 1670 – 1870. A CATALOGUE OF A COLLECTION OF AMERICAN BOOKS ILLUSTRATED FOR THE MOST PART WITH WOODCUTS AND WOOD ENGRAVINGS ... WITH AN INTRODUCTORY SKETCH OF THE DEVELOPMENT OF EARLY AMERICAN BOOK ILLUSTRATION BY ... [with:] ... SUPPLEMENT. Princeton: Princeton University Press, 1968. Two volumes. Small quarto. Gilt cloth. Heavily illustrated. Bookplate in each volume, otherwise abut fine.

First edition of the supplement, second printing of the revised edition of the first volume. Foreword by Frank Weitenkamp. Based in large part on Hamilton’s own collection, then at Princeton. Including those listed in the supplement, this catalogue describes over 2000 items, often with substantial annotations and notes on the artists and printers, representing the works of over 700 artists. Two preliminary versions of the first catalogue were issued in 1945 and 1950, but only included the material in the collection up to those dates. An essential reference work. $300.

8. [Anthology]: FAME’S TRIBUTE TO CHILDREN BEING A COLLECTION OF AUTOGRAPH SENTIMENTS CONTRIBUTED BY FAMOUS MEN AND WOMEN FOR THIS VOLUME DONE IN FACSIMILE AND PUBLISHED FOR THE BENEFIT OF THE CHILDREN’S HOME, OF THE WORLD’S COLUMBIAN EXHIBITION. Chicago: A.C. McClurg, 1892. Quarto. Cream cloth, lettered in gilt. Two bookplates on pastedown, white cloth moderately hand soiled, else a good, tight copy. Cloth case (faded).

First edition, printing contributions of the moment (“sentiments dedicated to little children”) in autograph facsimile by Hardy, James, Kipling, Jewett, Howe, Holmes, Meredith, Tchaikovsky, political dignitaries, et al. BAL 10901. $250.

9. [Apollinaire, Guillaume]: Amaro, Luigi: ELEGIE HEROIQVE POVR LA MORT DE GALLI- ENI. Rome [Bologna & Paris: Chez G. Cres & Cie, 1919]. Large quarto. Pictorial wrappers. Illustrated with engravings by Antonio Moroni. Wrappers slightly dust smudged, else near fine.

First edition. With a prefatory poem, “À Luigi Amaro,” by Apollinaire. One of 965 numbered copies printed on Carta di Fabriano, signed by the author. This copy bears his additional 1927 signed presentation inscription. Talvart & Place note the existence of this item, but err in transcribing the title, asserting it is Apollinaire rather than General Gallieni who is the subject of the work. TALVART & PLACE I:84. Sold

10. Apple, Max: INTRODUCING THE ORANGING OF AMERICA [wrapper title]. [New York: Bantam Books 1973]. Printed self wrappers. About fine.

First edition of the author’s first separate publication, distributed in advance of the story’s appearance as the cover item for American Review 19. $125.

11. [Architecture]: Johannes, Heinz: NEUES BAUEN IN BERLIN EIN FÜHRER MIT 168 BILDERN.... Berlin: Deutscher Kunstverlag, 1931. Narrow large octavo. Cloth backed stiff wrapper, with pictorial metallic finish upper wrapper. Extensively illustrated with photographs, plans and renderings. Large folding map laid in. Light foxing to top edge of preliminary and terminal leaves, spine a bit worn with closed tears at edges where wrappers are affixed, otherwise a very good copy.

First edition. A quite striking record of the largely commercial and civil buildings of recent vintage in the city and immediate environs, with architects and builders identified. The survival rate of these buildings over the next decade and a half must have been somewhat limited. $250.

12. [Art Deco Manufacturing Design]: [Original Design For Art Deco Turkey Bookend]. [Westport, CT. N.d., but early 20th century]. White draughtsman’s ink on charcoal cardstock, matted. 15.5 x 10.5” (39.4 x 26.7 cm). Near fine, mat a bit dusty.

A design, modeled for a bookend, of a turkey in three- quarter pose viewed from the right in a rest position, feathers unfurled, graphically depicted in classic Art Deco design. Unsigned, but attributed by the former owner to F.E. Greene, an industrial designer holding myriad patents, the earliest among them dating from the 1920s, including those for automobile accessories such as dome lights, automobile door locks and trimplates for both. Addition- ally in the early 1930s he held patents for methods for precooling refrigerator cars, and ornamental designs for automobile battery storage boxes. He is also credited with being one of the early designers of the PADA radio. He is known to have lived in Westport, CT during 1938. $350.

13. Auster, Paul: THE ART OF HUNGER AND OTHER ESSAYS. [London]: The Menard Press, 1982. Stiff printed wrappers. About fine.

First edition, preceding its U.S. analogue by almost a decade. Inscribed by the author on the title-page “For John --- Paul.” $375.

14. Banks, Ian: WALKING ON GLASS. [London]: Macmillan, [1985]. Boards. Usual uniform tanning of text block, otherwise an excellent copy in dust jacket of the author’s second novel.

First edition. Inscribed and signed by the author in 1986, with reference to “watching Bruce’s [Sterling] cat ....” $100.

15. [Barry, Margaret Neilson]: THE LITTLE DAME AND THE WILD ANIMALS. A STORY TOLD BY A LITTLE GIRL TO AMUSE HER BABY BROTHER. Faquier, VA: Printed by Herbert Barry, 1880. [2],18pp. plus frontis and five plates. Small octavo. Cloth backed pictorial boards. Boards a bit smudged and marked, endsheets darkened from glue utilized for binding, but a very good copy.

First edition of this crudely illustrated children’s tale, to all appearances the production of an amateur hobby press. OCLC/Worldcat locates 6 copies on the occasion of cataloguing this copy, and attributes authorship to the printer. However, Frederick Locker’s copy was presented to him by “Miss Margie Barry, Clifton Farm, Warrenton, Faquier Co., Virginia ....” $125.

16. Baskin, Leonard: “TO COLOUR THOUGHT.” New Haven: [Yale University Library], 1967. Quarter morocco and boards, t.e.g. Color frontis. Plates. Minute scratch to upper board, otherwise fine, without the paper slipcase.

First edition. One of 300 numbered copies printed by hand by Giovanni Mardersteig at the Officina Bodoni. $275.

17. Bates, H.E.: CHARLOTTE’S ROW. London: Jonathan Cape, [1931]. Gilt blue cloth. Manu- facturing crease in cloth across upper board, a couple faint fingermarks to cloth, otherwise very good in price-clipped pictorial dust jacket with some small old external mends to short tears at spine ends. Publisher’s promo card laid in.

First edition, British trade issue. Inscribed and signed by the author on the front free endsheet: “Reginald Addys [?] Scott, with all good wishes from H.E. Bates.” This is one of the copies without the extra inserted advert leaf noted by Eads that appears in some copies. EADS A11a. $350.

18. [Beardsley, Aubrey]: G[allatin], A.E.: WHISTLER’S ART DICTA AND OTHER ESSAYS. Boston & London: Charles Goodspeed / Elkin Mathews, 1904. Small octavo. Cloth and marbled boards, paper spine label. Illustrations and tipped-in folding facsimiles. Small chip from spine label, fore-tips a bit worn, inconspicuous scratch to upper board, but a nice copy, internally fine.

First edition. One of 175 copies printed at the Merrymount Press by D.B. Updike. Includes an unfinished border design by Beardsley for Le Morte D’Arthur, facsimiles of illustrated letters from him, etc. LASNER 145. SMITH & BIANCHI 191. NELSON 1904.20 $200.

19. [Beat Generation]: Charters, Ann [ed]: SCENES ALONG A ROAD PHOTOGRAPHS OF THE DESOLATION ANGELS 1944-1960. [New York]: Portents / Gotham Book Mart, [1970]. Pictorial wrappers. Photographs. Wrappers lightly used, with tiny edge tear at top of rear wrapper, very good.

First edition, wrapperbound issue (one of 1750 copies thus). Includes three poems and comments by Allen Ginsberg. Inscribed by Charters to Ken Lohf, to whom special thanks are made in the printed acknowledgements, with his small book label. $75.

20. Beckett, Samuel: MURPHY. [Paris]: Bordas, [i.e. Les Éditions de Minuit] 1947 [i.e. 1951]. Octavo. Printed wrappers. Very slight toning at edges of textblock and wrappers, short closed tear in lower edge of rear wrapper, faint rubbing to spine folds, but a very good copy.

First edition in French, in the second issue wrappers. Translated from the English by Beckett and Alfred Péron in the years prior to the outbreak of WWII, and Péron’s death in a concentration camp. Originally published as title 5 in the Collection Les Imaginaires. The total first printing consisted of three thousand copies, but after the passing of four years, and the sale of fewer than three hundred copies, the unsold stock passed to Les Éditions de Minuit and was reissued in these new wrappers bearing their imprint and ads. F&F 145.01. $400.

21. Beckett, Samuel [trans]: DRUNKEN BOAT A TRANSLATION OF ARTHUR RIMBAUD’S POEM LE BATEAU IVRE. Reading: Whiteknights Press, 1976. Folio. Brown cloth, lettered in blue. Facsimile. Crown of spine bumped, else very nice copy.

First edition. Edited with an introduction by James Knowlson and Felix Leakey. From a total edition of 300 copies, this is one of one hundred specially bound numbered copies signed by Beckett. $1500.

22. Beckett, Samuel: POEMS 1930 – 1989. London: Calder Publications, [2002]. Quarto. Half green morocco and marbled boards, raised bands, compartments gilt extra, t.e.g. Fine in matching slipcase.

First edition, limited issue. One of one hundred numbered copies (90 for sale), specially bound, illustrated with an original lithographed portrait frontis of Beckett by Louis Le Brocquy, and signed by the artist on the colophon. This edition includes previously uncollected poems and translations as well as some material hitherto unpub- lished. $2250.

23. Bennett, Stuart: TRADE BOOKBINDING IN THE BRITISH ISLES 1660 – 1800. [New Castle & London]: Oak Knoll Press / The British Library, 2004. 176pp. Quarto. Cloth and boards. Extensively illustrated with color photographs. New, in dust jacket.

First edition of this very significant contribution to the study of the interrelations between printers, binders and booksellers during the period, demonstrating from extensive evidence that books were “predominantly sold ready- bound in sheep, calf, and goat as well as boards and wrappers,” rather than, as convention- ally assumed, almost exclusively in the latter form, or in sheets, to then be bound at the discretion of the buyer. Published at: $85.

24. Berryman, John: THE DISPOSSESSED. New York: Sloane, [1948]. Cloth. Extremities a bit shelf-rubbed, else a very good copy, in spine faded, modestly chipped and used dust jacket.

First edition of Berryman’s third solo publication. Inscribed by him to his long-time friend and occasional editor, Catherine Carver: “ Catherine John / 10 May 1948.” The LC Deposit copy is dated 19 May. Carver was associated with Partisan Review, and was editorially involved in the significant number of contributions Berryman made to PR in the latter half of the 1940s. STEFANIK A4. $1500.

25. Berryman, John: HOMAGE TO MISTRESS BRADSTREET AND OTHER POEMS. Lon- don: Faber, [1959]. Printed wrappers. Text on proofing paper and a bit tanned, closed tear at fore-edge of preliminary blank, else about fine.

Uncorrected page proofs of the first British edition, with the text expanded by poems selected by Berryman from other collections. The equivalent US edition did not appear until nine years later, and Stefanik devotes four pages to detailing the variants and revisions in their texts as they appear here. Publisher’s review slip laid in. STEFANIK A9.I.a (noting the Lilly copy of this proof). $150.

26. [Bewick, Thomas]: Bain, Ian [editor and annotator]: THE WATERCOLOURS AND DRAW- INGS OF THOMAS BEWICK AND HIS WORKSHOP APPRENTICES. Cambridge: MIT Press, 1981. Two volumes. Oblong small quarto. Gilt cloth. Portrait, facsimiles, illustrations (some in color). Bookplate on pastedown in each volume, otherwise a fine set in slightly marked cloth slipcase. Prospectus laid in.

First edition, U.S. issue, bound up from British sheets. A substantial and important presentation of Bewick’s seldom seen watercolors, often in parallel with their derivative woodcuts and engravings. $150.

27. [Bible – English – Wycliffe Version]: THE HOLY BIBLE, CONTAINING THE OLD AND NEW TESTAMENTS, WITH THE APOCRYPHAL BOOKS, IN THE EARLIEST ENGLISH VERSIONS MADE FROM THE LATIN VULGATE .... Oxford: At the University Press, 1850. Four volumes. Large, thick quartos (34 X 27). Original publisher’s fine grain cloth, printed spine labels. Bookplates and spine labels of a theological library; labels legible, but somewhat tanned and worn; inner hinges strengthened or repaired at various points; spine ends frayed; very occasional light, scattered foxing; some tears and repairs to spine of volume four; still, for an oversize and impractically bound set for which such condition problems are virtually inevitable, a functional and agreeable set, internally very good.

First complete edition of the Wycliffite texts, edited by Josiah Forshall and Frederic Madden from extant manuscripts, chief among them those of Purvey’s early 15th century revision of the translations of the Gospels and New Testament attributed to John Wycliffe, and of most of the Old Testament and Apocrypha attributed to Nicholas of Hereford. The New Testament (alone) was first published in a rare subscribers’ edition of 160 copies in 1731. In this edition Purvey’s revision is printed in parallel with the original version, accompanied by editorial notes and a glossary. Additionally, a descriptive list of the 170 extant manuscript versions is printed. “Wycliffe has been called the ‘father of English prose.’ His homely colloquial style, and Hereford’s somewhat awkward literalism, were both softened by Purvey’s revision” – Herbert. Postage extra. HERBERT 1876. $2750

28. [Bierce, Ambrose]: THE FIEND’S DELIGHT. By “Dod Grile.” London: John Camden Hotten, [1873]. Plum-brown cloth, decorated in gilt. Rebacked, with the original backstrip laid down, forecorners a bit worn and cloth a bit rubbed, small spot to fore-edge in latter portion of text (mainly in the 32pp. catalogue), early ink inscription on half-title, once tipped-in bookplate now laid in. A sound copy of an uncommon book.

First edition of Bierce’s first separate publication, preceding the American issue consisting of Hotten sheets under A.L. Luyster’s imprint. In spite of the above noted detractions, this is not too bad a copy of a book often seen in dilapidated condition. BAL 1096. STARRETT 1. $750. 29. [Bierce, Ambrose, and Thomas A. Harcourt]: THE DANCE OF DEATH. By William Her- man. San Francisco: Henry Keller & Co., 1877. Pale plum cloth, lettered and decorated in black. Bookplate once tipped to front pastedown now just laid in, a few small bubbles to cloth, but a very good copy.

Second, corrected and enlarged printing (i.e. first trade edition) of this collaborative work, preceded by the “Author’s Copy” published earlier the same year. “William Herman” was William Herman Rulofson, who Bierce identified as the financier of the publication, and not a contributing writer. BAL 1104. $200.

The Continuing Gift to Children from Lord Wharton.

30. [Binding]: THE BOOK OF COMMON PRAYER AND ADMINISTRATION OF THE SAC- RAMENTS ... [with:] THE HOLY BIBLE, CONTAINING THE OLD AND NEW TESTAMENTS ... [with:] A NEW VERSION OF THE PSALMS OF DAVID EDITED ... BY N. BRADY, D.D., AND N. TATE, ESQ. Oxford: Printed at the University Press by Samuel Collingwood and Co., 1836. Small, thick octavo. Contemporary calf. Somewhat edgeworn, but sound, remnants of fore-clasps, front endsheet and title reinserted and a bit ragged; various ownership inscriptions (see below) and use; a sound copy.

Editions of no particular consequence, but in a contemporary binding with a large blind stamped panel on the upper board with the text: “The Gift of Philip Late Lord Wharton Distributed by His Lordships Trustees 1838.” Affixed to the front pastedown is a printed slip outlining the terms and conditions of the gift, reading in part: “Lord Wharton having directed that the Name and Age of the Children, to whom the Bibles are given, shall be wrote in the book; the Trustees require it be so done; and the Child shall be taught to read, and be able to say by Heart the Catechism ... [etc].” A manuscript note indicates “The Gift of Lord Wharton ... Feby. 3d. 1839.” Above it appears the inscription: “Emma Cave Aged 12 Feby. 3d 1839.” Opposite, on the free endsheet appears the ownership signature of “Elizabeth Ann Cave Aged 11.” Sadly, on the rear pastedown is the early note: “Emma Cave Born May 23rd 1830 and died April 7th 1842 Aged 13 [sic].” The Gift Trust was established by Lord Wharton in his will at his death in 1696, and the Trust continues to some extent in the endeavor. One presumes many thousands from this era remain extant, but the binding is of passing interest. GRIFFITHS 1836.11. $175.

31. [Binding]: Aldred, W. W.: THE LOVE AFFAIR A DRAMA OF AN ANCIENT DEMOCRACY IN FIVE ACTS WITH SIX TABLEAUX. London: George Redway, 1887. 214pp. Small octavo. Full contemporary calf, raised bands, side-panels decorated with an elaborate Grolieresque pattern of intertwining gilt rules surrounding and crossing through a central panel. Early ink name on title, affectionate gift inscription on half-title, spine and extremities a bit worn, with small chip at toe of lower joint, but a good copy.

First edition. With the small book label of E. Parsons & Sons on the pastedown, with a monogram label partially laid over it, and the pencil attribution of the binding to the Chiswick Art Workers’ Guild. $350.

32. [Blackmore, R. D. (trans)]: THE FARM AND FRUIT OF OLD A TRANSLATION IN VERSE OF THE FIRST AND SECOND GEORGICS OF VIRGIL. “By a Market-Gardener.” London: Sampson Low, Son, and Co., 1862. vi,57pp. 12mo. Flexible slate gray cloth, lettered in gilt. A few minor foxmarks to endsheets, cloth faintly rubbed; a very good, or better, bright copy.

First edition, clothbound issue. A pseudonymously published translation by Blackmore, constituting his fifth book publication, and preceding his first novel by two years. Wolff’s copy is in wrappers, lettered in black. WOLFF 533. NCBEL III:915. $450. 33. Blake, William: [eds]: THE WORKS OF WILLIAM BLAKE POETIC, SYMBOLIC, AND CRITICAL ... WITH LITHOGRAPHS OF THE ILLUSTRATED ‘PROPHETIC BOOKS,’ AND A MEMOIR AND INTERPRETATION.... London: Bernard Quaritch, 1893. Three volumes. Quarto. Handsomely bound in somewhat later three quarter crushed levant, raised bands, t.e.g. Portrait, facsimiles and plates. Minor rubbing at edges, else near fine.

Edited by William Butler Yeats and Edwin John Ellis. First edition, large paper issue. One of one hundred and fifty sets printed on large, fine paper, from a total edition of 650 sets. The original publisher’s binding for the large-paper copies, “brown imitation leather with leather spine and corners,” tends to be rather vulnerable to wear. “The enthusiasm and compre- hensiveness of this work are of considerable historical importance” – Bentley. Wade quotes Yeats’s inscription in his own copy about the nature of this collaboration: “The writing of this book is mainly Ellis’s, the thinking is as much mine as his. The biography is by him. He re-wrote and trebled in size a biography of mine. The greater part of the ‘symbolic system’ is my writing; the rest of the book was written by Ellis working over short accounts of the books by me, except in the case of the ‘literary period’ the account of the minor poems, & the account of Blake’s art theories which are all his own except in so far as we discussed everything together....” WADE 218. BENTLEY 369. $1750.

34. Blake, William: THE WRITINGS OF WILLIAM BLAKE [with:] Wilson, Mona: THE LIFE OF WILLIAM BLAKE. London: The Nonesuch Press, 1925–27. Four volumes. Quarto. Quarter vellum and marbled boards. Photogravure frontis and numerous plates. Endsheets faintly tanned, trace of faint soiling to spines, a couple of lower forecorners rubbed, but a very good, or better, set.

One of 1500 numbered sets, printed on handmade paper. Edited by Sir Geoffrey Keynes. Wilson’s Life ... is one of 1480 numbered copies, published uniform with, but separate from the Works. BENTLEY & NURMI 295A*. $850.

35. Blake, William: THE BOOK OF THEL. [San Francisco]: The Book Club of California, 1930. 12mo. Gilt vellum over stiff wrappers. Slight tanning at endsheet gutters, vellum shows natural slight mottling and a bit of foxing, otherwise very good in slipcase with slight darkening to the label.

One of three hundred numbered copies printed at the Windsor Press. One of the illustrations by Julian Links drew a letter of protest from Rockwell Kent, for it is blatantly derivative of one of his bookplate designs. $100.

36. Blake, William: AMERICA A PROPHECY. [Paris: The Trianon Press for the William Blake Trust, London, 1963]. Small folio. Half morocco and marbled boards. Eighteen leaves of color facsimiles, plus commentary by Geoffrey Keynes. Errata slip. Bookplate, four small, faint tape shadows on pastedowns, otherwise fine in very good slipcase with some imperfections to the marbled paper on the shelf panels.

One of 480 numbered ordinary copies, from a total edition of 526 copies on Arches. The Mellon copy was utilized for this faithful facsimile. $800. 37. Blunden, Edmund: PASTORALS: A BOOK OF VERSES. London: Erskine MacDonald, 1916. Printed wrappers. Modest use at overlap edges of wrappers, else near fine.

First edition of the poet’s first commercially published volume, issued in the Little Books of Georgian Verse, Second Series, in an edition of 1050 copies. KIRKPATRICK A7. REILLY (WWI), p.59. $150.

38. Bly, Robert, and James Wright trans]: TWENTY POEMS OF GEORG TRAKL. [Madison]: The Sixties Press, [1961]. Gilt black cloth. Endsheets slightly offset, as usual, boards slightly bowed, otherwise a very good copy, in slightly dust smudged jacket with a few small nicks.

First edition. The clothbound issue of this early production by both poets. 1000 copies were bound in cloth, 500 in wrappers. Laid in is a receipt on publisher’s letterhead forwarding this copy, signed by C. Bly. GUSTAFSON B2a. $200.

39. [Book Collecting]: Adelman, Seymour: THE MOVING PAGEANT A SELECTION OF ESSAYS. Lititz, PA: Sutter House, 1977. Gilt cloth. Ownership signature on half-title, spine lightly sunned, else very good or better.

First edition. No. 95 of 650 copies. Inscribed by the author opposite the half-title: “For Pamela Reilly, with best wishes from Seymour Adelman”. With, loosely inserted, a printed invitation to a memorial “occasion in honor of Seymour Adelman” held at Bryn Mawr College on 10 Oct. 1985. An eminently readable collection of talks and essays by one of Philadelphia’s most notable bibliophiles. $75.

40. [Book of Common Prayer – Fore-edge Painting]: THE BOOK OF COMMON PRAYER, AND ADMINISTRATION OF THE SACRAMENTS AND OTHER RITES AND CEREMONIES ... ACCORDING TO THE USE OF THE UNITED CHURCH OF ENGLAND AND IRELAND; TOGETHER WITH THE PSALTER .... Oxford: Printed at the Clarendon Press ... and Sold by W. Dawson, 1801. a-b8 A-Y8 Z4. Octavo. Contemporary unsigned crimson straight grain morocco, elaborately gilt extra, a.e.g. Spine a bit darkened and rubbed, with careful repair to upper joint, a bit edgeworn, contemporary ink gift inscription on recto and manuscript prayer on verso of binder’s blank, otherwise a very good copy.

One of the several editions in various formats printed in Oxford that year, the first year to incorporate the statement of unification of the Churches of England and Ireland on the title- leaves of the Prayer Book. This copy bears a moderately accomplished fore-edge painting of Jesus in prayer with a hovering angel above, likely a recreation of the scene in the Garden of Gethsemane. GRIFFITHS 1801.7. $1250.

41. [Bookselling Memoir]: Lindley, Elizabeth: THE DIARY OF A BOOK-AGENT. New York: Broadway Publishing Co., [copyright 1911]. Plum cloth, stamped in blind, lettered in gilt. Extremities rubbed and spotted, edges and endsheets foxed, bookplate on pastedown, otherwise a good copy.

First edition of this account of the experiences of a book-agent, including her term of agency for selling Mark Twain’s works, in the course of which she sold a set of his own works to Samuel Clemens, the consequence of a prank set up by Arthur Stedman. JOHNSON, p. 119. $65.

42. Borges, Jorge Luis: THREE VERSIONS OF JUDAS ... EN HOMENAJE A JORGE LUIS BORGES MUERTO EN NOVIEMBRE DE 1957 [wrapper title]. [Palma de Mallorca: Mos- sen Alcover, 1958]. Printed wrappers, with pictorial vignette. Wrappers a shade tanned at perimeter and spine, upper forecorner of upper wrapper creased otherwise about very good.

First edition of this translation into English by Anthony Kerrigan. A formerly uncommon little pamphlet, preceding any of the substantial book-length collections of translations of Borges’s work into English. $200. 43. Borges, Jorge Luis: FICCIONES. New York: Grove Press, [1962]. Boards. About fine, in very good, modestly rubbed dust jacket with some edgewear and a couple short closed edge tears.

First U.S. edition, edited by Anthony Kerrigan, with translations by various hands. Borges’ second substantial collection to see US publication. BECCO 267. $300.

44. Borges, Jorge Luis: LABYRINTHS SELECTED STORIES & OTHER WRITINGS. [Norfolk & New York]: New Directions, [1962]. Cloth and boards. Portrait. Trace of sunning at crown of spine, otherwise about fine in near fine, price-clipped dust jacket with two tiny nicks and some light rubbing at extremities.

First U.S. edition, edited by Donald Yates and James Irby, with a preface by Andre Maurois, and translations by various hands. BECCO 266. $350.

45. Borges, Jorge Luis: A PERSONAL ANTHOLOGY. New York: Grove Press, [1967]. Cloth. Pencil erasures to front endsheet and a few small dust spots to cloth, otherwise a very good or better copy in price-clipped dust jacket.

First US edition. An anthology of short stories, essays, poems and sketches, translated by various hands and edited, with a foreword, by Anthony Kerrigan. BECCO 275. $125.

46. Borges, Jorge Luis: THE ALEPH AND OTHER STORIES 1933-1969 TOGETHER WITH COMMENTARIES AND AN AUTOBIOGRAPHICAL ESSAY. New York: Dutton, 1970. Large octavo. Cloth. First US edition, translated by Norman Thomas di Giovanni and the author. About fine in dust jacket. BECCO 281. $150.

47. Borges, Jorge Luis: THE ALEPH AND OTHER STORIES 1933-1969 TOGETHER WITH COMMENTARIES AND AN AUTOBIOGRAPHICAL ESSAY. London: Jonathan Cape, [1971]. Boards. First UK edition, translated by Norman Thomas di Giovanni and the author. Trace of foxing to fore-edge, else about fine in price-clipped pictorial dust jacket by Alan Tunbridge with a minuscule closed edge-tear. BECCO 282. $150.

48. Borges, Jorge Luis: SELECTED POEMS 1923 – 1967. [London]: Allen Lane The Penguin Press, [1972]. Large octavo. Cloth. First U.K. edition. Edited, with an introduction and notes, by Norman Thomas di Giovanni, with translations by various hands. Tiny bump to top fore- tips, otherwise about fine in price-clipped dust jacket. $125.

49. Bosquet, Alain, and Edouard Roditi [trans]: GOD’S TORMENT ... TRANSLATED BY EDOUARD RODITI. Athens: Ohio University Press, [1994]. Cloth. First edition of these translations. Warmly inscribed by Bosquet on the title-page to Charles Henri Ford. Fine in dust jacket with minor use along top edge. $100.

50. [Bourke-White, Margaret (photographer)], and Lillian Hellman [screenwriter]: [Original Souvenir Program for:] SAMUEL GOLDWYN’S BRILLIANT PRODUCTION NORTH STAR [wrapper title]. [New York & Los Angeles]: RKO Radio Pictures, 1943. [16]pp. Quarto (30 x 22.5 cm), Pictorial self-wrappers. Heavily illustrated with photographs. White wrappers faintly dusty, with old horizontal fold, but very good.

The North Star was one of several projects undertaken by Hollywood at the behest of the government in order to clarify the occasionally confusing state of Soviet/U.S. relations brought on by the war, and to promote a sympathetic understanding of the plight of the common Rus- sian peoples in the face of the Nazi invasion. Samuel Goldwyn enlisted Lewis Milestone (All Quiet on the Western Front) as director, Lillian Hellman as screenwriter, and Aaron Copland and Ira Gershwin as composers of the score. The cast included Anne Baxter, Dana Andrews, Walter Huston, Farley Granger, and Erich von Stroheim. Most interesting, however, is the fact that Margaret Bourke-White, recently returned from her coverage of the Eastern Front, was hired as still-photographer, a role which was quite atypical for her and guaranteed for the production stills a somewhat better than average aesthetic. She is explicitly credited with the portraits of the actors herein, but was also responsible (based on a substantial collection of her stills from the film that we handled a few years ago) for several others contained herein. The film was nominated for six Academy Awards in 1944, but in 1947 the film was deemed subversive by the House Committee on Un-American Activities (HUAC) and was eventually recut to suit the revisionist temper of the times. An uncommon and little-known Bourke-White undertaking. $225.

51. Boyle, Kay: THIRTY STORIES. New York: Simon & Schuster, [1946]. Cloth. First edition. With the author’s later inscription on the title, remarking on her photo on the rear jacket panel, and on George Platt Lynes, the photographer. Bookplate, else a very good or better copy, in bit creased, rubbed and nicked price-clipped dust jacket. $150.

52. Boyle, Kay: 1939. New York: Simon & Schuster, [1948]. Cloth boards. First edition. Signed by the author on the title, and with her inscription on the pastedown identifying the previous owner, whose signature appears there, as a close friend of her mother. A near fine copy in lightly smudged dust jacket with very shallow fraying along the top edge. $150.

53. Boyle, Kay: GENERATION WITHOUT FAREWELL. New York: Knopf, 1960. Cloth and boards. First edition. Inscribed by the author in 1982. Fine, in bright, untanned white dust jacket. $125.

54. Bradbury, Ray: DANDELION WINE. Garden City: Doubleday, 1957. Canary yellow cloth. Very, very faint darkening along endsheet gutters, otherwise a fine copy in near fine dust jacket with a hint of tanning to spine and edges, and minor dust soiling to the lower panel.

First edition of this central work in the Bradbury canon, and in many ways, a work which is in a class by itself for its generation. “A bucolic evocation of Bradbury’s youth through rose-colored glasses. Though not strictly fantastic, this poetic blend of nostalgia and ever- so-slightly macabre happenings defines the author’s view of the past as a country of the bizarre and the wonderful, and is central to Bradbury’s fantasy world” – Barron. BARRON 4A-44. PRINGLE FANTASY 100, 19. $2000.

55. Bradbury, Ray: FAHRENHEIT 451. New York: Limited Editions Club, 1982. Narrow quarto. Printed aluminum over boards. Bookplate, a few faint crimps in aluminum, likely incurred in binding, otherwise about fine in very good slipcase with thumb-tip size surface snag in paper on one panel and a few other much more minor rubs. Newsletter laid in.

One of 2000 numbered copies, signed by the author, who contributes a new introduction to this edition, and by the illustrator, Joseph Mugnaini, whose contribution includes an original color lithograph. $500.

56. Bradley, Will: [Original Pencil and Ink Drawing and Titling for:] THE COLUMBIAN ODE. [Chicago. ca. 1893]. Original drawing, on 85 x 90 mm, on card stock (145 x 95 mm). Stock a bit dusty with a few small spots and a thumb tack hole outside the image area, mat shadow around image, otherwise very good. Sympathetically matted.

An evidently preliminary or rejected trial design for the title, half-title or wrapper vignette for the 1893 “Souvenir Edition” of Monroe’s The Columbian Ode. Specific elements carried over from this design to the final work, notably the typography for the title. However, this drawing depicts (against an inverted pyramid background of leaves), a winged angel (with flowing hair) facing right with a harp in right hand, and left hand extended with a laurel wreath. The published title vignette reshapes the overall image, removes the wings from the figure (retaining the stylized hair and a different form of leafy background), and dedicates both hands to playing a lyre. The handling of the out-stretched left arm in this drawing is clumsy, and an unsuccessful attempt was made with white ink to rectify it. Accompanied by a reference copy of the published book (sewing absent, spine split and wrappers spotted). BAMBACE A3. $2000.

57. Bramah, Ernest: ENGLISH FARMING AND WHY I TURNED IT UP. London: The Leadenhall Press, Ltd., 1894. Printed cloth boards. First edition. The atypical first work by the creator of the Max Carrados detective novels. Small bookseller’s blindstamp in upper corner of free endsheet, usual faint tanning to pastedowns, a tiny cluster of rust marks appear at the extreme upper fore-tip of upper cover, usual slight tanning at edges, but a very good, fresh copy. $175.

58. Bramah, Ernest: THE TRANSMUTATION OF LING. New York & London: Brentano’s / Grant Richards, 1912. Quarto. Gilt decorated buckram, t.e.g., others untrimmed. Frontis and 11 monochrome plates. Usual tan offsetting to endsheets, lower foretips a bit bumped and rubbed, but a very good copy, with Adrian Goldstone’s bookplate.

First edition in this format, U.S. issue, with illustrations by Ilbery Lynch. One of a total edition of 500 copies for distribution in the US and the UK. $250.

59. Bramah, Ernest: THE WALLET OF KAI-LUNG. London: Grant Richards, 1923. Large octavo. Linen and boards, gilt morocco label, fore and bottom edges untrimmed. Boards edges a trace tanned, some mottling to linen, internally very good or better.

First deluxe edition, with a new Introduction by Grant Richards about the author and the publication of the original 1900 edition. One of two hundred numbered copies, signed by Bramah. $175.

60. Bramah, Ernest: KAI LUNG’S GOLDEN HOURS. London: Grant Richards, 1924. Linen- backed boards, morocco label. Faint foxing at fore-edge, a bit of intermittent foxing scattered elsewhere, offset on endsheets from dust jacket, otherwise a near fine copy in dust jacket with a trace of dust and a small mark to lower panel.

First printing in deluxe format, limited to 250 numbered copies, specially printed and bound, and signed by the author. Hilaire Belloc contributes a preface, appearing here for the first time. $250.

61. Bramah, Ernest: THE SPECIMEN CASE. London: Hodder and Stoughton, [1924]. Cherry red cloth, lettered in black and stamped in blind. A bit of foxing to edges and some offsetting to endsheets from jacket flaps, otherwise a very nice copy, in good pictorial dust jacket by Ellen Edwards with several long creased tears in the front panel and crown of spine with early mends on verso.

First edition of this collection of short stories, with a long preface, intended by Bramah as a representative selection from the breadth of his career and across all genres. $600. 62. Bramah, Ernest: MAX CARRADOS MYSTERIES. London: Hodder & Stoughton, [1927]. Blue cloth, lettered in black. First edition. Cloth a bit rubbed and smudged, but a good to very good, sound copy of one of the more uncommon Carrados collections. $375.

63. Bramah, Ernest: A LITTLE FLUTTER. London: Cassell & Co., [1930]. Gilt green cloth. First edition. Ewing bookplate, a couple of small spots of tanning to endleaves, erasure in upper corner of front free endsheet, otherwise very good and bright. $150.

64. Bramah, Ernest: THE BRAVO OF LONDON. London, etc: Cassell & Co., Ltd, [1934]. Contemporary/original navy blue cloth, spine lettered in gilt. Tiny crack in front inner hinge, a couple of tiny tape ghosts on endsheets, some (tea?) spotting to three leaves, but otherwise a very good, bright copy.

First edition, in an atypical, though contemporary binding, perhaps representing a colonial binding, a salesman’s sample, a Times Book Club binding (though the quality of the binding/ stamping is decent), or similar cause for variation. A faint offset image of a bookseller’s ticket on the rear endsheets points to something that would have been highly informative, were it not now absent. Whatever the case, an uncommon title. $300.

65. Brecht, Bertolt: MOTHER COURAGE AND HER CHILDREN A CHRONICLE OF THE THIRTY YEARS’ WAR. New York: The Acting Company, [nd. but 1977]. [2],93 leaves plus lettered inserts. Quarto. Mimeographed typescript, printed on rectos only. Bradbound ion hot stamped flexible Studio Duplicating Service wrappers. Wrappers a bit dulled and marked, ink ownership signatures and relevant annotations, some tan offsetting from binder to facing pages, else very good.

An actor’s script from the 1977/78 Acting Company production, directed by Alan Schneider, based on the Ralph Manheim translation, and with the music and lyrics composed by Paul Dessau. This copy of the script (#14) was utilized by Ron Jacobson, who played a young soldier, bears his ownership signatures, and is marked up with his notes and shows considerable revision in the form of deletions and additions in the early portion of the script. $250.

66. Breton, Andre; Diego Rivera, and [Leon Trotsky]: POUR UN ART REVOLUTIONNAIRE INDÉPENDANT [caption title]. Mexico. July 1938. [4]pp. Folded quarto leaflet (27 x 21 cm). Printed in black on green stock. A bit of sunning at edges and some slight corner creases, faint horizontal fold, with nick at edge, but a very good copy.

An important manifesto, written while Breton was visiting Rivera and Trotsky in Mexico. The text is usually considered Breton’s and, anonymously, Trotsky’s work, with Rivera as co-signator because of his prominence among leftist artists. Its publication called for an International Federation for Independent Revolutionary Art: “... whilst attacking the barbarism of the Nazis [it] aimed at those artists of the left to come together to produce a revolutionary art. It at- tacks the role of the Soviet Union in controlling art and artists in that country and condemns its attempts to control and bend art and artists to its will ... the International Federation of Independent Revolutionary Art (F.I.A.R.I) [was envisioned] as a counter to those on the left who may be drawn to the USSR in opposition to fascism” – Kenny McEwan, Frontline 16. $250.

67. [Brett, Reginald B., Viscount Esher]: EXTRACTS FROM JOURNALS 1872 – 1881 PRINTED FOR PRIVATE CIRCULATION. Cambridge: Bowes & Bowes, 1908. Small octavo. Gilt cloth. Cloth somewhat faded and soiled, 1909 ownership inscription on front pastedown, but a good copy, internally very good.

First edition of the first of two privately printed volumes of extracts from Esher’s journals; the second, published in 1914, covered the years 1880-1895. Uncommon. $125. 68. Bronk, William: THE TRANSUNIVERSAL LOOK [caption title]. [New Haven]: Bibliographi- cal Press Poetry Broadside, 1978. Narrow folio broadside (46 X 20.5 cm). Printed on recto only. Pictorial vignette (unsigned). Fine.

First printing in this format. An unnumbered, out of series copy, signed by the author, and additionally inscribed to a then Yale librarian closely associated with the press. “Handset in Fournier types and printed on the Vandercook Press in the Sterling Memorial Library” on the occasion of Bronk’s 6 April 1968 reading. $75.

First Book under the Imprint

69. Browne, Francis F.: VOLUNTEER GRAIN. Chicago: Way & Williams, 1895. Green cloth, gilt, t.e.g. Spine faintly sunned, two bookplates on pastedown, otherwise a very good or better copy.

First edition. The first book to appear under the Way & Williams imprint. One of 160 copies printed (150 for sale). An auspicious beginning, being a collection of verse by the principal of the Chicago incarnation of The Dial (1880-1913). KRAUS 1. $200.

70. Bruno, Guido [pseud. of Curtis J. Kirch]: GUIDO BRUNO IN HIS GARRET ON WASHING- TON SQUARE BEING A LIST OF PUBLICATIONS ISSUED BY HIM IN THE FIRST YEAR SINCE HIS ARRIVAL IN GREENWICH VILLAGE ... [wrapper title]. New York: [Published by the Author, 1915]. [8]pp. 12mo. Each sheet archivally encapsulated for preservation, hence rendered a very useful copy.

A retrospectus/prospectus for Bruno’s first year of activity in the Village, including a statement of purpose, annotated listings of the publications and periodicals, etc. An uncommon and significant guide to the imprint. $75.

71. Bruno, Guido [pseud. of Curtis J. Kirch]: SENTIMENTAL STUDIES STORIES OF LIFE AND LOVE. New York: [Published by the Author], 1920. 32pp. 12mo. Pale pink and white decorated wallpaper over boards, printed label. Spine a bit rubbed and tanned, otherwise very good or better.

First edition, the less common boardbound issue. Seven short fictional sketches by Kirch/ Bruno, collected from their periodical appearances. SMITH B-1141. $100.

72. Bruno, Guido [pseud. of Curtis J. Kirch]: A NIGHT IN GREENWICH VILLAGE THE STORY OF A MAR- RIAGE. New York: [Published by the Author], 1921. 19,[1]pp. 12mo. Pictorial wrappers. Upper forecorner slightly bumped, tiny marginal rust mark to three leaves, else a very good or better copy.

First edition. The wrapper and title-page illustration are a relatively early work by Coulton Waugh. SMITH B-1140. $125.

73. Bruno, Guido [pseud. of Curtis J. Kirch]: ADVEN- TURES IN AMERICAN BOOKSHOPS, ANTIQUE STORES AND AUCTION ROOMS. Detroit: The Douglas Book Shop, 1922. Cloth, paper spine label. Fine, in the dust jacket which, though imperfect (lacking the lower half of the spine panel), is uncommon.

First edition. One of 1000 numbered copies, of which many, according to long engrained -- and most likely either apocryphal or exaggerated -- booklore, were damaged or destroyed by a fire at the publisher’s shop. Bruno asserted in notes placed in at least two copies that fewer than 100 were salvaged, but that is highly questionable. This copy is signed by Bruno/Kirch below the limitation statement -- by no means did he sign all copies. Many of Bruno’s pithy observations on the New York book world were first published in his various Greenwich Village periodicals. $150.

74. Bukowski, Charles: THE MOVIE: “BARFLY” AN ORIGINAL SCREENPLAY ... FOR A FILM BY BARBET SCHROEDER. Santa Rosa: Black Sparrow Press, 1987. Cloth and pictorial boards. Photographs. Fine.

First deluxe edition, limited issue. Copy ‘S’ of twenty-six lettered copies, in addition to 140 numbered copies, specially bound, signed by the author and, on an inserted sheet, by Mickey Rourke, Faye Dunaway, and Barbet Schroeder, Another issue of 400 numbered copies was signed only by Bukowski. Uncommon in this lettered issue. $1250.

Inscribed to Brautigan

75. Bunting, Basil: FIRST BOOK OF ODES. [London]: Fulcrum Press, [1965]. Quarto. Printed boards. Dime-size coffee spot on upper board, else about fine.

First edition, ordinary issue. One of 125 numbered copies, bound thus, from a total edition of 201 copies. An appealing association copy, inscribed by the author to Richard Brautigan in 1967. GUEDALLA A4b. $750.

76. Bunting, Basil: BRIGGFLATTS. [London]: Fulcrum Press, [1966]. Small folio. Decorated stiff wrappers. Fine.

First edition, ordinary issue, of the work many regard as Bunting’s central achievement. One of 374 copies bound thus, from a total edition of five hundred copies. Decorations by Barry Hall and Nick Strausfeld. GUEDALLA A6a. $350.

77. Bunting, Basil: TWO POEMS. [Santa Barbara]: Unicorn Press, 1967. Small quarto. Printed tissue wrappers. Minor use to overlap edges of wrappers, tiny ink name in corner of verso of upper wrapper, otherwise a fine copy of this excessively fragile book.

First edition, limited issue. One of thirty numbered copies, signed by the author, from an edition of 250. $500.

78. Bunting, Basil: WHAT THE CHAIRMAN TOLD TOM. Cambridge: Pym Randall Press, [1967]. Small quarto. Printed wrappers. First edition, numbered issue. One of 200 numbered copies (of 226), signed by the author. Fine. GUEDALLA A8. $200.

79. Bunting, Basil: COLLECTED POEMS. [London]: Fulcrum Press, [1968]. Grey cloth. Top edge dusty, else fine in slightly darkened dust jacket with cellophane wrapper.

First edition. An unnumbered, out of series copy, in addition to 150 numbered copies printed on grey Glastonbury paper, and specially bound. This copy is signed on the colophon by the author, but does not include the separate inserted silkscreen print that accompanied the numbered copies. $250.

80. Bunting, Basil: YOU CAN’T GRIP YEARS, POSTUME... [caption title]. [New Haven]: Printed...at the Sterling Memorial Library’s Bibliographical Press, 9 April 1976. Narrow small folio broadside (35.5 x 15.3 cm). Decorative device in red. A very fine copy.

First edition in this format. Copy #1 of one hundred numbered copies, signed by Bunting, printed on the occasion of a reading at Yale. $275. 81. Bunting, Basil, and Jonathan Williams: DESCANT ON RAWTHEY’S MADRIGAL CONVERSATIONS WITH BASIL BUNTING. [Lexington, KY]: Gnomon Press, [1968]. Large octavo. Paper over boards, printed spine label. Portrait. A fine copy in dust jacket with minor use at the crown of the spine panel.

First edition, deluxe issue. One of twenty-five numbered copies, specially bound and signed by Bunting and Wil- liams, from a total edition of five hundred copies. “This book remains the single most important source for biographical information, even though Bunting has, through the passage of time, confused some dates” – Guedalla. Scarce in this issue. GUEDALLA A10b. $1500.

82. [Burgess, Anthony, and Vicenzo Labella (screenwriters)]: A.D. ANNO DOMINI. Beverly Hills: International Film Productions, 18 April – 21 June 1983. [2],121;[2],122-218b;[2],219- 319;[2],320-491 leaves, with variations in collation due to lettered inserts and revision spanning leaves. Four volumes. Quarto. Photomechanically duplicated typescript, printed on rectos only of multi-colored stock. Bradbound in pictorial wrappers. One brad missing, white wrappers a bit tanned at edges, very good.

Revised drafts of the constituent scripts for this original 1985 mini-series, written by Bur- gess and Labella -- although their names do not appear on these scripts. Directed by Stuart Cooper, this account of the lives of the apostles starred John Houseman, James Mason, Susan Sarandon, Colleen Dewhurst, Jennifer O’Neill, et al. The constituent sub-titles are: The Light, The Tide, The Wind and The Fire, and the texts exhibit considerable revision via colored revises dated over the span of days noted above. Burgess had earlier contributed to the genre of Biblical teleseries with Moses the Lawgiver (1975) and Jesus of Nazareth (1977). $750.

83. Byron, G. G. N. , Lord: HEBREW MELODIES. London: Printed for John Murray, 1815. [8],53,[3]pp. Octavo. Extracted from nonce pamphlet volume. Some smudges and occasional foxing; a good copy, with the adverts and half-title.

First edition, first issue, with Campbell’s Selected Beauties noted as in press on p.[56], along with the notice of Rogers’ Jacqueline. Randolph reports the edition consisted of 6000 copies. RANDOLPH, p. 50. $650.

84. Byron, G. G. N., Lord: MARINO FALIERO, DOGE OF VENICE. AN HISTORICAL TRAG- EDY, IN FIVE ACTS. WITH NOTES / THE PROPHECY OF DANTE, A POEM. London: John Murray, 1821. xxi,[5],[5]-261,[3]pp. Large octavo. Original drab boards, printed spine label, edges untrimmed. A bit of foxing and early ink ownership signatures to pastedowns, crown and toe of spine a bit chipped, with modest loss to paper label, surface loss to spine at toe of spine (5 cm at deepest point), joints cracked (but sound), some scattered bits of foxing; a good copy in original state.

First edition, first issue, with the Doge’s speech on p.151 5.5 lines long. This copy includes the inserted terminal advert leaf. The edition encompassed 3573 copies in two issues, with two variants of the second issue. RANDOLPH, pp.73. TINKER 577. WISE II:29-30. $850.

85. Byron, G. G. N., Lord, et al: THE GENUINE REJECTED ADDRESSES, PRESENTED TO THE COMMITTEE OF MANAGEMENT FOR DRURY-LANE THEATRE; PRECEDED BY THAT WRITTEN BY LORD BYRON, AND ADOPTED BY THE COMMITTEE. London: Printed and Sold by B. McMillan, 1812. ix,[1],130pp. Octavo. Disbound, edges untrimmed. Title a bit dusty with a couple minor spots, but a very good copy.

First edition, first issue, with the original form of the last two lines of the imprint. Byron’s poem was read by Mr. Elliston at the reopening of the Theatre, and is here printed in company with the other submissions not elected for the event. RANDOLPH, pp.23-4. $225.

86. Cabell, [James] Branch: HAMLET HAD AN UNCLE A COMEDY OF HONOR. New York: Farrar & Rinehart, [1940]. Publisher’s pebbled black morocco, stamped in gilt, t.e.g. Decorations by Charles Child. Bookplate of Charles Willard Stage, Jr., Cleveland politician and railroad attorney, else near fine.

First edition, limited issue. One of 125 numbered copies, specially bound, and signed by the author, of which 99 copies were for sale. $250.

87. Cabell, [James] Branch: THE FIRST GENTLEMAN OF AMERICA A COMEDY OF CON- QUEST. New York: Farrar & Rinehart, [1942]. Publisher’s pebbled black morocco, stamped in gilt, t.e.g. Near fine.

First edition, limited issue. One of 125 numbered copies, specially bound, and signed by the author, of which 99 copies were for sale. $250.

88. Carman, Bliss: POEMS. Boston: L.C. Page & Co., 1905. Two volumes. Large quarto. Gilt paper boards, gilt leather spine labels. Bookseller’s description and small private book label tipped to front pastedown, a few small nicks at edges, else a very nice set in cloth dust jackets with gilt labels (worn).

First English edition, Boston issue, bound up from sheets printed at the Chiswick Press on handmade paper, using the plates from the 1904 New York printing. From an edition of five hundred signed copies (150 for the UK and Ireland). This printing includes a poem and a photogravure portrait not included in the New York printing. Carman has written out and signed three stanzas from “Low Tide on Grand Pre” on the first blank in the first volume. BAL 2673. $375.

89. Carter, Angela: SHADOW DANCE. London: Heinemann, [1966]. Gilt cloth textured boards. First edition of the author’s first novel. Fine in near fine dust jacket with just a hint of sunning to the spine, a trace of handling to the front and rear panels and the publisher’s supplemental price sticker on the front jacket panel. A decidedly better copy than usually encountered these days. $500.

90. Carter, Angela: THE MAGIC TOYSHOP. London: Heinemann, [1967]. Gilt lettered grey boards. Top and fore-edge faintly foxed, otherwise near fine in faintly used dust jacket with a couple of tiny closed tears at the top edge.

First edition of the author’s uncommon second novel, the source for the 1987 film adaptation co-written by her, and winner of the Rhys Memorial Prize. $750.

91. Carter, Angela: LOVE A NOVEL. London: Rupert Hart-Davis, [1971]. Silver gilt lettered boards. First edition. Signed by the author on the title-page. Fine in dust jacket. $250.

92. Carter, Angela: THE INFERNAL DESIRE MACHINES OF DOCTOR HOFFMAN. London: Rupert Hart-Davis, [1972]. Gilt lettered cloth textured boards. First edition. Signed by the author on the title-page. Fine in dust jacket. $300.

93. Carter, Angela: THE PASSION OF NEW EVE. London: Gollancz, 1977. Gilt cloth textured boards. Fine in dust jacket, virtually as new.

First edition. “A wild feminist futurist fantasy. A marvelously cruel and imaginative fable about sexual identity and the American landscape” – Barron. BARRON 4A-66. ANATOMY OF WONDER II:224, $200. 94. Carter, Angela: THE BLOODY CHAMBER AND OTHER STORIES. London: Gollancz, 1979. Gilt cloth textured boards. Pencil erasures from free endsheet, else fine in very good dust jacket with faint discoloration along top edge of rear panel.

First edition. An essential collection, including “The Company of Wolves,” adapted by Carter and Neil Jordan for the 1984 film. $125.

95. Carter, Angela: THE SADEIAN WOMAN AN EXERCISE IN CULTURAL HISTORY. Lon- don: Virago, [1979]. Gilt lettered cloth textured boards. Fine in dust jacket.

First UK edition, the uncommon casebound issue. Signed by the author on the title-page. According to some reports, as few as four hundred copies were bound thus, with the remainder in printed wrappers. The US edition appeared the previous year with a variant sub-title. $500.

96. Cassavetes, John, and Richard Carr [screenwriters]: Original Australian Lithographed Daybill for TOO LATE BLUES. [Sydney]: Paramount, [1962]. Vintage brilliant color lithographed daybill poster (30 X 13.25”, 76 X 34cm). Folded, as issued, a couple small chips at blank edges at folds, title in crayon on blank verso, otherwise very good or better.

A striking daybill poster for the Australian release of John Cassavetes and Richard Carr’s well-regarded jazz film. Cassavetes directed, and the 1961 US release starred Bobby Darin, Stella Stevens, et al. The color lithography is by Robert Burton PTY.Ltd. of Sydney. Fragile and uncommon. $125.

97. Cather, Willa: WILLA CATHER’S RED CLOUD. Salisbury, CT: Lime Rock Press, 1980. Folio (355 x 285 mm). Loose folded signatures laid into folding cloth clamshells box. Illus- trated with twelve original photographs. About fine, with prospectus laid in.

First edition in this format, with an Introduction and original photographs by Gabriel North Seymour. This copy is one of 75 numbered copies constituting the regular edition, printed on Stonehenge mouldmade paper, and signed by the photographer. A selections from Cather’s texts, with an explanatory note, is printed opposite each of the photographs, each of which has a manuscript caption. There were also twenty-five deluxe copies. The original foam packing inserts, which have demonstrated a capacity to self-destruct over the years and adhere to the contents of the boxes, have wisely been discarded. $400.

98. Cavacci, Giacomo: ILLUSTRIVM ANACHORETARVM ELOGIA; SIUE, REL- GIOSI VIRI MUSAEVM. Venetiis: In Typo- graphica Pinelliana, 1625. [12],157,[4]pp.

(lacking preliminary blank; +4 bound out of

place after pi4, and wanting the terminal

signature a1-4, the latter printing “Posteri- tati ex rebus à Leonardo Donato Vene- tiarum...”). Quarto. Modern half morocco and marbled boards. Engraved title and 32 engraved plates. Woodcut historiated initials and decorative tailpieces. Some spotting and occasional ink annotations

(including an ownership signature on F2), several tiny holes in plate 2, scattered soiling and occasional discolorations or tidemarks, several old ink spots or smears in text; generally, in spite of the manifest imperfections, a reasonably sound copy.

A handsomely illustrated edition of this collection of prose sketches and engraved portraits of religious hermits, edited by Lorenzo Pignoria, and with a prefatory poem by Goergius Camerarius. The fine engraved portraits of the hermits were executed by Francesco Valesio, and generally portray them in rustic settings, usually engaged in contemplation or prayer, or, as in the case of Didymus Celliensis, who is portrayed walking among all sorts of reptiles, including a three-headed dragon, engaged in their most characteristic acts. Another engraving, signed ‘L.P.’, is a city view. Cavacci was a Benedictine monk in the monastery at Padua, and the first edition appeared in 1612. BRUNET I:1693. $1250.

99. [Censorship]: Clark, Barrett, et al JURGEN AND THE CENSOR REPORT OF THE EMERGENCY COMMITTEE ORGANIZED TO PROTEST AGAINST THE SUPPRESSION OF JAMES BRANCH CABELL’S JURGEN. New York: Privately Printed for the Committee, 1920. Cloth and boards, paper spine label. Bookplate shadow on pastedown, label a bit rubbed, else very good.

First edition. One of 488 numbered copies. Documents attending the case, with letters of protest, as well as lists of the signers of the protest, with Cabell’s Preface. $85.

100. [Chandler, Raymond (sourcework)]: Fisher, Steve [screenwriter]: Original Color Litho- graphed Australian Daybill for LADY IN THE LAKE. Sydney: Metro-Goldwyn-Mayer, [circa 1947]. Folio. Vintage brilliant color lithographed daybill poster (30 X 13.25”, 76 X 34 cm). Folded, as issued, minute marginal breaks at fold tips, faint shallow tidemark affecting 8 cm of the extreme left blank margin, otherwise very good or better.

A striking daybill poster produced for the Australian released of the 1947 film adaptation of Chandler’s novel, based on a script by Steve Fisher. Robert Montgomery both starred and directed, with additional cast members Audrey Trotter, Lloyd Nolan, Tom Tully and Leon Ames. Lithographed by Simmons, Ltd., of Sydney. $285.

101. Charara, Adnan: Original Etching With Aquatint [The Goose That Laid The Golden Eggs]. [N.p.: The Artist, N.d., but ca. 1993]. Aquatint etching on Somerset England handmade paper. “Charara Studio” embossed on lower left of paper. Hand-colored. Image 3.75 x 5.75”, overall size 11.25 x 14.75”. Signed in plate, and in pencil in lower right margin, numbered at lower left. Archivally mounted with descriptive text attached to verso of mat.

No. 7 from an edition limited to 10, published as part of the suite, Visual Metaphors. This etching is of a man, made rich by a golden egg-laying goose, who now must suffer the con- sequences of his haste for wealth. Adnan Charara is a Detroit-based Lebanese-American, born in Lebanon, but principally raised in Sierra Leone, West Africa. This series of etchings evoke an Aesop fable, transmogrified onto a human plane yet maintaining the essence of the fable. As a child, Adnan Charara was taught fables in a Lebanese boarding school a half hour every day. He returned to these stories, with their moral lessons and pieces of advice, as a vehicle to explore his curiosity about the human personality. $275.

102. Chavez, Fr. Angélico: ORIGINS OF NEW MEXICO FAMILIES IN THE SPANISH COLONIAL PERIOD .... Santa Fe: Historical Society of New Mexico, 1954. xvii,[3],339pp. Quarto. Stiff pictorial wrappers. Frontis and wrapper design by Jose Cisneros. Facsimile. Bookplate inside front wrapper, a few minor marks to white portions of wrapper, otherwise a very good or better copy.

First edition of this substantial genealogical work by the Franciscan poet, novelist and Ar- chivist of the Diocese of Santa Fe. Fr. Chavez’s first collection of poems appeared in 1939 under the imprint of the Writers Editions. $150.

103. Chukovskii, Kornei: [In Cyrillic:] MUHA TSOKOTUHA. Moscow: Izdated’stvo Detskoi Literatury, 1936. [16]pp. Small quarto. Pictorial wrappers. Black & white illustrations. Spine fold neatly split, a bit of uniform tanning, but a good copy, or better.

An attractive and fragile early edition of one of Chukovskii’s most popular children’s poems (loosely translated as “Fly the Clatterer”), featuring illustrations by Vladimir Konashevich. These illustrations have become closely identified with the text, and have accompanied it into many late 20th century editions. $150. 104. Cisneros, José: RIDERS OF THE BORDERLANDS. El Paso: Univ. of Texas at El Paso, 1981. Oblong small quarto. Pictorial wrappers. Illustrated with drawings and photographs. Fine.

First edition, wrapperbound issue. One of 1300 copies (of 1500) printed after a design by Carl Hertzog. Essay “The Man and His Art” by John O. West. A catalogue of an exhibition held at the El Paso Centennial Museum. Signed by Cisneros and inscribed and signed by Hertzog. Accompanied by a two page a.l.s. from Hertzog, El Paso, 13 Nov. 1981, to bookman / editor / reviewer Lee Milazzo, touching on a number of current matters, as well as giving a capsule assessment of another printer (...”he is good even if he does have a beard and braid his hair...”) and commenting on meeting William Everson: “The first time I saw Wm Everson he was Father or Brother Antoninus and wore the Franciscan robe. He was good looking and made an impressive talk at N.M. State U. at Las Cruces. But now he has a big beard and has been sick and looks odd....” $100.

105. Clark, Dennis Lynton: “COMES A HORSEMAN WILD AND FREE” (WORKING TITLE) [wrapper title]. [Culver City: Chartoff-Winkler Productions], 24 May 1977. 132 leaves (modified by revisions and inserts). Quarto. Photomechanically reproduced typescript, printed on rectos only of salmon and white stock. Bradbound in numbered, titled wrappers. Ink name of a crew member on upper wrapper, a few tiny ink blots on upper wrapper, very good.

An unspecified but close to production draft of this original screenplay. The 1978 release was directed by Alan Pakula, and starred James Caan, Jane Fonda, Jason Robards, Richard Farnsworth, et al. The script won the Spur Award for its year, and both Fonda and Farnsworth were nominated for awards for their roles. Accompanied by an 8 leaf Staff and Crew List. $185.

106. [Clemens, Samuel]: Twain, Mark [pseud]: ROUGHING IT. Hartford [&c]: American Publishing Co. [etc], 1872. Original publisher’s three-quarter calf and marbled boards, all edges marbled. Double-page frontispiece and illustrations. Small nick in top edge of binder’s blank, pencil signature dated “Chicago 1872,” spine a trace rubbed, but a very good copy.

First U.S. edition, BAL’s state ‘A’ of page 242, and with the adverts on page [592]. Copies in the several forms of the publisher’s extra-cost bindings are not particularly common. BAL 3337. ZAMORANO EIGHTY, 18. $1750.

107. [Clemens, Samuel L.]: Twain, Mark [pseud]: THE STOLEN WHITE ELEPHANT ETC. Boston: James R. Osgood and Company, 1882. [6],[7]-306,10,[2]pp. Small octavo. Pictorial tan cloth, gilt. First U.S. edition. Bookplate on front pastedown, light dust marking to upper and lower covers, light marginal spotting to pp.156-63, A good (or better) copy, in a half- morocco slipcase and chemise. BAL 3404. WRIGHT III:1099. $225.

108. [Clemens, Samuel L.]: MORRISON’S MAGAZINE OF LITERATURE AND FUN. Bar Harbor, ME: Morrison Medical Co., 1895. 32pp. Printed wrappers. Illustrations. Druggist’s stamp on upper wrapper, else a nice copy. Folding cloth case, with bookplate.

Volume II, number one. Reprints “Mark Twain’s Love Song,” in company with several other poems by his contemporaries. It first appeared in Medical Fortnightly. Accompanied by a full-page bookseller’s enthusiastic over-description ignoring the fact that this is clearly identified as a serial rather than a book, and so of course would not appear in BAL. The whole is a promotional for Morrison’s pharmaceuticals. $65.

109. [Clemens, Samuel L.]: Twain, Mark [pseud]: THREE ACES JIM TODD’S EPISODE IN SOCIAL EUCHRE A POEM AND A DENIAL [wrapper title]. [Westport, CT (i.e. New York): For friends of Robin and Marian MacVicars, Christmas 1929 (i.e. 1930]. Printed self wrappers. A bit tanned at edges, with small chip to lower fore-corner of rear wrapper and another shallow chip to fore-margin of same, narrow split from toe of spine crease, but a good copy. Oversize folding cloth case.

First separate printing. One of an edition purported to have consisted of fifty copies for friends of the publisher. BAL asserts without qualification that Robin and Marian MacVicars are “figments of the imagination,” but does not hazard, in print, whose imagination. This poem was originally published in The Buffalo Express, December 3, 1870, over the signature, “Carl Byng.” BAL 3549. JOHNSON, p.108. $150.

110. [Clemens, Samuel L.]: Twain, Mark [pseud]: MARK TWAIN’S LETTER TO WILLIAM BOWEN BUFFALO, FEBRUARY SIXTH, 1870. San Francisco: Book Club of California, 1938. Small quarto. Cloth and boards, paper spine label. Bookplate on front pastedown, trace of minor rubbing at spine ends, otherwise near fine.

First edition in book form. One of 400 copies printed at the Grabhorn Press. Foreword by Albert W. Gunnison, prefatory note by Clara Clemens Gabrilowitsch. BAL 3560. GRABHORN 287. $100.

111. [Clemens, Samuel L.]: Twain, Mark [pseud]: CONCERNING CATS TWO TALES BY .... San Francisco: The Book Club of California, 1959. Quarto. Cloth backed decorated boards. Frontis and illustrations. Bookplate, very minor hand soiling to the white boards, otherwise about fine. Prospectus laid in.

First edition in this format. Introduction by Frederick Anderson. One of 450 copies printed at the Grabhorn Press after a design by Jane Grabhorn at the Colt Press. Printed in red and black, with initials by Malette Dean. GRABHORN 610. $150.

112. [Clemens, Samuel L.]: Thomas, Frank J.: MARK TWAIN ROUGHED IT HERE. Los An- geles: Tenfingers Press, 1964. Oblong quarto. Boards, with pictorial paper onlay and printed label. Photographs. Bookplate, otherwise fine in half morocco folding case and chemise.

Second “edition,” but actually comprised of overprinted sheets from the first edition. From an issue of 70 copies, this is copy #26 of 45 copies printed by hand on Warren’s Olde Style. Illustrated with a linocut portrait of Clemens and eight “miniatures” of the original photographs from the first edition, printed four to a sheet. Laid in front is a mounted 12 x 18.5 cm original print of one of the photographs, signed by the author/photographer. The text is about Clem- ens’s visit to Mono Lake, the subject of the photographs. $150.

113. [Clemens, Samuel L.]: THE ADVENTURE OF TOM SAWYER BY MARK TWAIN A FACSIMILE OF THE AUTHOR’S HOLOGRAPH MANUSCRIPT. Frederick MD & Washington DC: University Publications / Georgetown Univ. Library, [1982]. Two volumes. Quarto. Gilt cloth. Facsimile plates. Preface by Joseph Jeffs. Introduction by Paul Baender. First edition of this facsimile of the holograph manuscript donated to Georgetown by G.G. Brady. Bookplate in each volume, otherwise about fine in slipcase. $225.

114. [Clemens, Samuel L.]: Twain, Mark [pseud]: MARK TWAIN COMPLIMENTS THE PRESI- DENT’S WIFE. Boston: Ann & David Bromer, 1984. 14,[4]pp. Cloth, paper label. Miniature (6 x 4.5 cm). Fine. Inset, along with the original prospectus, into a custom made, grossly oversize folding cloth slipcase, bearing the bookplate of James S. Copley.

First printing in book form of this sentiment written by Clemens in an autograph album for a reception hosted by Mrs. Grover Cleveland. One of 150 ordinary copies, from a total edition of two hundred copies printed by Rez Lingen at the Poote Press. $125.

115. [Clemens, Samuel L., et al]: YOU HAVE THIS DAY BEEN ENROLLED AS AN HON- ORARY MEMBER OF THE LINCOLN FARM ASSOCIATION ... [caption title]. [Np]: Lincoln Farm Association, [executed:] 22 April 1909. Engraved pictorial certificate (22.5 x 29.5cm). A few small green ink spots at lower edge, otherwise very good.

A certificate marking a contribution to the association organized in 1900 to acquire and restore Lincoln’s birthplace. Among those associated with the mission were Clemens, Ida Tarbell, William H. Taft, Samuel Gompers and others, whose engraved signatures appear on this certificate (Clemens as “Mark Twain”). In 1906 an appeal for the fund was sent out (see BAL 3495, Clemens’ broadside appeal for funds, captioned A Birthplace Worth Saving), and those who complied were presumably re- warded with this certificate, complete with seal, engraved by the venerable American Bank Note Company. In this instance -- certificate No. 113499 -- the donor was one Capt. Cooney. Theodore Roosevelt laid the cornerstone for the monument in 1909, and Taft presided at its dedication in 1911. A charming ephemeron. $225.

116. [Clemens, Samuel L. (sourcework)]: Freeman, Charles K.: [Small Archive Relating to:] “MISSISSIPPI DAYS” (WORKING TITLE) ROUGH OUTLINE FOR A MUSICAL FILM BASED ON “THE ADVENTURES OF HUCKLEBERRY FINN”) [caption title]. Culver City: Metro-Goldwyn-Mayer, June – July 1943. 50 + leaves. Quarto. Original and carbon typescript. Paper clipped, or punched and bradbound in studio wrappers. Very good.

A small lot of development papers for a musical adaptation that seems not to have gotten off the ground, including notes, summaries and treatments, either in carbon or in original typescript, the latter with pencil revisions. One of the typescripts is a compilation of supplemental notes from Life on the Mississippi. Freeman was a well-known Anglo-American theatrical director and producer, best known for several productions of Diamond Lil, among other titles. His Hollywood career, however, did not extend beyond derivatives of his play, Hand In Glove. $375.

117. [Club Bindery]: Boss, Thomas G.: BOUND TO BE THE BEST THE CLUB BINDERY CATALOGUE OF AN EXHIBITION AT THE GROLIER CLUB.... Boston: Thomas G. Boss, 2004. Quarto. Blue cloth, decorated in gilt. Plates and photographs. As new.

First edition. One of 550 copies printed on Monadnock Dulcet paper. Prefatory essay by Martin Antonetti. Design and typography by Jerry Kelly. With 28 full-page color plates, of which four are tipped-in, and 46 full-page black and white plates of fine bindings crafted by The Club Bindery, The Rowfant Bindery, The Booklover’s Shop and The French Binders. There are 59 descriptions of books exhibited in the Grolier Club show, along with informative material and photographs relating to binding tools and brass plate dies, in addition to indices of authors, titles, and exhibition histories. Published to coincide with the Grolier Club exhibition, “Bound To Be The Best: The Club Bindery,” that took place from 14 September to 20 November 2004. The only major treatment of this significant American hand bindery. Publication price: $195.

118. Cocteau, Jean: LE MYSTÈRE LAÏC (GIORGIO DE CHIRICO) ESSAI D’ÉTUDE IN- DIRECTE. Paris: Editions des Quatre Chemins, [1928]. Small quarto. Printed wrappers. Illustrated with five plates after designs by de Chirico. First edition. One of 2875 numbered copies (of 2900) of the regular issue on Rives. There were also one hundred deluxe copies. Faintest trace of tanning at edges, else about fine in frayed glassine. $175. 119. Collier, John Payne: NOTES AND EMENDATIONS TO THE TEXT OF SHAKESPEARE’S PLAYS, FROM EARLY MANUSCRIPT CORRECTIONS IN A COPY OF THE FOLIO, 1632, IN THE POSSESSION OF...FORMING A SUPPLEMENTAL VOLUME TO THE WORKS OF SHAKESPEARE BY THE SAME EDITOR.... London: Whitaker and Co., 1853. xxvi,[2],512. [4]pp. plus facsimile plate. Large octavo. Original cloth, decorated in blind, lettered in gilt. Early ink name and private ownership stamp on title, cloth a trace sunned and rubbed, lower fore-tips bumped, but a very good copy (a few leaves unopened).

First edition, trade issue. A variant issue was also prepared with a cancel title-leaf dated 1852 under the imprint of the Shakespeare Society and distributed simultaneously. A second, revised and enlarged edition appeared later the same year. The central text in the contro- versy surrounding Collier’s claims about annotations, later proved modern forgeries, in the Perkins copy of the 1632 Folio. FREEMAN & FREEMAN A83a. NCBEL III:1642. JAGGARD, pp.56-7. $250.

120. [Collier, John Payne]: Singer, Samuel Weller: THE TEXT OF SHAKESPEARE VIN- DICATED FROM THE INTERPOLATIONS AND CORRUPTIONS ADVOCATED BY JOHN PAYNE COLLIER ESQ. IN HIS NOTES AND EMENDATIONS. London: William Pickering, 1853. xix,[1],312,[2]pp. Large octavo. Original cloth, paper spine label. Cloth a bit sunned and rubbed, some light foxing to endsheets, prelims and very occasionally in the text, label rubbed, otherwise a very good copy.

First edition of the first major book-length attack on Collier’s purported discoveries in the Perkins Folio, and by implication, on Collier’s credibility itself. $275.

121. [Collins, Wilkie]: Buffington, Adele [screenwriter]: Original Studio Pressbook and Three Stills for THE MOONSTONE. [New York & Los Angeles]: Monogram Pictures 1934. [8]pp. Pictorial self wrappers. Vintage folio pressbook (31 x 46.5 cm). Illustrated. Pressbook has horizontal fold, else near fine. One still has a diagonal crease, another has tack holes and mends to margins (with small chip at blank corner), the third has ownership stamps and captions on verso.

A visually beautiful pressbook promoting the first sound adaptation of Collins’s novel to the screen, based on a screenplay by Adele Buffngton, directed by Reginald Barker, and starring David Manners, Phyllis Barry, Gustav von Seyffertitz, at al. The outer bifolium treats the superbly atmospheric publicity paper for the film and the special photoplay edition of the novel, while the insert bifolium includes the promotional copy and advert halftones. The stills are obviously less than stunning, but included as reference. $225.

122. [Collins, Wilkie]: Buffington, Adele [screenwriter]: Three original studio lobby cards for THE MOONSTONE. [New York & Los Angeles]: Monogram Pictures, 1934. Three vintage 11 x 14” colored lobby cards. Single tack hole in each lower margin from display, stock uniformly toned, otherwise very good or better.

A selection of the lobby cards promoting the first sound adaptation of Collins’s novel to the screen, based on a screenplay by Adele Buffngton, directed by Reginald Barker, and starring David Manners, Phyllis Barry, Gustav von Seyffertitz, at al. While the film was released in b&w, these lobby cards were produced from tinted masters for greater effect. $400. 123. [Combe, William (attrib)]: THE SAINTS. A SATIRE. London: Printed for J. Bew, 1778 [bound after:] [Combe, William]: THE DIABOLIAD, A POEM . DEDICATED TO WORST MAN IN HIS MAJESTY’S DOMINIONS. THE SECOND EDITION. London: Printed for G. Kearsley, “MDCLXXVII” [i.e. 1777]. iv,24;[2],30,[2]pp. Quarto. 19th century calf and boards, bound without the half-titles, but with the advert leaf to The Saints bound in. Binding extremities a bit worn, but good and sound.

First (?) edition of The Saints, second edition of The Diaboliad. The attribution of the first title to Combe is tentative (and occasional). It is, however, not included among Combe’s titles in NCBEL. The title features a wicked inset engraved vignette. Another edition appeared the same year under the variant title, The Fanatic Saints; Or, Bedlamites Inspired. A Satire, with the same imprint and slightly different collation. The poem is an attack on the religious enthusiasm of the Methodist revival, and is less frequently encountered than the editions of the various parts of The Diaboliad. ESTC T47033 & T31777. $225.

124. Connelly, Michael: THE BLACK ECHO. Boston: Little, Brown and Co., [1992]. Large octavo. Printed blue wrappers. “Uncorrected Manuscript” state, preceding the first US edition of the author’s first book. Spine slightly rolled from having been read, thumb-tip sized bruise to lower joint; still, a very good copy of an uncommon format, distributed in advance of, and in much smaller circles than, the Advance Reading Copy. $400.

125. [Conrad, Joseph]: Lee, Robert N. [screenwriter]: Original Hand-Colored Studio Lobby Card for THE SILVER TREASURE. [Los Angeles: Fox Film Corp., 1926]. Vintage hand-colored original studio lobby card, 11 x 14”. Display pinpricks in margins, minute stain in center of image, minor marginal dustspots, otherwise very good and bright.

A choice example of the lobby cards promoting this screen adaptation of Conrad’s novel Nostromo, starring George O’Brien, Jack Rollens, Helena D’Algy, Hedda Hopper, et al. It was only the third adaptation of a Conrad property to film, and was directed by Rowland V. Lee, and produced by William Fox. Adaptations of Victory and Lord Jim preceded, in 1919 and 1925 respectively. $195.

126. Cooper, Merian C. [producer]; Robert Edmond Jones [color designer]; and Willis O’Brien [visual effects]: CUTTING CONTINUITY ON “DANCING PIRATE” [with:] DIALOGUE CONTI- NUITY ON “DANCING PIRATE” [wrapper titles]. [Culver City: RKO Radio Pictures], 23 and 21 April 1936. Foliated in reel format. Narrow tall quarto. Mimeographed typescript, printed on rectos only. Punched and bradbound at top edge, in stencil printed wrappers. Wrappers a bit sunned and brittle, with sliver chips at edges, else very good or better.

Two post-production, prerelease scripts for the 1936 Lloyd Corrigan film, based on a screenplay by Ray Harris and Francis Edward Faragoh, starring Charles Collins, Frank Morgan, and an uncredited young Rita Hayworth as a dancer. The film has technical import: it was only the third film produced in 3-strip Technicolor, and the juxtaposition of the talents of Robert E. Jones and Willis O’Brien lifts it above the mundanity of its value as entertainment. $125.

127. [Cosway-style Binding]: Cunninghame Graham, R. B.: THE IPANÉ. London: T. Fisher Unwin, 1899. Octavo. Original printed pale green wrappers, bound up in full claret crushed levant, gilt extra, a.e.g., with a 7 x 5.8 cm inset color portrait under glass of the author on horseback (based on the frontispiece), by Sangorski & Sutcliffe. Spine a trace sunned, otherwise fine. Enclosed in a calf and board fleece-lined slipcase (somewhat sunned and scraped).

First edition of Cunninghame Graham’s first collection of short fictions, published in Unwin’s “Over-Seas Library.” NCBEL III:1318. $1750.

128. Cowen, Ron: SUMMERTREE. New York: Dramatist’s Play Service, Inc., [1968]. Printed green wrappers. Fine.

First edition of the author’s first separately published play. With the author’s elaborate presentation inscription, dated 22 December 1968, to columnist Leonard Lyons, incorporating a multi-colored ink and colored pencil rendering of a tree covering the title-page. He notes “colored pencil is not my medium.” This play was adapted to film in 1971, starring Michael Douglas and Jack Warden. In recent years, Cowen has been nominated for, and received, a number of awards for An Early Frost and Queer As Folk. $150.

129. Crane, Hart: THE BRIDGE A POEM ... WITH THREE PHOTOGRAPHS BY WALKER EVANS. Paris: The Black Sun Press, 1930. Quarto. Original printed wrappers. Very faint shadow to spine area around slipcase finger-pulls, otherwise a fine copy, in rather scuffed and rubbed silver foil covered slipcase, with a significant portion of lower (or upper) panel snagged (but present and still whole).

First edition, trade issue. From a total edition of 283 numbered copies, this is one of two hundred copies with the text printed on Holland. Now acknowledged as among the defining poetic works of the American 20th century, The Bridge also marks the debut of Walker Evans’ photographs as book illustrations. Although Crane and the Crosbys had initially planned to use one of Joseph Stella’s iconic paintings as the frontispiece, and a corresponding proof of the title pulled, they opted instead to include the photographs by Evans, who Crane had actually met at the Brooklyn Bridge in 1928. Crane was engaged with the decision, taking a careful hand in the placement of the photographs in relation to the text, and pleased with the final result, noting in a letter to Caresse Crosby: “I think Evans is the most living, vital photographer of any whose work I know. More and more I rejoice that we decided on his pictures rather than Stella’s.” While one may surely regret that the edition with Stella’s frontispiece didn’t come about, the conjoining of Evans’ photographs with Crane’s poem has proved a durable aesthetic marriage, particularly after the selection of photographs was revised for the subsequent Liveright edition. SCHWARTZ & SCHWEIK A2. MINKOFF A32. MODERN MOVEMENT 64. $10,000.

Binder’s Dummy and Unbound Sheets

130. Crane, Walter: MR. MICHAEL MOUSE UNFOLDS HIS TALE ... REPRODUCED FROM THE ORIGINAL MANUSCRIPT IN THE COLLEC- TION OF MRS. CATHARINE T. PATTERSON. [New Haven: Yale University Library, 1956]. A significant lot of production material, as below. Variously good to fine.

The edition consisted of three hundred copies reproduced in facsimile of the original illustrated manuscript, printed in collotype under the direction of Harold Hugo and Carl P. Rollins, with the plates colored via stencil by Maria Bittner. Present here is a binder’s dummy (in full cloth), made up of both colored and uncolored sheets, with annotations on the front endsheet detailing the specifications for the binding materials actually used for the published book. Laid in are six leaves of the illustrations in colored state and four in blue-line proofs, as well as the letterpress colophon (all trimmed slightly smaller than the final textblock). Also present are unbound, untrimmed sheets, two images per sheet (recto and verso) extending to the format markings, including duplicates, as follow: 48 untrimmed sheets of the images in colored state; 33 sheets (numbered in pencil 2 through 35) in mixed colored and uncolored states, trimmed to various sizes; and finally, five sheets bearing the printed colophon on one side and a colored illustration on the verso. There are some minor variations in coloring, suggesting these may have been either test sheets, or possibly rejected sheets. $750. 131. Creeley, Robert: ALL THAT IS LOVELY IN MEN. Ashville, NC: Jonathan Williams 1955. Pictorial wrappers. Illustrated with drawings by Dan Rice. A bit of light rubbing and darkening at edges, but a very 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, and inscribed again by Creeley on the front blank to one of his later publishers, John Martin. Martin’s small book label is laid in. NOVIK A6. $1250.

132. Creeley, Robert: FOR JOEL [caption title]. [Madison, WI]: The Perishable Press, 1966. Quarto broadside (28 x 21 cm). Printed on recto only of pale gray-green stock. Fine.

First edition of this poem written to celebrate the marriage of Joel and Helen Oppenheimer on 6 June 1966. One of 85 copies (twenty-five h.c.) printed on “variegated papers handmade directly from rags” by W.S. Hamady. NOVIK 24. $275.

133. Crumley, James: THE MUDDY FORK A WORK IN PROGRESS. Northridge, CA: Lord John Press, 1984. Small octavo. Cloth and boards. First edition, ordinary issue. One of two hundred numbered copies, from a total edition of 250 copies, signed by the author. Fine. $150.

134. Cunninghame Graham, Gabriela: THE CHRIST OF TORO AND OTHER STORIES. London: Eveleigh Nash, 1908. Green cloth, spine stamped in gilt, upper board lettered in black. Endsheets somewhat foxed, a few spots to cloth, one small pin prick in lower board, otherwise a very good, bright copy.

First edition of this posthumously published collection of short stories and translations, edited, with a Preface, by her husband, R. B. Cunninghame Graham. $85.

First Book – Family Copy

135. Cunninghame Graham, R. B.: NOTES ON THE DISTRICT OF MENTEITH FOR TOUR- ISTS AND OTHERS. London: A. & C. Black, 1895. Original decorated printed wrappers. Spine chipped at toe, lower wrapper neatly detached, but a good copy. Half calf slipcase.

First edition, first impression, of the author’s first book. An excellent association copy, with the ownership inscription of the author’s brother on the upper wrapper: “Charles Cunninghame Graham August 1895.” $300.

Inscribed to His Mother

136. Cunninghame Graham, R. B.: MOGREB-EL-ACKSA A JOURNEY IN MOROCCO. London: Duckworth & Co., [1921]. Large octavo. Medium blue cloth, lettered in darker blue. Foxing at edges and in prelims, gilt morocco bookplate of Efrem Zimbalist, spine ends worn, a used but sound copy.

Revised edition. The original edition appeared in 1898. An excellent association copy, inscribed on the half-title: “To my dear Mother A.E. Bontine from her affec. son R B Cunninghame Graham 8 Oct 1921.” $450.

137. Cunninghame Graham, R. B.: [REDEEMED AND OTHER SKETCHES]. [London: Wil- liam Heinemann, 1927]. Original tan wrappers. Soft vertical crease, typesetter’s stamp and date on upper wrapper, title-leaf neatly excised, but very good.

The original master set of proofs for the first edition, stamped “Marked Proof which please return. 7 Jul 1927 First 7.” With numerous ms. queries throughout re: spelling and such in an unknown (possibly editorial) hand, but as well with numerous additions, deletions and alterations in Cunninghame Graham’s hand, beginning with the changing of the dedicatee’s last name and several insertions in the Preface. $500. 138. Cunninghame Graham, R. B.: THE DISTRICT OF MENTEITH .... Stirling: Eneas Mackay, [1930]. Small folio. Half calf and decorated cloth, gilt calf label, t.e.g., others untrimmed. Original etched frontispiece, and ten reproductions of wash drawings. Faint offset to endsheet gutters, otherwise fine in faintly rubbed dust jacket and edgeworn publisher’s box with printed label.

First deluxe edition, with a new Preface, and with illustrations by Sir D.Y. Cameron. One of 250 numbered copies, specially printed and bound, and signed by the author and artist. The original etched frontispiece is signed in the margin by the artist. Originally published as the author’s first book in 1895. $750.

139. Cunninghame Graham, R.B., and Gabriela Cunninghame Graham: FATHER ARCHAN- GEL OF SCOTLAND AND OTHER ESSAYS. London: Adam & Charles Black, 1896. Plum cloth, spine decorated in gilt, upper board lettered in black. A bit of rubbing and sunning, press crease in 183/4, otherwise very good.

First edition, in the second state of the binding, of R.B. Cunninghame Graham’s second book. $125.

140. Cunninghame Graham, R.B. [introduction], and Charles Simpson [author & illustrator]: EL RODEO ONE HUNDRED SKETCHES MADE IN THE ARENA DURING THE GREAT INTERNATIONAL CONTEST (1924) .... London: John Lane the Bodley Head, [1925]. Quarto. Tan cloth, lettered in red and black. Frontis and plates. Fine, in very good, lightly soiled and chipped pictorial dust jacket.

First edition. A well-illustrated account of the rodeo organized by Charles Cochran, and managed by Tex Austin, staged at Wembley Stadium 14 June to 5 July 1924. It includes some mention of the several controversies and attendant celebrations. Uncommon in dust jacket. $200.

141. [Dada]: Tashjian, Dickran: SKYSCRAPER PRIMITIVES DADA AND THE AMERICAN AVANT-GARDE, 1910 – 1925. Middletown: Wesleyan Univ. Press, [1975]. Small quarto. Cloth. Plates. First edition of this essential study of Dada manifestations and influences in the literary, visual and concrete arts in America. Bookplate on front pastedown, otherwise fine in very good, price-clipped dust jacket with internally mended 5.5 cm creased tear at lower edge of front panel. $55.

142. Dahlberg, Edward THE SORROWS OF PRIAPUS. [Norfolk]: New Directions, [1957]. Quarto. Gilt parchment over boards, t.e.g. As new in glassine jacket and slipcase.

First edition, illustrated with drawings by Ben Shahn. One of only 150 numbered copies printed on Arches, and signed by the author and artist. An additional print of one of Shahn’s drawings, signed by him, is laid in front, as issued. $500.

143. Davenport, Guy: THE RESURRECTION IN COOKHAM CHURCHYARD. [New York: Jordan Davies, 1982]. Japanese paper over boards. Hint of sunning along bottom edge, else fine in dust jacket.

First edition, ordinary issue. One of 230 numbered copies, from a total edition of 255 copies, all signed by the author. CRANE A18. $150.

144. Davenport, Guy: GOLDFINCH THISTLE STAR. [New York]: Red Ozier Press, [[1983]. Printed wrapper over stiff wrappers. Illustrations by Lachlan Stewart. First edition, wrapper issue. One of 155 press-numbered copies in wrappers (of 200), all signed by the author. Fine. CRANE A19. $125.

145. Davenport, Guy: GOLDFINCH THISTLE STAR. [New York]: Red Ozier Press, [1983]. Cloth backed decorated boards, paper spine label. Illustrations by Lachlan Stewart. About fine.

First edition, boardbound issue. One of forty-five press-numbered copies (of 200), specially bound, and signed by the author. Fine. CRANE A19. $200.

146. Davenport, Guy: BELINDA’S WORLD TOUR. New York: Dim Gray Bar Press, 1991. Oblong 12mo. Cloth and boards. Illustrations by Deborah Norden. Fine.

First edition. One of one hundred numbered copies, signed by the author and illustrator. $100.

147. Davidson, Jo: BETWEEN SITTINGS AN INFORMAL AUTOBIOGRAPHY. New York: The Dial Press, 1951. Large, square octavo. Gilt cloth. Portrait. A fine copy in torn thin plastic sleeve.

First edition, limited issue. One of seventy-four numbered copies, specially bound, and signed by the author/artist, with a small self-caricature. Bound in front is an original watercolor oceanscape signed by Davidson. The autobiography of the celebrated painter/portrait sculp- tor, with commentary on his friends and subjects, including Stein, Conrad, Joyce, Steffens, Doyle, Wells, and endless prominent political and military figures. $350.

148. Davies, Robertson: THE TABLE TALK OF SAMUEL MARCHBANKS Toronto: Clarke, Irwin & Company Ltd., 1949. Red cloth, stamped in silver. Decorations by Clair Stewart. First edition, second state of the binding. Signed by the author on the title page in 1982, accompanied by a cordial inscription. Fine in dust jacket with faint smudges to lower panel. $350.

149. Davies, Robertson: THE LYRE OF ORPHEUS. [London]: Viking, [1988]. Large octavo. Gilt cloth, marbled boards. Inevitable slight tanning to textblock, otherwise fine in glassine.

First British edition, limited issue. One of 150 numbered copies, specially bound for “London Limited Editions,” and signed by the author. $150.

150. Davies, Robertson: MURTHER & WALKING SPIRITS. [London]: Sinclair-Stevenson Ltd., [1991]. Large octavo. Gilt cloth, marbled boards. Fine in lightly rumpled glassine.

First British edition, limited issue. One of 150 numbered copies, specially bound for “London Limited Editions,” and signed by the author. $150.

151. [Davis, Robert S.]: AS IT MAY HAPPEN. A STORY OF AMERICAN LIFE AND CHAR- ACTER. By “Trebor” [pseud]. Philadelphia: Porter & Coates, [1879]. 416pp. Brown cloth, ruled in blind, lettered in gilt. Crown of spine frayed, with small chips, spine a bit rubbed, some spotting to prelims from tipped-in letter (see below), shallow nicks to a few top margins, but a good, sound copy.

First edition of the author’s first book. Tipped to the front endsheet is a letter from the author, Phila. 14 Feb. 1879, forwarding this copy to a Yale classmate – Mark Twain’s good friend, Rev. Joseph Hopkins Twichell – and begging his indulgence. According to Wright, publication actually occurred in 1878, and the copyright date was amended in at least one copy (and possibly several). WRIGHT III:1440. $125.

152. De Casseres, Benjamin: ANATHEMA! LITANIES OF NEGATION. New York: Gotham Book Mart, 1928. Quarto. Vellum and boards. Spine a bit rubbed, forecorners worn, else a good copy, with the small booklabel of Herbert Boyce Satcher.

First edition. Foreword by Eugene O’Neill. One of 1250 numbered copies signed by De Casseres. Loosely-inserted are two A.Ls.S. (2 1/4pp., on personal letterhead, n.p., 29 June 1932 and 27 March 1936) from DeCasseres to “Dear George,” and to “Dear Mr. Munson,” respectively. In the first letter, DeCasseres writes: “I don’t think the ‘trenches’ have anything to do with the New York papers ignoring your book, for I am still in the trenches (Pro-Ally) and they take no notice of me either. From time immemorial there has been a conspiracy against superiority of all kinds. ‘Superiority deserves ostracism,’ as some Frenchman said.” In the letter of 27 March, DeCasseres responds to a request, by [Gorham?] Munson explaining: “before I can permit my name to be used in a book, it will be necessary for me to know the nature of that book and to see the book or proofs of it.” Both letters in very good state. $125.

153. Defoe, Daniel, and Walther Klemm [illustrator]: DAS LEBEN UND DIE GANZ UNGEMEINEN BEGEBENHEITEN DES WELTBERÜHMTEN ENGELLÄNDERS ROBINSON CRUSOE: WELCHER DURCH STURM UND SCHIFFBRUCH ... AUF EINE UMBEWOHNTE IN- SULGERATEN ... UND ZULETZT DURCH SEERÄUBER ... BEFREIETWORDEN Leipzig: Friedrich Dehne, 1919. Small folio. Quarter vellum and pastepaper over boards. Plates. Boards a bit darkened and rubbed at edges, otherwise a very good copy, internally fine.

First edition of these translated excerpts, accompanied by ten original full-page stone lithographs by Walther Klemm (1883- 1957), each signed in the margin in pencil by the artist. One of three hundred numbered copies printed by Dietsch & Brückner in Weimar, with the lithographs printed under the supervision of the artist at the School of Visual Arts in Weimar. In 1913 Klemm joined the faculty at the Weimarer Kunsthochshule, and in the following decades illustrated a number of significant texts, along with producing individual prints and series. $600.

154. Defoe, Daniel, and E. McKnight Kauffer [illustrator]: THE LIFE AND SURPRIZING ADVENTURES OF ROBINSON CRUSOE OF YORK MARINER. London: Etchells & Mac- donald, 1929. Small quarto. Cloth. Illustrated with a frontis, title-ornament and plates by Kauffer, all color pochoirs. Spine a shade and edges sunned, early ink name on endsheet, usual offset to endleaves, several leaves carelessly opened at fore-edge or top edge, but chiefly a very good copy.

First edition with Kauffer’s illustrations. This is one of five hundred numbered copies on rag paper, from a total edition of 535. $250.

155. [Demme, Jonathan (director)], and David Shaber [screenwriter]: LAST EMBRACE A SCREENPLAY ... BASED ON THE NOVEL “THE THIRTEENTH MAN” BY MURRY TEIGH BLOOM. New York: Taylor / Wigutow Productions, 5 May – 26 June 1978. [1],113 leaves plus lettered inserts. Quarto. Mechanically reproduced typescript, printed on rectos only of white, blue, green and goldenrod stock. Boltbound in Studio Duplicating Service binder. Binder a bit used at overlap edges, ink name (twice – see below), some notes and drawings on blank verso of final leaf, else very good.

A “revised draft” of this adaptation, but with additional colored dated revises inserted spanning the 6 weeks above. The 1979 release was directed by Jonathan Demme (his first major commercial undertaking), and the cast included Roy Scheider, Janet Margolin, John Glover, Christopher Walken, Mandy Patinkin, and others. Dramatist and screenwriter David Shaber’s adaptation of Bloom’s 1977 novel was released just four months after The Warriors, which was based on his screenplay adaptation of Sol Yurick’s novel, stormed theatres. This copy bears the ownership signature and scattered annotations of Les Lazarowitz, who was in the production sound crew. The drawings on the blank verso of the final leaf are for a moveable sound recording/mixing station. $375.

156. Dickens, Charles: PICTURES FROM ITALY. London: Published for the Author, 1846. Small octavo. Fine grain blue cloth, decorated in blind, lettered in gilt. Vignette illustrations by Samuel Palmer. Bookplate on front pastedown, small patch of offset bleed from another to front free endsheet and through to recto of first ad leaf, some faint spotting to the cloth on the lower boards, but a very good, bright copy.

First edition in book form, the text revised from its appearance as a series of “Travelling Letters” in The Daily News. ECKEL, pp.126-7. SMITH, pp.44-58. $850.

157. [Dickens, Charles]: Clark, Cumberland: DICKENS’ LONDON. A LANTERN LECTURE. London: Printed by Wass, Pritchard & Co., 1923. Pale green cloth, lettered in gilt. Cloth a bit sunned and dust marked, but a good copy.

First edition. Inscribed by the author to the noted British bookseller and Dickens specialist, Charles Sawyer: “Presentation copy to Charley Sawyer with best wishes from the author Cumberland Clark.” $150.

158. Dickens, Charles, Jr.: THE LIFE OF CHARLES JAMES MATHEWS CHIEFLY AUTO- BIOGRAPHICAL WITH SELECTIONS FROM HIS CORRESPONDENCE AND SPEECHES. London: Macmillan and Co., 1879. Two volumes. Original forest green pebbled cloth, ruled in black, lettered in gilt, edges untrimmed. Short clean snag at top of spine of the first volume, inner hinges cracked (cords holding), as usual for this book, covers a little worn, otherwise a good set. Bookplates of William Joseph Connery and of Frederick Burgess, and with an old bookseller’s description tipped-into volume one and a small label reading “First edition” affixed in both volumes. In a half morocco slipcase.

First edition. With an 1863 check signed by Mathews on a preliminary leaf in volume one. The author/editor of these volumes, the eldest son and namesake of the novelist, inherited the editorship of All The Year Round and was later a reader at Macmillan. Charles Mathews (1776-1835) was a popular English actor. Dickens, Sr., in his younger days, had been a devoted admirer of Mathews and sat in the pit whenever the actor played. In 1832, the future novelist applied to George Bartley, the stage manager for Mathews, for work in the theatre, and an appointment was arranged for an audition. On the day of the appointment, however, Dickens was laid-up with a terrible cold and was unable to appear. Dickens wrote to say he would have to resume his application “next season”, but -- as literary opportunities came his way -- the application was never renewed. $175.

159. Dickey, James, and John Boorman [screenwriters]: “DELIVERANCE” FROM THE NOVEL BY .... [N.p.: The Writers], 11 January 1971. [1],104 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in typescript wrappers. A few small nicks at extended overlap edges of wrappers, a bit of rust offset from brads to verso of modestly edge tanned front wrapper, otherwise near fine

Denoted the “second draft” of this screen adaptation of Dickey’s 1970 novel. Laid in are three 8x10” glossy stills of production shots, two of them denoted on versos as “not for publication.” The evolution of the script for this film was difficult and occasionally tumultuous. The first draft, which was solely Dickey’s work, was published by SIU Press in 1982, accompanied by his account of the circumstances surrounding his often difficult dealings with the project and with director John Boorman (who, in turn, had his own issues with the demeanor of the novelist). The film was released in July of 1972 – a year and a half after this draft – and although Boorman is here explicitly co-credited, Dickey received sole onscreen credit. Jon Voight, Burt Reynolds, and Ned Beatty starred, and Boorman garnered an array of award nominations as director. The accompanying candid stills feature Voight and Reynolds. A quite uncommon screenplay, particularly in any of its early drafts. $1250. 160. Didion, Joan, and John Gregory Dunne [screenwriters]: Set of Eight Color Stills for THE PANIC IN NEEDLE PARK. [Beverly Hills]: 20th Century-Fox, 1971. Eight 11 x 14” borderless color still, accompanied by the printed pictorial cover sheet. Some slight printing offset to the blank versos of four of the stills, otherwise fine

An excellent set of the large format publicity stills for Didion and Dunne’s first screenplay to see production (preceded by television work), based on James Mill’s book. Jerry Schatzberg directed Al Pacino in a very early role, and Kitty Winn, in a role that earned a Best Actress Award at Cannes. $65.

161. Doar, Graham: “SUSPENSE” “THE OUTER LIMIT” ... A RADIO ADAPTATION OF THE FAMOUS SATURDAY EVENING POST SCIENCE FICTION STORY. [New York: CBS Radio], February 1954. [1],25 leaves. Quarto. Mimeographed typescript, printed on rectos only. Stapled at top. Terminal leaf neatly detached at staple, otherwise very good or better.

Denoted the first draft of this adaptation, but in fact a revision by Morton Fine and David Friedkin of their 1950 adaptation for the radio series, Escape. The story was first published in December 1949 and exerted terrific influence on the growth of the popular conception of UFO encounters. It was adapted several time for the radio, and as well as an episode on the early television series, Out There. This iteration for radio starred William Holden. $150.

162. Dobie, J. Frank: THE MEZCLA MAN. El Paso Del Norte: [Privately Printed for the Author by Carl Hertzog], 1954. Small quarto. “Adobe-print” wrappers. Frontis by José Cis- neros. Near fine.

First edition. One of 1000 copies printed as Dobie’s holiday greeting for the year. Warmly inscribed on the occasion by Dobie to western writer and California viticulturist Lindley Bynum and his wife. LOWMAN 89. McVICKER D52. $125.

163. Dodge, Walter Phelps: AS THE CROW FLIES FROM CORSICA TO CHARING CROSS. New York: Geo. M. Allen Co., 1893. 132pp. Narrow octavo. Medium brown cloth, decorated in dark brown. Modest soiling along extreme top edges of boards, but a very good copy.

First edition of the author’s second book, with his autograph compliments slip tipped to the free endsheet. A collection of travel sketches by the future biographer of Sir Richard Bur- ton. $150.

164. [Dodgson, Charles L.]: Carroll, Lewis: [pseud]: ALICE’S ADVENTURES IN WONDER- LAND. London: Macmillan and Co., 1866. Red cloth, decorated in gilt, a.e.g. Frontis and illustrations by John Tenniel. Cloth handsoiled and rubbed, spine extremities frayed, hinges cracked (and with signs of having been recased, with light blue endsheets and the Burn ticket intact), endsheets foxed, scattered foxing and a few finger smudges elsewhere in the text, a few shallow ink bleeds along top and fore-margins of first few leaves, with evidence of same along upper edge of front cover, a few tiny repairs to fore-margins of two leaves (pp. 91-4), a few spots to upper fore-quadrant of lower cover; overall, a heavily read but good, intact copy. Cloth slipcase and chemise.

Second British edition, but first published printing. As is common knowledge, Tenniel and Dodgson disliked the reproduction of the drawings in the first printing, and but for a handful of bound copies, the remaining 1952 sets of sheets from the first printing were diverted for use as the American edition via cancel prelims. This second (but first published) impression is essentially the first readily procurable English impression. WILLIAMS & MADAN 33. $7500.

165. [Dodgson, Charles L.]: Carroll, Lewis [pseud]: ALICE’S ADVENTURES UNDER GROUND BEING A FACSIMILE OF THE ORIGINAL MS. BOOK ... WITH THIRTY-SEVEN ILLUS- TRATIONS BY THE AUTHOR. London: Macmillan and Co., 1886. Small octavo. Reddish cloth, gilt extra, a.e.g. First edition. A tight, internally clean and fine copy, in an early fleece lined folding cloth case, the lining of which has caused some bleached mottling to the cloth color. $550.

166. [Dodgson, Charles L. (sourcework)]: Myers, Henry; Albert Lewin, and Edward Eliscu [screenwriters]: Original Studio Publicity Campaign Pressbook for ALICE IN WONDERLAND. [New York]: Souvaine Selective Pictures, [1951]. [8]pp. Folio (43 x 28 cm). Highly pictorial self wrappers. Old horizontal fold impression, minor hand soiling, two short tears and a crease at top edge of last leaf, else very good or better.

A vintage pressbook for the original US release of this (until recently) little-seen adaptation of Alice in Wonderland by Lou Bunin, blending a human Alice with stop-motion puppetry in its translation of the Carroll/Dodgson original. Directed by Dallas Bower, the film starred Carol Marsh as Alice, and utilized the voices of Stephen Murray, Ernest Milton, and Pamela Brown among others. An innovator of puppet animation, the American-born Bunin worked with Diego Rivera as a muralist and politically conscious stage puppeteer before turning to cinema. Filmed (in both English and French) across three cities -- Nice, Paris, and London -- the film boasted an impressive crew, many of whom would soon after the completion of the film be blacklisted: cinematographer Claude Renoir, composer Sol Kaplan, and screenwriters Henry Myers and Edward Eliscu. Although the film was released in France in May of 1949 without issue, American distribution was plagued with complications. Walt Disney had plans to do an animated version of “Alice,” and he promptly sued Bunin to prevent his film’s distribution, erroneously claiming he had rights to the material – of course, the courts dismissed the case as the book was in public domain. Bunin was denied die-transfer Technicolor release prints due to the influence of the lab’s major client, Disney. When it was finally set for distribution in 1951, theater chains wouldn’t book it in deference to the Disney adaptation, and it was banned in England until 1985 due to its unflattering depiction of Queen Victoria. A restored version, including 12 additional minutes of footage, is now screened at museums, including the MOMA. $175.

Specimen Leaf on Vellum

167. [Doves Press]: [Two Conjugate Leaves on Vellum from:] THE ENGLISH BIBLE CON- TAINING THE OLD TESTAMENT & THE NEW .... [London: The Doves Press, 1903 – 05]. Folio (327 x 470 mm). Two conjugate leaves (4 pp.), folded. Some light dusting in margins, some creasing toward toe of fold, but very good. In a somewhat worn and bumped double die-cut mat.

A conjugate specimen leaf from the vellum issue of the Doves Press Bible, printing four pages from II Chronicles (pages 61/2 and 175/6). Long regarded as the Press’ masterwork, and numbered among the great achievements of 20th century fine printing, the edition appeared in five volumes over two years and included 500 sets on paper, and only two sets on real vellum (plus one comprised of rejected sheets, according to Tomkinson). Given the improbability of a set reappearing for sale (and the monumental cost if/when that might oc- cur), specimen leaves such as this are the only practical possibility for the average citizen to approach this peak of the art of printing on vellum. RANSOM (DOVES PRESS) 6. TOMKINSON (DOVES PRESS) 6. $2500.

168. Dreiser, Theodore: [Original Inscribed Portrait Photograph]. Hollywood. [image ca. 1920s, but inscribed in] January 1942. Original 8 x 10” sepia-toned print. Very good.

Likely a publicity portrait, quarter-length right profile, the image showing signs of having been heavily doctored in the negative in the background areas. After a false start in a darker portion of the image, inscribed in black ink by Dreiser in the lower right corner, into the lower margin: “Here’s looking at you Helen – with love and admiration from TD Hollywood – Jan – 1942.” The image is recorded in the very useful illustrated online calendar of Dreiser photos in the archive at UPenn, and there identified as “1920s, At the Roses, Los Angeles, California.” Three letters (two ‘v’s and an ‘o’) in the inscription are closed with ink blotches made in the course of the inscription. We presume the recipient of the inscription was a ‘Helen’ other than Helen Richardson. $250.

169. Du Ponceau, Peter S., et al: A DISSERTATION ON THE NATURE AND CHARACTER OF THE CHINESE SYSTEM OF WRITING IN A LETTER TO JOHN VAUGHAN, JR .... Phila- delphia: Published for the American Philosophical Society, 1838. xxxii,375pp. Large octavo. Original muslin and boards, printed paper spine label. Ten plates. Minor use to boards and offsetting to endsheet, otherwise a very good or better copy.

First edition of this major work by the prominent and polymathic French-American linguist and lawyer (1760-1844), accompanied by complementary works (a Cochinese vocabulary and a Cochinese/Latin dictionary), by Joseph Morrone and M. de la Palun. Du Punceau was, at the time, President of the American Philosophical Society. $950.

170. Duncan, Robert: SIX PROSE PIECES. [Madison, WI]: The Perishable Press Limited, 1966. Small quarto. Pale green cloth, upper board lettered in gilt in facsimile of the author’s signature. Very modest darkening along edges, otherwise about fine.

First edition, bound issue. One of seventy copies (fifty for sale) printed by Hamady in residence at the Rob Run Press in Goudy Old-Style type on grey-blue paper handmade by the printer from linen and cotton rags. Illustrated with a wood-engraving cut by Hamady after a drawing by Duncan. This copy bears Duncan’s presentation inscription within a pencil drawing of a tree: “for Helen and Pat [Adam?] April 1966 Robert Duncan,” and may be one of the ten copies reserved for the author. In all probability, an excellent association copy of one of Duncan’s most uncommon titles, and an early imprint of the press. HAMADY 6. BERTHOLF A21a. $3500.

171. Duncan, Robert: POETIC DISTURBANCES. [Berkeley]: Maya Quarto Eight, [1970]. Quarto. Sewn wrappers, paper label. Trace of sunning to spine, else fine.

First edition, deluxe issue. One an unknown number of copies designated ‘H.C.’ (this being #2) and initialed by Duncan, in addition to fifty numbered copies, specially printed on Tovil handmade paper, signed by the author, from a total edition of three hundred copies (and a few hors commerce) printed by Clifford Burke. Laid in is a photocopy of a long list in Duncan’s hand of names of poets and reviewers to whom copies of a (this?) book should be sent. BERTHOLF A34a. $175.

172. Duncan, Robert: [Inscribed typescript of:] “OF GEORGE HERMS, HIS HERMES, AND HIS HERMETIC ART.” [Np]. [nd. but ca 1973]. One leaf. Quarto. Original typescript, eighteen lines, ca. 250 words. Fine.

A typescript, with light corrections in type, of Duncan’s contribution to the exhibition catalogue, George Herms Selected Works 1960-1973, (Bertholf B66), on the verso of a stationary sheet bearing the Black Sparrow logo. Inscribed and signed at the end: “for the Hillmans, RD.” Duncan has humorously captioned the logo on the verso (which is inverted in relation to the typescript, i.e. the bird is on its head): “Stoned-Bird Press (I can’t Swallow Press).” $275.

173. [Duncan, Robert]: Dahlen, Beverly: THE EGYPTIAN POEMS ... AFTERWORD BY ROBERT DUNCAN. Berkeley: Hipparchia Press, [1983]. Oblong octavo. Plain wrappers, printed label. Illustrations by Jaime Robles. Wrapper edges faintly darkened, label darkened a bit from the adhesive, else about fine.

First edition, lettered issue. One of 26 (?) lettered copies, signed by the author and by Dun- can, from an edition of 175 copies. $100.

174. Dunsany, [Edw. Plunkett], Lord: TALES OF WONDER. London: Elkin Mathews, 1916. Cloth backed boards, untrimmed. Illustrations by S.H. Sime. First edition. Trace of darkening to spine, with a bit of minor edgewear, but a very good copy. From the collection of Herbert Boyce Satcher, with his book label and a pencil note in his hand: “[Pub. in America as ‘The First Book of Wonder’]. This copy is from the collection of A.J.A. Symons.” BLEILER (SUPERNATURAL) 579. NCBEL III:1946. $175.

175. Eliot, T. S.: THE WASTE LAND. Richmond: Printed and Published by Leonard and Virginia Woolf at the Hogarth Press, 1923. Marbled paper over boards, printed label. Neatly rebacked, with a considerable portion of the original spine laid down, some wear at fore-tips and edges, some sunning at edges, 1938 ink ownership signature; a good copy.

First British edition, printed by the Woolfs in an edition of ca. 460 copies from type hand-set by Virginia. The label on this copy features Gallup’s state 2 of three variants (with single line rules), no priority. Although published eight months after the U.S. edition, this printing of Eliot’s poem offers a special attraction due to the imprint. The final two leaves (the 2nd blank and utilized, as normal, for the pastedown) remain unopened at top, and the small booklabel of Shakespeare & Company (the original incarnation) therefore appears in the lower fore-corner of p. [37], with its list of “Previous Publications” of the Hogarth Press. GALLUP A6c. WOOLMER 28. MODERN MOVEMENT 30b. $4750.

176. Eliot, T. S.: JOURNEY OF THE MAGI. [London: Faber & Gwyer, 1927]. Pictorial yellow boards. Illustrations by E. McKnight Kauffer. First edition, limited issue. One of three hundred and fifty numbered copies, printed on handmade paper and specially bound. Slight tanning to endsheets, top edge dusty, else a nice copy in fragmentary glassine wrapper. GALLUP A9b. $350.

177. Eliot, T. S.: SWEENEY AGONISTES.... London: Faber & Faber, [1932]. Boards. First edition, first binding. Fine in near fine dust jacket with a tiny chip at the toe of the lower joint. Custom cloth slipcase and chemise. GALLUP A23. $350.

178. Eliot, T. S.: FOUR QUARTETS. London: Faber & Faber, 1960. Quarto. Quarter gilt vellum and marbled paper over boards, t.e.g. Fine in very good, matching slipcase with short crack to fore-tip of one joint. The whole enclosed in a custom cloth slipcase and chemise.

First deluxe edition. One of 290 numbered copies printed at the Officina Bodoni in Dante types on Pescia paper by Hans Mard- ersteig. All copies were signed by the author. GALLUP A43c. MODERN MOVEMENT 92. $6000.

Dedication Copy

179. Everson, William: THE EXCESSES OF GOD ROBINSON JEFFERS AS A RELIGIOUS FIGURE. Stanford: Stanford University Press, 1988. Gilt cloth. Small abrasion to lower edge of one board, else about fine in dust jacket.

First edition. The Dedication Copy, inscribed on the half title in his late, by then characteristically infirm hand, to his long-time friend and publisher and his wife: “for Bob & Dorothy with all my love Brother Antoninus April 28, 1988 Kingfisher Flat.” The printed dedication reads, appropriately, “To Robert Hawley, Man of Books.” Bob Hawley, cofounder and, after 1968, remaining principal of OYEZ and proprietor of Ross Valley Book Company, was one of Everson’s closest friends and primary publishers for a quarter century. In his first Preface, Everson enlarges on that dedication, noting, that if the work “has any merit, let the credit go to Bob Hawley, who denied me the easy issue of a chapter and drove me thereby to the ten years’ birthpang of a book.” $450. 180. [Ewers, Hanns Heinz] Neumann, A. [illustrator]: [Original Watercolor, Pencil and Ink Binding or Dust Jacket Design for:] DAS GRAUEN. [Germany? nd but likely 1930s]. Original drawing, executed in pencil, ink and watercolor, on stiff card stock (265 x 195 mm). A few small flecks of surface loss in lower right corner, small cluster of fox or rust marks, otherwise very good.

A suitably sensational binding or dust jacket design for an unidentified 20th century edition of Ewers’ collection of short stories and fantastic tales (first published 1908). The design is signed in ink at the bottom edge “A. Neumann,” but our efforts to identify the edition for which it was intended have not yielded results. $250.

181. [Faulkner, William (sourcework)], and James Poe [screenwriter]: Set of Studio Lobby Cards for SANCTUARY. [Los Angeles]: Zanuck/Twentieth Century-Fox, 1961. Eight 11 x 14” color lobby cards. Fine, with original distribution sleeve (a bit ragged).

A complete set of the lobby cards issued to promote the second film adaptation of Faulkner’s novel, based on a screenplay by James Poe, directed by Tony Richardson, and starring Lee Remick, Yves Montand, Bradford Dillman, Odetta and Strother Martin. Sanctuary was previously filmed in 1933 as the highly controversial pre-code The Story Of Temple Drake. $150.

182. Feiffer, Jules [sourcework & screenwriter]: LITTLE MURDERS. New York: Brodsky/Gould Productions, March – April 1970. [1],110 leaves plus lettered revises. Quarto. Mechanically reproduced typescript, printed on rectos only of white, salmon, yellow and light blue stock. Boltbound in hot-stamped Studio Duplicating Service flexible wrappers. Wrappers a bit creased and dusty at extended overlap edges, otherwise very good, internally about fine.

Copy #31 of the “second draft” of Feiffer’s own adaptation to the screen of his 1966 breakthrough black comedy, with dated revises on colored stock spanning 19 March through 1 April. Additionally, there are a number of scattered ink revisions in an unknown hand. This copy has the ink ownership signature of Les Lazarowitz, who worked as sound recordist for the production. The 1971 release, directed by Alan Arkin, starred Eliott Gould, Marcia Rodd, Vincent Gardenia et al, and Feiffer’s screenplay was nominated for a WGA Award for Best Adaptation from Another Medium. We’ve handled a slightly later draft, in which considerable revisions were made to the setup and brilliantly complex overlapping monologues of Carol, Alfred and Kenny at the conclusion of the film. Accompanied by a set of eight 10.5 x 14 borderless color stills from the film. $450.

183. Feiffer, Jules [screenwriter]: POPEYE SCREENPLAY BY ... BASED ON THE COMIC STRIP BY E. C. SEGAR. [Np]: Robert Evans / Paramount Pictures Corp., [nd. but 28 Sept. 1979]. [2],130 leaves. Quarto. Photomechanically reproduced typescript, printed on rectos only. Bradbound in titled production company wrappers. Title lettered on spine, Paramount Print Shop rubberstamp on title, wrappers a bit spotted and hand-soiled, with a doodled rendering of Popeye in ink on upper wrapper, internally very good.

Copy #40 of the second draft of Feiffer’s film evocation of the Segar comic character. With a (torn) copy of the print order by producer Robert Evans for this and 19 other copies of this draft on the date above. Robert Altman directed Robin Williams and Shelley Duvall in the leads. $375.

184. [Festivals]: Crosse, John: AN ACCOUNT OF THE GRAND MUSICAL FESTIVAL, HELD IN SEPTEMBER, 1823, IN THE CATHEDRAL CHURCH OF YORK ... TO WHICH IS PRE- FIXED, A SKETCH OF THE RISE AND PROGRESS OF MUSICAL FESTIVALS IN GREAT BRITAIN; WITH BIOGRAPHICAL AND HISTORICAL NOTES. York: Printed and Sold by John Wolstenholme, 1825. vii,[1],436,xxvi,[2]pp. Quarto (300 x 235 mm). Modern half-calf, gilt label, and marbled boards. Colored frontis, one colored and two tinted plans, plus a large folding plan. Some offsetting from the plates and occasional foxing, folding plan somewhat foxed (but intact); a good, sound copy.

First edition of this account of the festival hosted to benefit the York County Hospital and the General In- firmaries of Leeds, Hull and Sheffield. The prefatory essay, which extends to some 125 pages, is of particular significance as it consists of an historical account of Festivals in Great Britain up to the year 1823. The terminal leaf consists of an extensive list of additions and corrections, with an advert for the second Yorkshire Festival. Appendices relate to organi- zational matters, as well as a history of the “noblest of all instruments,” the Organ. The pictorial plates were engraved by John Browne after drawings by Edward Finden – the frontis has a pasted cancel slip correcting the name of the dedicatee. $500.

185. Field, Eugene: SHARPS AND FLATS. New York: Charles Scribner’s Sons, 1901. Pub- lisher’s vellum and boards, t.e.g. A fine set, in the publisher’s cloth dust jackets, as issued. Half morocco slipcase.

First edition, large paper issue (published a few months after the ordinary edition). No. 40 of 150 sets printed on Holland paper. From the collection of Francis Wilson with his bookplate in each volume and a few neat pencil annotations, presumably in his hand, in the margins of the Introduction. BAL 5784. $450.

186. “Field, Michael” [pseud. of Katherine H. Bradley and Edith E. Cooper]: JULIA DOMNA A PLAY. [London: The Vale Press, 1903]. Large octavo. Cloth and decorated boards, paper spine label. Label slightly rubbed, a few faint marks to boards, foxing and offsetting to endleaves and occasional foxing in text, but a good copy.

First edition. One of two hundred and forty copies printed on handmade paper, in addition to ten copies on vellum, under the supervision of Charles Ricketts, who also contributed the woodcut decorations. NCBEL III:626. TOMKINSON (VALE PRESS) 41. COLBECK I:249. $250.

One of One Hundred Signed

187. [Fischl, Eric]: PARKETT No. 5. Zurich & New York: Parkett, 1985. Whole number five. Quarto. Stiff pictorial wrappers. Illustrations and photographs throughout. About fine.

The special deluxe issue of this number featuring Eric Fischl, with an original aquatint (with sugar lift) by Fischl bound in, limited to one hundred copies numbered and signed by the artist in the margin. $1000.

188. Fitzgerald, F. Scott: ALL THE SAD YOUNG MEN. New York: Charles Scribner’s Sons, 1926. Green cloth, stamped in gilt. First edition, probable first printing, with no signs of type wear at the three points in the text cited by Bruccoli (the first three printings are not formally distinguished). Neat, April 1926 gift inscription on free endsheet, small bookseller’s ticket at corner of free endsheet, otherwise a fine, bright copy, in very good, slightly spine darkened dust jacket with shallow fraying at crown of spine, slight cracking toward toe of upper fold, and a minor spot. The flapper’s lips on the front panel of the dust jacket show signs of bat- ter. Half morocco folding case. BRUCCOLI A12.I. $5500. 189. Flagg, Fannie [pseud. of Patrica Neal (sourcework & screenwriter)]: FRIED GREEN TOMATOES AT THE WHISTLE STOP CAFE SCREENPLAY BY .... [Los Angeles]: Act III Productions & Avnet/Kerner Company, 20 April 1990. [1],118 leaves. Quarto. Photomechani- cally reproduced typescript, printed on rectos only. Bradbound in diecut and printed production company binder. Light use and nicks at overlap edges of binder, otherwise about fine.

An unspecified but preproduction draft of Flagg’s own adaptation to film of her 1987 novel. The script for the December 1991 release, under the truncated title, Fried Green Tomatoes, was co-credited to Carol Sobieski, but Flagg alone is here credited for this draft. Jon Avnet directed, and it starred an ensemble cast including Kathy Bates, Mary Stuart Masterson, Mary-Louise Parker, Jessica Tandy, Cicely Tyson, et al. Flagg and Sobieski shared an Oscar nomination for their final screenplay. $225.

190. Flanner, Janet, and Ned Rorem: LETTERS FROM PARIS NINE PROSE EXTRACTS FROM JANET FLANNER’S “PARIS JOURNAL” SET TO MUSIC BY NED ROREM. New York: Boosey & Hawkes, [1969]. Small quarto. Pictorial wrappers. Wraps a bit tanned toward edges, but a very good copy.

First edition of this collaboration, inscribed by Rorem: “Cher Amie Natalia – I sent one of these to the Continental Hotel. Is that still your address – or Janet’s – in Paris? Love Ned Rorem 18 West 70th St. NYC 10023.” With Flanner’s further inscription: “To Natalia who knows the words if not the music – Janet.” $200.

191. Foote, Horton [screenwriter]: Set of Eight Studio Lobby Cards for STORM FEAR. [Los Angeles]: United Artists, 1955. Eight 11 x 14” color pictorial lobby cards. Minor bumps at a few edges, a bit dusty with offsetting to versos, paperclip mark to left margin of title-card, else very good or better.

A complete set of the highly pictorial lobby cards promoting Horton Foote’s first screenwriting credit, an adaptation of a novel by Clinton Seeley directed and produced by, and starring, Cornel Wilde, costarring Jean Wallace, Dan Duryea, Lee Grant, et al. Foote’s previous credits were all for television dramas, and it was not until 1962, with his magnificent screenplay for To Kill A Mockingbird, that he again enjoyed screen credit for a film. This is also one of the handful of film roles Lee Grant enjoyed in the years following her being placed on the Black List. $150.

192. [Fowles, John (sourcework)]: Mann, Stanley, and John Kohn [screenwriters]: THE COL- LECTOR ... SCREENPLAY BY... [Np]: The Collector Company/Columbia Pictures, 30 April 1964. [1],144 leaves. Quarto. Mimeographed typescript, printed on rectos only, bradbound in stiff wrappers with hand-lettered caption. Wrappers a bit tanned at edges, with a couple small spots, else very good, internally fine.

A “revised final draft” of the script of the first screen adaptation of a Fowles work, and in the minds of many, the most successful. Terry Southern contributed late uncredited revisions. The film was directed by William Wyler, and starred Terence Stamp and Samantha Eggar. The finished product was released in 1965. This draft is 4pp. longer than the “final” draft dated 16 March. $600.

193. Frangione, Nicola: THE RELATIVITY OF LANGUAGE AS THE ENIGMA OF ART [wrapper title]. [Monza]: Editions Armadio e Officina, [1979]. [46] leaves. Stiff printed wrappers. Wrappers a bit sunned at edges and with a few smudges, otherwise very good.

First edition. One of 250 numbered copies. A relatively early work by the concrete poet / musician / interdisciplinary and performance artist, the second of a series published under the imprint of the poetry periodical he founded in 1975. He is one of the chief Italian practi- tioners of mail art. The top, bottom and fore edges of the book feature a symmetric border of punch holes through the binding and text block; the text block includes one leaf of text and an additional central punch hole, with the leaves alternately glossy white and black. OCLC/ Worldcat locates two copies, both in German institutions. $100. 194. [Frasconi, Antonio (illus)]: Lohf, Kenneth: MOON AND SUN. New York: Kelly-Winterton Press, 1997. Linen backed boards, paper spine label. Illustrated with original woodcuts by Antonio Frasconi. As new, at publication price.

First edition. One of seventy copies, from a total edition of one hundred copies. $55.

195. Fraser, George MacDonald: [A Complete Set of the FLASHMAN novels]. London. [1969 through 2005]. Fourteen volumes (12 in cloth textured boards, with dust jackets; one in half publisher’s calf and marbled boards; one in gilt cloth, with gilt slipcase). Condition ranges from very good or better, to fine and very fine. in dust jackets, where issued.

A complete set of Fraser’s novel sequence, The Flashman Papers in first editions, with the additional limited, signed editions of Flashman And The Angel Of The Lord (1/99 specially bound and signed, published by the Scorpion Press), and of Flashman On The March (1/1000 numbered copies, specially bound and signed). Additionally, Flashman And The Mountain Of Light is signed by Fraser on the title. Flashman has a couple of small tea spots in the extreme lower fore-corner of the half-title and title; Flashman At The Charge has a compliments stamp from “Hunter the Stationer” in the lower margin of the half-title, a shallow chip from the top edge of the rear panel of the price-clipped dust jacket and a small spot on the top edge; the remainder are near fine to fine, with jacket prices intact, etc. A substantially better than average collection of Fraser’s picaresque novels about the adventures and misadventures of Sir Henry Paget Flashman (1822-1915). $3000.

196. Fraser, George MacDonald: THE GENERAL DANCED AT DAWN. London: Barrie & Jenkins, [1970]. Gilt cloth boards. First edition of the author’s third book, a collection of stories introducing Lt. Dand MacNeill. Engraved bookplate on pastedown, otherwise about fine in dust jacket with slight darkening at edges. $250.

197. Fraser, George MacDonald: THE STEEL BONNETS THE STORY OF THE ANGLO- SCOTTISH BORDER REIVERS. London: Barrie & Jenkins, [1971]. Large, thick octavo. Gilt cloth boards. Frontis, photographs, folding map. First edition, fourth book. Light finger- smudges to fore-edge, otherwise a very good or better copy in very good dust jacket with some creased nicks and use at tips. $350.

198. Fraser, George MacDonald: McAUSLAN IN THE ROUGH AND OTHER STORIES. London: Barrie & Jenkins, [1974]. Gilt cloth boards. First edition of the author’s second collection of stories, following on with some of the characters from his first. Pencil name on pastedown, otherwise about fine in dust jacket with slight darkening at edges. $150. 199. Fraser, George MacDonald: THE HOLLYWOOD HISTORY OF THE WORLD ... FILM STILLS FROM THE KOBAL COLLECTION. [London: Michael Joseph, 1988]. Small quarto. Gilt cloth. Photographs. First edition. Small shadow of removed price sticker in corner of free endsheet, otherwise fine in dust jacket. $125.

200. Fraser, George MacDonald: THE SHEIKH AND THE DUSTBIN AND OTHER McAUS- LAN STORIES. London: Collins Harvill [1988]. Gilt cloth boards. First edition. Signed by the author on the title-page. Fine in dust jacket. $150.

201. Freud, Anna, and Dorothy Burlingame: YOUNG CHILDREN IN WAR-TIME IN A RESI- DENTIAL WAR NURSERY. London: George Allen & Unwin for The New Era, [1942]. 81,[1] pp. 12mo. Printed wrappers. Light use to wrappers and tiny corner crease, else a very good or better copy.

First edition. Foreword by Eric G. Muggeridge. An analysis of the care given to, and emo- tional/psychological state of, children at the Hampstead Nurseries. While locations in OCLC are substantial, this report is somewhat uncommon in commerce. $125.

202. Frost, Robert: MOUNTAIN INTERVAL. New York: Henry Holt, [1916]. Gilt cloth. Trace of darkening to pastedowns, a few small spots to top edge, minor rubs at tips, early ink gift inscription on free endsheet, else a very good, or slightly better, bright copy, in the uncommon printed dust jacket, which has a bit of rubbing and very shallow losses at the head and toe of the spine (not approaching the letterpress).

First edition, first state, with leaves 87/88 and 93/94 integral and uncorrected. As often, the signatures are printed on varying weights of paper stock. The entire first printing, including both states, consisted of four thousand copies. Frost’s first book-length collection to see publication originally in the U.S. CRANE A4. $2750.

203. Frost, Robert: COLLECTED POEMS. New York: Henry Holt and Company, [1930]. Gilt medium brown cloth. Portrait frontis, signed in facsimile by Frost and Doris Ullmann. A bit of rubbing to extremities, 1930 gift inscription on free endsheet, light pencil note next to dedicatory poem, small nick in one fore-edge, but a good copy in lightly chipped dust jacket with some soiling and discolorations to the spine panel.

First trade edition, preceded by the Random House limited edition of 1000 copies. Inscribed and signed by Frost on the title-page, incorporating a line from “The need for being versed....” Apart from the modified prelims and movement of the contents list to the front, this edition adds the portrait frontis not present in the limited issue. CRANE A14.1. $1500.

204. Frost, Robert: ROBERT FROST MARCH 26 1959 [wrapper title]. [New York: The Spiral Press, 1959]. Sewn pictorial wrapper over plain wrappers. Woodcut by Thomas Nason. Soft vertical crease, small corner crease, lower wrapper faintly dust smudged, otherwise very good or better.

First edition. One of 150 copies printed for friends of the author in commemoration of a dinner held to mark his 85th birthday. Eight new poems by Frost are printed herein. Not in Crane. $250.

205. [Futurism]: Somenzi, Mino: DIFENDO IL FUTURISMO. Rome: A.R.T.E., [nd. but ca. 1937]. 142pp. plus plates. Small octavo. Typographically decorated red wrappers. Portrait, plates, photographs. Light foxing to verso of terminal leaf, but a very good, bright copy.

First edition. With a prefatory note by Marinetti. Somenzi was a signator to several of the Futurist Manifestos (including “Futurist Manifesto of Air Architecture,” and “The Futurist Manifesto of the Italian Hat”) and co-edited Futurismo with Marinetti. Among the illustrations herein are representative works of painting, sculpture and architecture, as well as photos of principals and events. $275. 206. Gale, Norman: A COUNTRY MUSE NEW SERIES. London: David Nutt. 1893. Gilt cloth. Extremities rubbed, with modest wear at crown and toe of spine, pencil annotations on endsheets, but a good copy.

First edition, trade issue. One of 1000 copies (of 1075). A decent association copy, and an early copy, inscribed by publisher John Lane: “Mrs. Will Meredith with kindest regards from John Lane Decr. 3rd 1892.” The recipient was likely George Meredith’s daughter-in-law, who married William Maxse Meredith in October 1892. NCBEL III:627. COLBECK I:272. $150.

207. Gale, Norman: A NORMAN GALE TREASURY. Manchester & Philadelphia: Albert Broadbent / The Broadbent Press, 1905. Narrow 24mo. Decorated wrappers, edges rough- trimmed. Wrappers a bit rubbed and slightly dust darkened, but a good copy.

First edition of this selection, edited by Albert Broadbent, and issued as #12 of “The Broad- bent Treasuries.” One of 5000 copies printed. Inscribed: “For Bertha Read from Norman Gale.” Not in NCBEL. COLBECK I:272. $175.

208. Gale, Norman: A BOOK OF QUATRAINS. Old Bilton, Rugby: [Published by the Author] Norman Gale, [1909]. 12mo. Salmon cloth, lettered in gilt, t.e.g., others untrimmed. Cloth a bit sunned, offset to endsheets from jacket flaps, otherwise a good copy in an imperfect example of the uncommon printed dust jacket (lacking greater portion of the spine panel and the blank lower forecorner of the upper panel).

First edition. Copy #117 of 350 copies printed “by hand at the Cedar Press Enfield,” and signed by the author. From the library of Will Ransom, with his distinctive booklabel, with acquisition notes, on the rear pastedown. NCBEL III:627. COLBECK I:273. RIDLER, pp.44-5. $125.

209. Gale, Norman: COLLECTED POEMS. London: Macmillan and Co., 1914. Gilt lettered blue cloth, fore and bottom edges untrimmed. Some offset to endsheets, cloth a trifle rubbed, but a good copy. Somewhat offensive bookseller’s ticket on front pastedown.

First edition. With the bookplate of R.N. Green-Armytage on the front pastedown. Publisher’s presentation copy, with the blindstamp in the title and leaf following. Affixed to the front free endsheet is a three page a.l.s., n.p., n.d., on folded octavo lettersheet, from Gale to “My Dear Nutt” (likely bookseller Alfred Nutt), asking that he be removed from a list for a certain book, sending delayed payment, and explaining that “In these hard times, I can only afford books at rare intervals, and thus have to be sure I get the right volumes....” The first page has tan offset from the facing endsheet. Laid in is a 4pp., leaflet, being an uncommon separate printing of Gale’s poem, “Feathery Harps.” The poem does not appear in this edition of Gale’s CP. NCBEL III:627. COLBECK I:273. $300.

210. Gallico, Paul, and Pauline [screenwriters]: EUROPEAN EDITION THEME FOR AN ORIGINAL MOTION PICTURE [caption title]. [New York]. ca. 1949. [1],6 leaves. Quarto. Carbon typescript, with typescript cover sheet. Bound in Harold Ober Associates binder.

A treatment for an original film project, focusing on the Paris edition of the Herald Tribune and the post- WWII generation of American expatriates in Paris, with the action motivated by efforts to rescue a young Tribune reporter taken captive in an Eastern Bloc country. $150.

With a Baseball Signed by Cast Members and Others

211. Ganz, Lowell, and Babaloo Mandel [screenwriters]: A LEAGUE OF THEIR OWN. [Np: Columbia Pictures / Parkway Productions], 7 June – 29 August 1991. [4],123 leaves, expanded by lettered inserts. Quarto. Photomechanically reproduced typescript, printed on rectos only of white and eight other colored stocks. Bradbound. Last several leaves show tidemarks along lower margins and gutters, with a trace of faint rippling (but no staining) continuing on into a few more leaves, two ink names (see below), else very good.

A heavily revised “Final Shooting Script,” with eight stages of substantial dated revises beyond that draft (i.e. a “rainbow” script). Ganze and Mandel’s adaptation to the screen of a story by Kim Wilson and Kelly Candaele based on the experiences of some of the players in the All-American Girls Baseball League during the years of WWII. Penny Marshall directed the highly successful film with an ensemble cast that included Tom Hanks, Gena Davis, Madonna, Rosie O’Donnell, David Strathaim, Tracy Reiner, Kelli Simpkins, and many others. This script bears the ownership signature of Les Lazarowitz, the production sound mixer, as well as his name in block print (a designation as part of script distribution, perhaps) and a few relevant annotations in the text. The script is accompanied by a black leather covered baseball, signed in gold ink by a number of cast and production members, including Tom Hanks, Madonna, Gena Davis, Penny Marshall, Rosie O’Donnell, Robin Knight, Tracy Reiner, Janet Jones Gretzky, Pepper Pairie (one of the original league players) and Neezer Tarleton. The baseball is attended by a handwritten and signed attestation by Les Lazarowitz about his obtaining the signatures during the film’s production. $2250.

212. [Garnier, Tony]: [Morance, Albert, and Jean Badovici]: L’ŒUVRE DE TONY GARNIER. Paris: Éditions Albert Morancé, [1932]. 35,[1]pp plus 50 plates (2/3 being a single folding sheet). Quarto. Folded or loose sheets laid into cloth-backed board portfolio, with printed panels and ribbon ties. Portfolio edgeworn (and cloth tape spine likely later) a bit of foxing to early and late leaves, paperclip dent in top margin of half-title, otherwise very good.

Second edition. Issued in the “L’Architecture Vivante” series. Illustrated with photographs, renderings maps and plans. A splendid presentation of the works, both realized and theo- retical, of the architect who exerted wide influence with his utopian conception of “Une Cité Industrielle.” An earlier version appeared in 1920. $375.

213. Garson, Greer, and Walter D. Pidgeon: [Three Typed Letters, Signed, to Louis Brom- field about MRS. PARKINGTON]. [N.p. & Beverly Hills]. Garson: 18 April & 15 November; Pidgeon: 10 April 1944. Three pages, on three sheets of octavo letterhead. Each folded for mailing, Pidgeon letter shows a number of spots (coffee?), but generally good to very good.

Two letters from Garson and one from Pidgeon to novelist Louis Bromfield, written in response to his communications after they had been cast as the leads in Tay Garnett’s film version of his novel, Mrs. Parkington, based on a screenplay by Robert Thoeren and Polly James. In her first letter, after apologizing for delays in his letter reaching her, Garson thanks him for his good wishes, noting: “Susie Parkington, even in the condensed and elliptical form that is unavoidable in a motion picture scenario, is a lot of fun to play and I hope you will enjoy the picture when it finally reaches the screen.” In the second letter, she thanks him for an inscribed copy of the book, and elaborates on the aforementioned topic: “ ... it is not easy to compress the story into the limited space of a two-hour motion picture, or to give depth and dimension to a character within the limitations of a scenario. So much that is significant and explicit in the novel has to be merely implied between the lines of dialogue and the action indicated in the script ... Susie Parkington ... was probably the most difficult screen role that I have attempted, that is, technically, but she was also the most fun ... I hear that audiences are enjoying it thoroughly, too and that is good news ... But for me the greatest reward is this generous appreciation from Susie’s original creator ....” Typed by a secretary, but signed in full. Garson was nominated for an Academy Award for her role. Pidgeon’s letter is to the point, reading in part: “It is an excellent part in an excellent story and it[‘]s a very comfortable feeling to know that you approve of my doing it. Most of all I appreciate your taking the trouble to tell me of your approval. As it looks now, I believe it is going to be a picture of which we will all be proud ....” Signed “Walter Pidgeon.” Garson and Pidgeon reprised their roles for a radio adaptation two years later. $450.

An Oscar Nominee’s Copy

214. Gelbart, Larry [screenwriter]: TOOTSIE SCREENPLAY BY .... New York: Mirage En- terprises, 8 – 22 March 1982. [1],145,[2] leaves. Quarto. Mechanically reproduced typescript, printed on rectos only of white and blue stock. Bradbound in production company wrappers. Title hand-lettered on spine, scattered annotations and highlighting in the text, some light ink spatter on the spine and along one edge of the wrapper, ink name and ownership label (see below), but a very good copy.

Copy #51 of an unspecified but production draft of this original screenplay, with two leaves of shooting schedule inserted in the back, and the ownership signature and label of Les Lazarowitz, who was the credited sound mixer for the production, and co-nominee for an Oscar for that work. The December 1982 release was directed by Sidney Pollack, and starred Dustin Hoffman, Jessica Lange, Dabney Coleman, Teri Garr, Bill Murray, Gena Davis, et al. In its final form, the script was co-credited to Gelbart (multi-award winning screen, television and stage writer, most widely known for television’s M*A*S*H) and Murray Schisgal, but Gelbart’s name appears alone on this draft. The film racked up an impressive list of award nominations and several wins. Lazarowitz had his hand in the sound production of a long list of significant films, among them Taxi Driver, Raging Bull, The Godfather, etc. $600.

215. Gerhardi, William: THE VANITY-BAG [with:] PERFECTLY SCANDALOUS OR “THE IMMORTALITY LADY” A COMEDY IN THREE ACTS. London: Ernest Benn, 1927. Two volumes. Printed wrappers, and cloth, with paper spine label. Each is about fine, the latter in dust jacket with tiny nick. Housed together in custom half morocco slipcase and chemise.

First editions, each one of 315 copies, signed by the author. Accompanied by two typed notes, signed, by Gerhardi, London 17 March and 16 April, 1928, cordial responses to an appreciative reader: “...Do you write any yourself? And if so what kind of books? Do send me a ‘snap’ of yourself, as I hate writing to people I cannot visualize! ....” He further mentions a forthcoming book, and refers to the dust jacket photo: “...if you look into the shop windows you will get, I daresay, an idea of what I look like! I hope you are writing many beautiful poems!...” Gerhardi (or, later, Gerhardie) enjoyed considerable success in the pre-WWII years, counting among his advocates Evelyn Waugh (“I have talent, but you [Gerhardi] have genius”), H.G. Wells and Edith Wharton. Although eclipsed by fashion for several decades, more recent new editions of his novels have cast some light through those shadows. NCBEL IV:587-8. $450.

Inscribed to W.C. Bryant

216. [Gibson, Charles Bernard]: DEARFORGIL: THE PRINCESS OF BREFNEY. A HIS- TORICAL ROMANCE OF 1152 TO 1172. “By the Author of The Last Earl Of Desmond.” London: J.F. Hope, 1857. vi,[2],287,[5]pp. Small octavo. Original cloth, decorated in blind, spine lettered in gilt. Spine extremities worn, some general hand smudging, light tidemark in top edge around gutter through last half of the text and to the endsheets, front free endsheet creased; still, a good, sound copy.

First edition of this anonymously published novel by the sometime novelist, historian and clergyman, and one time chaplain at Spike Island prison. Brown notes that “the tone throughout is anti-national, and most offensive to Catholic feeling. The frequent humorous passages are nearly always vulgar, and in some instances coarse.” A decent association copy, inscribed on the front free endsheet: “William C. Bryant With the respects of the Author’s daughters Margaret Gibson & Julia E. Gibson Monkstown Cork Ireland.” A second edition appeared in 1884, the year before the author’s death. OCLC/Worldcat locates ten copies of this original edition. BROWN 639. OCLC: 15681080. $350.

217. Gilliam, Terry [director], and Richard LaGravenese [screenwriter]: THE FISHER KING. [Culver City]: Tri-Star Pictures, 16 March 1990. [1],123 leaves. Quarto. Photomechanically reproduced typescript, printed on rectos only. Bradbound in studio wrappers. Title hand lettered on spine, light use at overlap wrapper edges, otherwise near fine.

A close to final “revised draft” of the original screenplay for this award-winning film, directed by Terry Gilliam and starring Jeff Bridges, Robin Williams, Mercedes Ruehl , Adam Bryant, Paul Lombardi, et al. The writer, director and several of its stars were recipients of a number of award nominations, and brought home several of them. It was LaGravenese’s second of the many screen and television credits he earned in coming years. $150.

218. Ginsberg, Allen: THE GATES OF WRATH RHYMED POEMS: 1948-1952. Bolinas: Grey Fox Press, 1972. Cloth. Fine, without dust jacket, as issued.

First edition, limited issue. One of one hundred numbered copies, specially bound, and signed by the author. $225.

219. [Ginsberg, Allen]: ALLEN GINSBERG FOTOGRAFIER 1947 – 1987 ... [caption title]. Aarhus, Denmark: Aarhus Kunstmuseum, 1987 Pictorial broadside (60.5 x 45 cm). Formerly rolled. A bit creased, with some dust spotting in upper caption area; a good copy.

An excellent association copy of this poster promoting the 1987 exhibit of Ginsberg photographs in Aarhus: the featured photograph is a portrait of Lou Reed, with a printed facsimile of Ginsberg’s manuscript caption. Below the facsimile, in blue-black ink, Ginsberg inscribed this copy to his long-time lover: “For Peter Orlovsky 8/10/88 N.Y.C. Allen Ginsberg.” $275.

220. Ginsberg, Allen: BEAT LEGACY, CONNECTIONS, INFLUENCES ... POEMS & LETTERS BY ... ESSAY BY GORDON BALL. Louisville: White Fields Press, 1994. Printed wrappers. Facsimiles. First edition, lettered issue. One of twenty-six lettered copies, signed and dated by the author, from a total edition of two hundred and fifty copies. Fine. $100.

221. [Goldsmith, Oliver]: THE VICAR OF WAKEFIELD: A TALE. SUPPOSED TO BE WRITTEN BY HIMSELF. Salisbury: Printed by B. Collins, for F. Newbery, 1766. Two volumes. [4],214,[2 (blank)];[2],223,[1]pp. 12mo. Contemporary calf, rebacked to style with the original backstrips laid down. Contemporary bookplate in first volume (Walbancke); heavy offsetting from calf turn-ins to margins of endsheets, prelims and terminal leaves, upper quarter portion of binder’s free endsheet in second volume torn away, a few signatures starting slightly, but a good set. Enclosed in a full morocco solander case by Riviere.

First edition. The edition was burdened with a number of typographic errors or omissions (such as the omission of the word ‘husband’ in the first line of I:15, the misspelling ‘Waekcfield’ in the headline of II:95, etc), the most significant of which have been sorted into four variants. This set is of the second variant, with no catchword on I:213, with the corrected catchword on II:39, and page 159 correctly numbered. This edition printed in Salisbury precedes the first London printing by slightly over two months, although publication was some four years after the rights to the manuscript were sold to the publisher by Samuel Johnson on Goldsmith’s behalf. The delay has been ascribed, variously, to Goldsmith’s revisions, or to the publishers’ reticence to commit to printing the work until Goldsmith had established a reputation. Over the next century, it became one of the most popular novels of its generation. GROLIER ENGLISH HUNDRED 53. ROTHSCHILD 1028. SCOTT 173ff. ESTC T146176. BLOCK, p.89. NCBEL II:1197. $5850.

222. [Grabhorn Press]: Heller, Elinor, David Magee, and Dorothy Magee [compilers]: BIB- LIOGRAPHY OF THE GRABHORN PRESS 1915 – 1956. San Francisco: [Alan Wofsy], 1975. Quarto. Gilt cloth. Printed in red and black. Facsimiles. Bookplate on front pastedown, otherwise fine.

The two-volume-in-one photo-offset facsimile of the original editions of 1950 and 1957. One of 500 copies printed. $150.

223. Graffigny, Francoise de: LETTRES D’UNE PÉRUVIENNE ... TRADUITES DU FRANCAIS EN ITALIEN PAR M. DEODATI .... Paris: L’Imprimerie de Migneret, 1797. 487,[1]pp. Large octavo (230 x 160 mm). Contemporary tree calf, spine and edges decorated in gilt, a.e.g. Engraved portrait and 6 plates. A bit of dusting and foxing to prelims and terminal leaves; a bit of marginal spotting/foxing to plates and tissue guards; lower extremities and forecorners worn, with shallow loss at toe of spine, otherwise a very good copy.

First edition in this format, with the text in parallel Italian and French. Illustrated with plates engraved by Choffard, Halbou, Ingouf, Patas, Gaucher and Lingée after designs by Le Bar- bier. The portrait was engraved by Gaucher after La Tour. This copy is from the deluxe issue on large vélin, with the plates before letters. Graffigny’s epistolary novel was first published anonymously in 1747, represented as a sequence of letters written by a young Incan princess, Zilia, who was abducted by the Spanish during the conquest, and then after being rescued by French sailors, is introduced into French society. Graffigny was prompted to undertake the work after seeing a performance of Voltaire’s Alzire, and relied on her reading of Garcilaso de la Vega for historical context. In fact, the cumulative result is a satirical view of French life, particularly the situation of French women, as seen by a complete outsider. The novel proved highly popular, went through many editions, with a revised text appearing in 1752, and was the catalyst for sequels and pastiches by other hands. COHEN & DE RICCI, p.447. BRUNET II:1690. $2500.

224. [Grass, Gunter]: A Set of Studio Mini Lobby Cards for EL TAMBOR DE HOJALATA [a.k.a. DIE BLECHTROMMEL, a.k.a. THE TIN DRUM]. [Np]: United Artists, 1979. Eight color pictorial studio mini lobby cards (235 x 295 mm), adapted for Spanish language use. Fine, in folded, lightly chipped printed studio sleeve (with original German imprint).

A set of highly pictorial mini-lobby cards for promoting the Academy Award winning 1979 adaptation to the screen of Grass’s novel. This set has been neatly modified for Spanish language use with printed squib overlays with the title in Spanish and English covering the German captions. Jean-Claude Carrière wrote the screenplay, with Grass contributing additional dialogue. Volker Schlöndorff directed, and David Bennent, Mario Adorf, and Angela Winkler starred. An excellent selection of iconic images. $125.

225. Green, George Dawes [source work & screenwriter], and Ted Tally [screenwriter]: THE JUROR SCREENPLAY BY ... BASED ON THE NOVEL BY .... New York: Columbia Pictures, 10 April 14 July 1995. [9],119 leaves plus many, many lettered inserts. Quarto. Photome- chanically reproduced typescript, printed on rectos only of a rainbow of variously colored stocks. Bradbound in wrappers with production company label. Upper wrapper a bit flecked, ink name and a few annotations (see below), otherwise a very good copy.

A very interesting and substantially revised draft of this adaptation of Green’s novel, incorporating several stages of a re-write by Green of Tally’s script, identified and dated by a succession of dated title leaves with the revises identified by date, corresponding to an extraordinary array of dated revises comprising just short of the entirety of the text. This copy bears several ownership signatures (as well as identifiers of the revisions as for him in an unknown hand), and scattered notes of sound mixer Les Lazarowitz, who though uncredited by IMDB, clearly had a role at some point in the production: this copy bears Green’s presentation inscription to him: “Les – Make the sound perfect, or the Teacher will pay you a visit. George Dawes Green.” Brian Gibson directed the February 1996 release, which starred Alec Baldwin (as Teacher), Demi Moore, Anne Heche, James Gandolfini, et al. Tally, an Obie Award winning dramatist as well as screenwriter, whose scripts for The Silence Of The Lambs and All The Pretty Horses won an array of awards and nominations, received final screen credit. $450.

One of Fifty Copies

226. Gregory, Lady Augusta: KINCORA A DRAMA IN THREE ACTS. New York: Published by John Quinn, 1905. Grey wrappers, printed in black. Near fine.

First American edition. Copy #20 of fifty numbered copies. Signed by the author on the title page. The counterpart of the Dublin printing as #2 in the Abbey Theatre Series, published for copyright protection in the U.S. QUINN SALE 3596. $1250.

227. Gunn, Thom: BALLY POWER PLAY. [Toronto: Open Door Broadsheet, 1979]. [4] leaves. Small folio. Printed coarse-textured handmade coverboard wrappers. Lower edge very slightly curled, upper outer corner of front wrapper slightly darkened, else about fine.

First edition. One of twenty lettered copies, signed by the author, printed on handmade paper and specially cased, from a total edition of ninety copies printed by hand by David Brooks at the Massey Press. Title-page illustration by Mary Harman. Published to benefit the “Body Politic Defence Fund.” $250.

228. [Gutenberg Bible]: Norman, Don Cleveland: THE 500TH ANNIVERSARY PICTORIAL CENSUS OF THE GUTENBERG BIBLE.... Chicago: The Coverdale Press, 1961. Small folio (42 x 29 cm). Full red publisher’s simulated leather, decorated in gilt, t.e.g. Profusely illustrated with 6 color plates (one a frontis. portrait), 284 black & white photos, and 5 maps. Fine in slipcase.

First edition. Copy #14 of 985 numbered copies, signed by Norman. With an introductory essay on “The Life and Work of Johannes Gutenberg” by Aloys Ruppel. A highly pictorial record of the extant copies, featuring photographs of bindings and distinguishing characteristics, along with notes of provenance, etc. $750.

A Wretched, But Poignant and Important Copy

229. [Habberton, John]: HELEN’S BABIES. WITH SOME ACCOUNT OF THEIR WAYS IN- NOCENT, CRAFTY, ANGELIC, IMPISH, WITCHING, AND REPULSIVE ... “By Their Latest Victim.” Boston: Loring, Publisher, [1876]. Medium brown cloth, decorated in black and gilt. A poor copy, lacking the backstrip, with broken hinges and detached endsheets (formerly reanchored with small paper tabs), and other faults.

A slightly later printing of the author’s anonymously published best-seller. According to Blanck, the first printing appeared only in wrappers, and this copy exhibits the type wear he notes on p.188, and is printed on wove paper. The terminal advert leaf is missing. A presentation copy, inscribed on the blank preceding the title-page: “To Rev. J.H. Twitchell [sic], with the Author’s Compliments. Sept. 28/76.” Tipped to the now loose free endsheet is a one page a.l.s. from Habberton to Hartford minister and friend of the literati, Joseph H. Twichell, New York, Sept 12/76: “Dear Sir: Remembering an esteemed service which you rendered eight or nine years ago, to Miss Alice Hastings and myself, I can’t help feeling that you’re partially responsible for the existence of a couple of young gentlemen who ‘sat’ for the heroes of ‘Helen’s Babies,’ and that you’re therefore logically bound to read the book, of which I send you a copy. Yours Very Truly, John Habberton.” At his salutation, Habberton has docketed it “To Rev. J.H. Twitchell,” making the common spelling error for the recipient’s last name, as he did in the inscription. The probable implication of the letter is that Twichell officiated at Habberton’s wedding. Rather poignantly, Twichell affixed to the blank verso of the rear endsheet, and captioned in ink, three clippings about the Feb. 1877 death of one of the sons, Charles B., “now known in every household as ‘Toddie,’ of ‘Helen’s Babies’...” (Hartford Courant). It is interesting to remember as well the highly vocal contempt that Twichell’s close friend, Samuel Clemens, had for this book, at one point characterizing it as a “nauseous & idiotic” novel. PETER PARLEY TO PENROD, pp. 45-6. $375.

230. Haley, J. Evetts: STORY OF THE SHAMROCK. Amarillo: Shamrock Oil and Gas Cor- poration, [1954]. Printed wrappers, leather thong-tied. Portraits and graphs. Inevitable slight sunning to the spine, otherwise near fine in lightly sunned and rubbed slipcase.

First edition, one of an unknown number of copies specially bound (with the thong and extended wrapper edges) and slipcase. Signed by Haley at the time of publication, and with his slightly later (1958) inscription to his fellow historian and bookman, Jeff Dykes: “My first venture into industrial history for J.C. Dykes who knows better than to get into this field ....” ROBINSON (2nd ed) 26b. $225.

231. Haley, J. Evetts: EARL VANDALE ON THE TRAIL OF TEXAS BOOKS. Canyon, TX: Palo Duro Press, 1965. Gilt cloth. Portrait and plates. Fine.

First edition. One of five hundred copies printed by Carl Hertzog. While Vandale’s legendary focus was on hunting Texas rarities in the wild, this monument to his accomplishment as a collector transcends genre. $200.

Association Copy

232. Hammer, Victor: A THEORY OF ARCHITECTURE THE SECOND CHAPTER FROM A PLATONIC DIALOGUE.... New York: Wittenborn, Schultz, Inc., [1952]. Small octavo. Boards. Title-page vignette. Light discoloration at extreme lower fore-tips of boards, endsheets tanned, otherwise a very nice copy, in good, lightly tanned dust jacket with light stain on rear flap fold, and tiny, internally strengthened tears at crown of spine panel.

First edition. One of only two hundred and fifty numbered copies, set by hand by Victor Hammer, and printed by Jacob Hammer at their press in Lexington, KY. With Hammer’s presentation inscription on the front free endsheet “to Brother Antoninus O.P. from Victor Hammer 1953.” This is a superb association copy, joining two of the pre-eminent American printers of the 20th century, and certainly the two most significant printers whose art was imbued with the spirit of their religious faith. $600.

233. Hammett, Dashiell, et al: SIX REDBOOK NOVELS. [New York: The McCall Company, 1934]. Quarto. Cloth and gilt boards. Illustrations. Usual slight tanning to text stock, a bit of wear to fore-tips, shallow loss at extreme toe of spine, otherwise a very good, bright copy of a book usually seen in shabby state.

A promotional for Redbook, reprinting in the original periodical format, from the original type-settings, works by Hammett (The Thin Man), Eberhart (The Figure In The Fog), Bellah (White Piracy), Christie (The Boomerang Clue), and two others. In the case of Hammett’s novel, this represents the first book publication from the first setting of type (with the original illustrations), although subsequent to the Knopf edition. LAYMAN A6.2. $200.

234. [Hardy, Thomas (His Copy)]: WHO’S WHO 1918. AN ANNUAL BIOGRAPHICAL DICTIONARY WITH WHICH IS INCORPORATED “MEN AND WOMEN OF THE TIME.” London: A. & C. Black, [nd. but 1918]. Very thick octavo. Original cloth. The spine covering is creased and partly split due to the cumbersome size of the volume and its use, the cloth is somewhat sunned and soiled, the front inner hinge is cracking, clipping from the Times (11 Jan. 1919) tipped to front pastedown, remnants of manuscript label formerly on spine, now laid in (“Thomas Hardy’s Copy”); still, all things considered, a reasonably intact copy.

Thomas Hardy’s copy, with a number of neat deletions, additions and revisions in ink and pencil in the margins of his own entry on page 1059. An interesting year for this annual, as the publisher asserts: “It is natural that this year an immense number of military biographies should swell the book.” In the on-line catalogue of Michael Millgate’s “Thomas Hardy’s Li- brary at Max Gate ... An Attempted Reconstruction,” it is noted that his copy of Who’s Who for 1926 bears what appear to be similar sorts of revisions. This year’s annual is not there noted. $1650.

235. Harris, Evelyn: THE BARTER LADY A WOMAN FARMER SEES IT THROUGH. Gar- den City: Doubleday, Doran and Co., 1934. Brown cloth, pictorial spine label. Spine faintly sunned, otherwise near fine, without dust jacket.

First edition of this important memoir of hard scrabble through lean years. Faced with keeping three farms on the eastern shore of Maryland on their feet and her children fed after the death of her husband, Harris succeeded via barter, and her experience, and this book, have had lasting influence on the understanding and practice of successful agricultural and services barter. Surprisingly uncommon in the trade. $175.

236. Harris, Frank: ENGLAND OR GERMANY? New York: The Wilmarth Press, 1915. Light blue cloth, stamped in gilt. Cloth somewhat soiled and rubbed, large relevant clipping affixed to pastedown, front inner hinge tightened, 1941 ownership signature; just a sound copy of a very poorly made book. With the small booklabel of Herbert Boyce Satcher.

First edition. With a presentation inscription on the front free endsheet: “To Miss Schuster with the author’s affection and admiration. Frank Harris. St. Regis Hotel. New York. in these woeful days of midsummer 1915.” Beneath his inscription, Harris has written out four lines of poetry: “Who loves the Truth had better stand, / Unsheath’d Sword in ready hand; / Who speaks the Truth is safe -- if springs / From his back a pair of wings. / F.H. 1913 in M.S.” NCBEL IV:1054. $125.

With a Baseball Signed by Members of the Cast

237. Harris, Mark [sourcework & screenwriter]: BANG THE DRUM SLOWLY SCREENPLAY BY ... BASED ON THE NOVEL .... New York: Mark Rosenfeld, 1971. [1],125 leaves. Quarto. Mimeographed typescript, printed on rectos only. Boltbound in hot stamped flexible wrappers. Some normal wear and light soiling to the binder, else very good, internally fine. Ink ownership signature (see below).

An unspecified but preproduction draft of Harris’s own adaptation for the screen of his 1956 novel, a work which enjoys virtually inevitable presence on any “top-ten” list of baseball books. The August 1973 release was directed by John D. Hancock, and starred Michael Moriarty, Vincent Gardenia, and, in one of his first starring roles, Robert De Niro. This is copy #89 of the script, and bears the ownership signature of Les Lazarowitz, who is credited with the production sound. An uncommon script, and an instance where the author of the source work had the opportunity to faithfully adapt his own work to the screen. Accompanied by a Wilson A1060 Profes- sional League baseball with the title of the film hand calligraphed across it, and bearing the signatures of: Robert De Niro (as “Bob De Niro”), Danny Aiello, Vincent Gardenia, Phil Foster, Tom Signorelli, Tony Major, Danny Burks and Andy Jarrell, accompanied by a handwritten, signed attestation by Lazarowitz as to the circumstances of the signatures, solicited by him in the course of the film’s shooting. An attractive, choice assemblage of early signatures, long before the adoption of celebrity scrawls by several of the signers. $2250.

238. Harris, Wilson: THE AGE OF THE RAINMAKERS. London: Faber and Faber, [1971]. Cloth. First edition of the second collection of short stories by the Guyana-born writer. Top edge dust marked, else very good in bright dust jacket with small nicks at top of spine folds. $75.

239. [Hayley, Eliza (trans)]: Lambert, [Anne-Therese], Marchioness de: ESSAYS ON FRIEND- SHIP AND OLD-AGE ... TRANSLATED FROM THE FRENCH, BY A LADY. WITH AN IN- TRODUCTORY LETTER TO WILLIAM MELMOTH, ESQ. Dublin: Printed for S. Price [et al], 1780. 142pp. 12mo. Extracted from bound volume. A very good, crisp copy, with half-title.

First Dublin edition of these selections from Lambert’s works, the translation made by Eliza [Ball] Hayley, wife of poet William Hayley. The translator’s introduction, which includes a 13 stanza poem, chastises Melmoth for not mentioning Lambert in an essay on writers on friendship. ESTC locates only the BL copy of this edition, and 11 copies of the London edition. ESTC T129393. $225.

240. Hazen, Allen T.: A CATALOGUE OF HORACE WALPOLE’S LIBRARY .... New Haven & London: Yale University Press, 1969. Three volumes. Thick small quartos. Gilt cloth. Dis- tinguished collector’s bookplate in first volume, otherwise about fine in near fine dust jackets with a few minuscule nicks.

First edition. With a prefatory study by Wilmarth Lewis, “Horace Walpole’s Library.” $200.

241. Heath, Charles [ed]: ENGLISH PEARLS; OR, PORTRAITS FOR THE BOUDOIR. A SERIES OF HIGHLY-FINISHED ENGRAVINGS, FROM DRAWINGS BY EMINENT ARTISTS ... WITH POETICAL ILLUSTRATIONS. London: Tilt and Bogue, 1843. Folio (375 x 285 mm). Original pale rose ribbed cloth, elaborately decorated in blind, with inset central heavily gilt vignette on upper board, a.e.g. Portrait and plates. Trace of foxing to plates, early small paper title label and shelf label on blank spine, institutional bookplate on pastedown (no other markings), shallow frays to extremities, but an unusually good, bright copy.

First edition. A sequence of ten engravings by Mote, Hall, Egleton and Robinson after portraits by Drummond, Hayter and Dubufe. The portraits are of identified and unidentified fashionable or prominent women, and the poetic interludes are not identified. A well-preserved example of this characteristically Victorian genre. A pencil gift inscription in the upper margin of the title is dated 1 January 1843. $275.

242. Hellman, Lillian; Sheldon Patinkin; Richard Wilbur, et al: VOLTAIRE’S CANDIDE .... New York. [nd. but ca. 1971]. [4],59,46 leaves. Quarto. Mimeographed typescript, printed on rectos only/ Bradbound in gilt lettered Studio Duplicating Service binder. Binder worn at extremities, with closed tear at toe of spine, pencil eraser-sized spot on title leaf, otherwise very good.

Copy #21 of this rendering of the theatrical script for Patinkin’s adaptation of Candide, based on Hellman’s original play, with lyrics by Richard Wilbur and John Latouche, to be accompanied by music by Leonard Bernstein. The evolution of the several versions of the Hellman / Wilbur / Bernstein Candide has a long and complicated history. A chronology published online at Sondheimguide.com is useful. This adaptation by Second City principal Sheldon Patinkin was first performed in Chicago in 1967, and opened in New York in 1968 on the occasion of Bernstein’s 50th birthday. Patinkin directed a touring production, opening in July of 1971 in San Francisco, to which a new song, “Words, Words, Words [Martin’s Laughing Song]” was added -- it is included in this script. Early in its run, Hellman’s name was removed from the program for that touring production, which closed 13 November of the same year at the Kennedy Center. Evidently plans for a Broadway revival did not proceed. In December of 1973, a revised version by Hugh Wheeler, directed by Harold Prince, premiered in New York. A search via OCLC does not turn up a formal publication of Patinkin’s version. $375.

243. Henley, Beth [sourcework & screenwriter]: CRIMES OF THE HEART THE PULITZER- PRIZE WINNING COMEDY. [Np: Warner Bros.], 1 February through 5 May 1986. [2],107,[1] leaves. Quarto. Photographically reproduced typescript, printed on rectos only of blue, yellow, green and pink stock (corresponding to variously dated revised drafts). Bradbound in plain wrappers. Title lettered on spine, wrappers a bit marked and smudged, but very good.

A “Revised Version” of this pre-production script of Henley’s own adaptation to the screen of her Pulitzer-winning play. Directed by Bruce Beresford, the 1986 film starred Diane Keaton, Sissy Spacek, Jessica Lange, Sam Shepherd, Tess Harper, et al. Henley was nominated for an Academy Award for her script. $175.

244. Henry, Edward Richard: CLASSIFICATION AND USES OF FINGER PRINTS. London: George Routledge and Sons, 1900. 112pp. plus eleven plates (3 folding). Original gray- green cloth, lettered in black. 46 illustrations in the text. 1900 ink ownership inscription, two bookplates, endsheets tanned, otherwise very good.

First edition of this important amplification of the methodology first brought together by Galton in his 1892 publication. Based on his experiences as Inspector-General of Police in Bengal, Henry’s book established “...the system now used throughout the world ...” – PMM. In years following its publication, Henry served as a Police Commissioner at Scotland Yard. PRINTING & THE MIND OF MAN 376n. $350.

245. [Hertzog, Carl]: Robinson, Chandler: J. EVETTS HALEY COWMAN – HISTORIAN. El Paso: Carl Hertzog, 1967. Tan cloth, printed in maroon. Portrait and illustrations. Cloth and top edge faintly dusty, pencil checks noting a collector’s holdings, else a very good copy.

First edition. One of 600 copies printed after a design by Carl Hertzog. Variously inscribed and signed by the subject, the printer (twice) and the compiler, all for a well-known reviewer / collector / editor. The preliminary checklist of Haley’s publications, both historical and political. LOWMAN 220. $150.

246. Hertzog, Carl: “CLOSE TO THE WORK.” Irving, TX: The Quoin Press, 1977. Printed French-fold wrappers. Photographs. Wrappers lightly sunned at edges, else about fine.

First edition in book form. One of 250 numbered copies, printed and bound by hand by Steve Schuster, and signed by him. A proof of the colophon and one photograph is laid in. An essay on Hertzog’s friendship with, and respect for, Porter Garnett. $75.

247. [Hijuelos, Oscar (source work)]: Cidre, Cynthia [screenwriter]: THE MAMBO KINGS (PLAY SONGS OF LOVE) ... FROM A BOOK BY OSCAR HIJUELOS. New York & Burbank: Pace Productions / Warner Bros., 28 February – 22 March 1991. [2],110 leaves plus many lettered inserts. Quarto. Photomechanically reproduced typescript, printed on rectos only, of white, blue, pink and yellow stock. Bradbound in plain stiff wrappers. Title lettered on spine, else near fine.

A “revised” draft of this adaptation for the screen of Hijuelos’s 1989 Pulitzer Prize-winning second novel. Further revisions over the span of the dates above appear on dated colored inserts. The 1992 release was directed by Arne Gilcher, and starred Armand Assante, Antonio Banderas, Cathy Moriarty, and Tito Puente (as himself). $175.

248. Hillerman, Tony: COYOTE WAITS. New York: Harper & Row, [1990]. Large octavo. Cloth and boards. First edition, limited issue. One of five hundred numbered copies, specially bound, and signed by the author. As new in slipcase. $150. 249. Hillerman, Tony: SACRED CLOWNS. New York: Harper & Row, [1993]. Large octavo. Cloth and boards. First edition, limited issue. One of five hundred numbered copies, specially bound, and signed by the author (of 526). As new in slipcase. $125.

250. [Hipster Exploitation Film]: Vittes, Lou, and Ber- nard Girard [screenwriters]: Complete Set of Studio Lobby Cards for THE REB- EL SET. [Np]: Allied Artists, 1959. Complete set of eight 11 x 14 color lobby cards. P. de Quebec censor’s stamp on each card, a few minor smudges, else very good or better.

“The Screen’s big Jolt about The Beatnicks![sic]” sums it up. Though a b&w film, these promotional lobby cards were printed in color. Not much remains to be said about this particular gem of exploitation, except that Gene Fowler, Jr., served as director, and its cast included Gregg Palmer, Kathleen Crowley and Edward Platt. $100.

Inscribed to Thomas Hardy

251. “Hope, Laurence” [pseud. of Violet Nicolson]: THE GARDEN OF KAMA AND OTHER LOVE LYRICS FROM INDIA ARRANGED IN VERSE BY .... London: William Heinemann, 1903. Large octavo. Publisher’s cloth and boards, with remnants of printed spine label. Bind- ing somewhat handsoiled and edgeworn, old crease in upper board, endsheets foxed, but a good, sound copy. With the Thomas Hardy Max Gate bookplate, and the somewhat later bookplate of distinguished collector Carroll Atwood Wilson.

Third printing of the first edition of the author’s first book. An important association copy, inscribed by the author on the half-title: “To Thomas Hardy with sincerest thanks for the hours & hours of pleasure he has given me by his works. Laurence Hope.” The text is presented as a collection of translations and the male pseudonym, and the translation ruse, helped deflect some of the criticisms leveled against the poems on the basis of what Hardy described as their “tropical luxuriance and Sapphic fervour.” The author’s true identity and gender were revealed in 1902 in the Critic, and the posthumous collection, Indian Love (1905) included a portrait as confirmation. She published a second book in 1903, Stars of the Desert, and took her own life in October of 1904, after the death of her husband. Thomas Hardy praised her work, and after her death, contributed her obituary to The Athenaeum (19 October 1904). He endeavored to contribute a preface (eventually rejected by Heinemann) to the 1905 collection. As the first Anglo-Indian woman poet to achieve a popular readership (which persisted long after her death, and included musical settings and cinematic interpre- tations), Nicolson has an interesting place in literary history. It is much to be regretted that the interesting manuscript material that accompanied this book while it resided in the Wilson collection is no longer present. WILSON I, p.94. $2000. The Dedication Copy

252. Horgan, Paul: THE HABIT OF EMPIRE. Santa Fe: The Rydal Press, [1939]. Gray cloth, stamped in black and green. Illustrated with reproductions of lithographs by Peter Hurd. Short surface crack in upper joint near crown, some tanning and slight rippling of the pastedowns, else a near fine copy, in very good, slightly tanned dust jacket.

First edition. The dedication copy, inscribed by the author on the dedication page (and incorporating the printed dedication): “In friendship To Vernon Knapp from Paul Horgan, the first copy of the edition which is all his, in the name of a long and good time. Roswell 1939.” The recipient joined the faculty of the New Mexico Military Institute in Roswell in 1928 as a member of the English faculty, and in time excelled as well in geology, serving as department head. He retired as a LTC and was inducted into the Institute’s Hall of Fame in 1958. Horgan, himself a graduate of the Institute, was later on staff there, and the Institute’s Library was named for him. $1250.

Triple Presentation, With an Original Ink Drawing

253. Horgan, Paul: THE HABIT OF EMPIRE. Santa Fe: The Rydal Press, [1939]. Gray cloth, stamped in black and green. Illustrated with reproductions of lithographs by Peter Hurd. A few minor spots to cloth, otherwise near fine in slightly tanned dust jacket with a closed tear around the crown of the spine.

First edition. A fine presentation copy, inscribed by the author (“Inscribed enthusiastically for Connie on behalf of The Bishop with everyone’s Merry Christmas 1939”), the dedicatee (“For Connie with the season’s heartiest greetings as well as with grateful memories Vernon [Knapp] Christmas 1939”), and the illustrator (“For Connie Perry – This glimpse of the country west of the Pecos – from her friend Peter Hurd”). Above his inscription, Hurd has executed in pen and ink a detailed drawing of a Yucca against a New Mexico ho- rizon. $1250.

254. Horgan, Paul: LAMY OF SANTA FE HIS LIFE AND TIMES. New York: Farrar, [1975]. Very large, thick octavo. Quarter cloth and marbled boards, t.e.g. Near fine in lightly marked slipcase with small label shadow at one corner and small bump at another.

First edition, limited issue, including a complement of color plates of watercolors by the author not present in the ordinary edition. One of 490 numbered copies (of 500), specially printed and bound, signed by him. The Pulitzer Prize- winning biography for 1976. $175.

255. Houghton, Claude: THE BEAST. Belfast: The Quota Press, 1936. Large quarto. Gilt polished buckram, t.e.g. Frontis, plates and decorations by Alfred E. Kerr. Tiny ink name and residue of tipped-in bookplate on front pastedown, else about fine and bright.

First edition of this fantasy, limited to 250 numbered copies, signed by the author and artist. Not in Bleiler. $150.

256. [Hours Press]: Moore, George: THE TALKING PINE. Paris: The Hours Press, 1931. Sewn plain wrappers. Outer wrapper dusty and a bit tanned; else very good.

First edition of the last book issued under the original Hours imprint. Copy #460 of 500 copies, of which a significant number of copies were left in unsewn sheets, or as here, in sewn sheets, but without the printed wrapper, due to a disagreement between Cunard and Moore about his signing copies. GILCHER A58a. $150.

257. Howells, William Dean: BRIDE ROSES A SCENE. Boston & New York: Houghton, Mifflin and Co., 1900. 48,[3]pp. Small octavo. Blue cloth, decorated in white, upper cover lettered in gilt. Extremities rubbed, some spotting in lower margin and gutter of a few leaves, a good, sound copy.

First edition. A very interesting association copy, inscribed by Howells to American modernist composer, Charles Edward Ives: “C. E. Ives, from W.D. Howells. Oct. 15, 1901.” The inscription dates from the period following Ives’ departure from Yale in 1898 and the opening years in his career in the New York insurance business. He also was serving as organist and choirmaster in two city churches, and his acquaintance with Howells may possibly stem from one or the other of those activities. BAL 9731. $375.

258. Hudson, Stephen [pseud. of Sydney Schiff]: A TRUE STORY IN THREE PARTS AND A POSTSCRIPT. London: Constable, 1930. Full limp vellum, t.e.g. Very slightly warped (as usual), otherwise about fine.

First collective edition, limited issue. One of 150 numbered copies, specially printed on India paper, signed by the author. The final version of three and one-half previous novels by the translator of Proust and friend of James Joyce and Katherine Mansfield. $175.

259. [Hudson, W. H.]: Thomas, Edward [ed]: BRITISH COUNTRY LIFE IN SPRING AND SUMMER THE BOOK OF THE OPEN AIR [with:] ...IN AUTUMN AND WINTER.... London: Hodder and Stoughton, 1907 & [1908]. Two volumes. Large, thick quarto. Gilt-lettered pictorial light green cloth, decorated in red and dark green. Illustrated with numerous tipped-in color plates from paintings and photographs. Bump to top of one joint, a few small bubbles and some light edge-offsetting to binding of first volume, some foxing early and late, otherwise a good, bright set.

First edition in book form, preceded by the 24 monthly issue in parts under the title, The Book of the Open Air. Other contributors include Thomas, Gordon Bottomley, et al. ECKERT, p.266. PAYNE B2a. $175.

Early Acting Script

260. Hughes, Richard: THE SISTER’S TRAGEDY [wrapper title]. 9, Longwall, Oxford. [dated at end 7 October 1921]. [1],20 leaves. Quarto. Mechanically duplicated typescript, printed on rectos only, cord bound in typed wrappers. Wrappers rather spotted and chipped, internally very good.

An early acting script of the author’s first published play, with the above address on the upper wrapper and title leaf in ink, in his hand, and with at least one correction and one revision in ink in the text. The play was first performed privately at John Masefield’s house on 24 Janu- ary 1922, with the first public performance following in May. Comparison with the published text (Blackwell, 1922, following the public performance) reveals forthcoming tinkerings with stage mechanics, and the addition of at least one line of dialogue, at the end. $1000.

261. [Hughes, Ted]: McCanlies, Tim [screenwriter]: Original Advance Studio One Sheet for THE IRON GIANT. [Burbank]: Warner Bros., 1999. Original color pictorial studio advance teaser one sheet 27 x 40” (69 x 102 cm). Printed on recto and verso (the latter in mirror of recto). Tiny crease at one extreme tip, with minute edge dent below, otherwise fine, never folded.

The brilliantly vivid advance teaser one sheet (“It Came From Outer Space! .../Aug. 6”) for the animated screen adaptation of Ted Hughes’s classic 1968 children’s tale, based on a screenplay by Tim McCanlies and director Brad Bird, with voices by Jennifer Aniston, Harry Connick, Jr., Vin Diesel, Cloris Leachman and others. The film was dedicated to Hughes’s memory, and garnered a considerable array of nominations (including for a Hugo and a Nebula) and wins (a BAFTA) in its specialized categories. That this example has remained unfolded is important, given the detrimental effect folding has on its vivid, glossy surface. $125.

262. [Hunter, Evan (writing as “Ed McBain”)]: Robbins, Harold [screenwriter]: Original Studio One Sheet for THE PUSHER. [Los Angeles]: United Artists, 1959/60. Vintage pictorial one sheet (27 x 41”). Folded, as issued. Very modestly ragged at extreme edges of blank margins, a couple of small breaks (with no loss) at two folds, dime size chip loss coinciding with one letter of some subsidiary text, a bit of soiling on blank verso, still a good to very good example.

An appropriately sensational one sheet for this film adaptation of Evan Hunter’s third 87th Precinct novel, published in 1956 as a paperback original. The screenplay was written by Harold Robbins as his second solo credit, and Gene Milford directed Kathy Carlyle, Robert Lansing, Felice Orlandi, et al. The tagline “You don’t have to pay for this jolt ... not in cash ...” pretty well sums up the visual and textual sensationalism characterizing the poster. And while posterity has treated Hunter’s novel more favorably than the film, this remains a highly appealing (and lurid) markerstone from the start of the substantial career entwining film with fiction that lay ahead for Hunter. $175.

263. [Hunter, Evan (writing as “Ed McBain”)]: Robbins, Harold [screenwriter]: Set of Pictorial Studio Lobby Cards for THE PUSHER. [Los Angeles]: United Artists, 1959/60. Eight 11x14 color pictorial lobby cards. A couple of smudges to three cards, faint signs of moisture rippling and minor darkening along extreme blank margins of four cards, but otherwise a very good quite presentable set.

A complete set of the lurid lobby cards for this film adaptation of Evan Hunter’s third 87th Precinct novel, published in 1956 as a paperback original. $125.

264. Ibbett, Vera: FLOWERS IN HERALDRY. Vancouver: The Alcuin Society, 1977. Folio (350 x 265 mm). Loose signatures, laid into three-piece leather and cloth folder, the whole enclosed in folding cloth clamshell box. Illustrations in color. Prospectus laid in. Other than a few stray marks to the clamshell box, fine.

First edition, limited issue. Copy A-3 of 100 specials in the A sequence, numbered and signed by the calligrapher / artist. The entire edition consisted of 2300 copies. A faithful rendering of Ibbett’s original calligraphy and drawings of plant specimens collected on the North Downs. $225.

265. Ibsen, Henrik: GENGANGERE. ET FAMILJEDRAMA I TRE AKTER. Copenhagen: Gyldendalske Boghandels Forlag, 1881. Original heavily decorated plum cloth, stamped in black and gilt, a.e.g. Spine a bit sunned, with signs of very careful rebacking early on, with the original backstrip retained, but a very good copy.

First edition of what has been described as both the most classical and the most ruthlessly naturalistic of Ibsen’s dramas, translated into English in 1889 as Ghosts. It “caused such a turmoil in the press that it could not be acted for two years after it was published. The furor over this succès de scandale ... generally clouded the real merits of the drama – actually one of Ibsen’s complex statements on inherited guilt, though it was quite literally taken as a play about hereditary disease” – Kunitz & Colby. $550.

266. [Imaginary Voyage]: [Naigeon, Jacques-André]: D’ANACHARSIS, OU, LETTRES D’UN TROUBADOUR SUR CET OUVRAGE : SUIVIES DE DEUX NOTICES ANALYTIQUES, ET DE L’EPÎTRE DE M. DE FONTANES À M. L’ABBÉ BARTHELEMI. Amsterdam, et se trouve a Paris: Chez Maradan ..., 1789. [4],110pp. Octavo. Later wrappers, labeled in manuscript. Small adhesion flaw at gutter of title leaf affecting one letter, scattered foxing, else very good.

A response by Diderot’s friend and editor to Barthélemy’s celebrated imaginary travel account, Voyage Du Jeune Anarcharsis En Grèce ... (Paris, 3 vols, 1788), including the supplementary texts by Pierre C. de Chamblain de Marivaux, Louis Fontanes and Barthélemy himself. OCLC/Worldcat locates copies at NYPL, Loyola, Cambridge and London Library. OCLC 28807945. $125.

267. [Ives, Charles]: Cecil, David: THE STRICKEN DEER OR THE LIFE OF COWPER. In- dianapolis: Bobbs-Merrill, [1930]. Cloth, paper spine label. Portrait. Label chipped, binding a bit rubbed and dull; internally very good.

First U.S. edition. With the ink ownership inscription of American modernist composer, Charles Ives (“Ives Redding Oct. 1935”) on the front free endsheet, and with two page references noted in pencil on the rear free endsheet (there are pencil highlights in the margins of those two pages). An association of some merit, given Ives’s adaptations from Cowper’s works. $125.

268. Jacobs, W. W.: MANY CARGOES. London: Heinemann, 1898. Bright red cloth, stamped in black. Frontis. Spine sunned and a bit worn at tips, rear inner hinge cracking, tissue guard offset on title, small spot on upper cover, but a good or better copy.

First edition, Colonial issue, of the author’s first book, comprised of first printing sheets. With a leaf of Colonial ads inserted. Pasted to the front endsheet is a one page a.l.s. from the author to an appreciative reader, 25 July 1906. $225.

269. [Jazz Film]: [Flender Harold (sourcework)]: Sher, Jack, et al [screenwriters]: Three Studio Lobby Cards for PARIS BLUES. [Np]: United Artists Corp., 1961. Three vintage 11 x 14” pictorial lobby cards. A few smudges, but very good to near fine.

Lobby cards #4, 5, and 6 of the sequence 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. $75.

271. Jewett, Sarah Orne: DEEPHAVEN. Boston: James R. Osgood, 1877. Small octavo. Original green cloth, decorated in black and gilt. Title margin ruled in red and black. Spine a bit darkened, faint old tidemark at lower forecorner of the textblock, a couple tiny spots to lower board, otherwise a bright, tight, unusually nice copy.

First edition of the author’s first book. The first printing (made 1 March and listed in PW on 14 April) consisted of 1280 copies, and a second printing of five hundred copies was made on 9 May. BAL was unable to definitively differentiate between the first two printings, but notes an alteration at 65:16 which may have been made in either the second or third printing; for the record, this copy has the earliest form of that line. BAL 10871. WRIGHT III:2975. $450.

272. Jewett, Sarah Orne: THE TORY LOVER. Boston & New York: Houghton, Mifflin and Co., 1901. vi,[2],405,[1]pp. Slate blue cloth, decorated in gilt. Portrait and plates. Spine and edges sunned, light rubbing at extremities, otherwise very good.

One of four reprints of the first edition that appeared dated 1901. This copy is inscribed by Jewett to Mark Twain’s good friend, Rev. Joseph Hopkins Twichell: “To Mr. Twichell with best regards from S.O. Jewett. December 2nd 1901.” BAL 10914. $375.

273. 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. xvi,397 [390/1 duplicated],[1]; xi,[1],423,[1]pp. Octavo. Old calf, rebacked in approximate style. Armorial bookplate in each volume, scattered foxing, somewhat more pronounced to prelims and terminal leaves, old tide mark in upper gutter of prelims and endleaves of both volumes. A good, sound set.

First edition. The edition consisted of 2500 sets. The errata slip for the first volume is not present in this set. COURTNEY & SMITH, pp. 168-9. FLEEMAN 88.3L/1. ESTC T82906. $650. 274. Jolas, Eugene: PLANETS AND ANGELS. [Mount Vernon, IA: English Club of Cornell College, 1940]. Printed wrapper over stiff wrapper. First edition, wrapper bound issue, published as #14 of the Cornell College Chapbooks. Trace of tanning and light smudges to wrapper, else very good. $60.

275. Jolas, Maria [trans]: A FEW POEMS. By Hugo von Hofmannsthal. [Paris: Privately printed, 1977]. Padbound pictorial wrappers. Portraits. First edition. Foreword by the translator. With Jolas’s signed year of publication presentation inscription on the title. Pad binding separated at spine, minor foxing, very good. $75.

276. Jones, Henry Arthur: THE LIE A PLAY IN FOUR ACTS. New York [but London]: George H. Doran Company [but Chapman and Hall], [c. 1915 but ca. 1923]. Red cloth, spine stamped in gilt. Spine stamping dull, some offsetting to endsheets, two bookplates (including the small book label of Herbert Boyce Satcher), but a good copy.

First edition, British issue, comprised of Doran sheets bound up for Chapman and Hall, with their imprint at the toe of the spine. Presentation copy from the author to A.B. Walkley, the distinguished English dramatic critic, inscribed on the flyleaf: “My dear Walkley faithfully yours Henry Arthur Jones Octr. 14/23.’’ With a printed presentation card from Jones loosely inserted in an envelope tipped-in opposite the half-title. The Lie was first produced at the Harris Theatre in New York on Christmas Eve 1914. The play was not performed in London until 13 October 1923 (at the New Theatre, one day before the date of Jones’ inscription). The number of copies in this English issue may have been relatively small, given the fact that Chapman & Hall didn’t go to the expense of preparing a cancel title leaf. The play served as the basis for a film in 1918 from Famous Players – Lasky. NCBEL III:1166. $95.

277. Joyce, James: VERBANNTE. SCHAUSPIEL IN DREI AKTEN. Zurich: Rascher & Cie, Verlag, 1919. Printed wrappers. Errata slip. Forest green wrappers faded at edges, usual tanning to textblock, otherwise a very nice, unopened copy.

First edition in German of Exiles, translated by Hannah von Mettal, and published in an edition of six hundred copies at Joyce’s expense. SLOCUM & CAHOON D44. $450.

278. Joyce, James: STORIELLA AS SHE IS SYUNG. [London: Corvinus Press, 1937]. Large quarto. Full orange vellum, stamped in gilt. Typical isolated black flecking to paper characteristic of this book, minor rubbing at spine tips, otherwise fine. The slipcase is present, but defective.

First edition in book form. One of 150 numbered copies (of 176) printed on Arnold handmade paper. Illuminated opening initial by Lucia Joyce. The most beautiful printing of an install- ment from Work In Progress. SLOCUM & CAHOON A46. $4750.

279. Joyce, James: FINNEGANS WAKE FRAGMENTS ... SUIVIS DE ANNA LIVIA PLURA- BELLE. [Paris]: nrf / Gallimard, [1962]. Printed wrappers. A fine, unopened copy.

First edition, limited issue, of these adaptations into French by Andre du Bouchet, accompanied by the earlier translation of Anna Livia Plurabelle undertaken by Beckett, Jolas, Monnier, Soupault, et al, and an introduction by Michel Butor. One of 67 numbered copies on vélin pur fil. $450.

280. Joyce, James: LETTERS OF JAMES JOYCE VOLUME I [through] VOLUME III. New York: The Viking Press, [1966]. Three volumes. Large, thick octavos. Gilt cloth. A fine set, in dust jackets, and lightly rubbed slipcase.

Corrected edition of the first volume, edited by Stuart Gilbert, and first editions of the second and third volumes, edited by Richard Ellmann. A number of letters by others (including W.B. Yeats) are printed herein, as well as biographical references, etc. JOCHUM 104. $250. 281. [Joyce, James]: [Souvenir Book for:] JAMES JOYCE’S ULYSSES. [New York: National Publishers, 1967]. [32]pp. Quarto. Stiff pictorial wrappers. Profusely illustrated. A trace of edgewear and rubbing to wrappers, a few blind impressions/scratches to rear wrapper, but very good, internally about fine.

Original souvenir book for the U.S. release of Joseph Strick’s film adaptation of Joyce’s novel, based on a screenplay by Strick and Fred Haines, starring Milo O’Shea, Barbara Jef- ford, Maurice Roeves, et al. A substantial publication, with many stills from the film, a plot synopsis and much background information on the production and players. $125.

282. [Kairos Press]: Duncan, Harry [trans]: THE STONE BELOVED. SIX POEMS FROM DANTE ALIGHIERI. Austin: Kairos Press, 1986. Folio. Quarter vellum and boards. Fine in slipcase.

First edition. Illustrated with original lithographs by Peter Nickel. One of 150 copies printed in Romanee type on Rives BFK paper by Bradley Hutchinson, Nancy Ruppert, Elaine Smyth and Tom Taylor. The full page lithographs (including a magnificent lithographed title and frontis spread) were printed by the artist, and the binding was executed by Craig Jensen. A beautiful book, marking an early milestone in the history of this important and talented printing enterprise. Twenty-five copies were also issued with the lithographs in tinted state. $500.

283. Käutner, Helmut, and R. A. Stemmle [screenwriters]: “EPILOGUE” THE REPORT OF A TRUE STORY. Berlin & Spandau: Central Cinema Companie Film, [nd. but ca. 1950]. [1],135 leaves. Quarto. Carbon typescript on onionskin, on rectos only. Bradbound in wrapper captioned in typescript. Very good to near fine.

An unattributed translation of the (likely) final script for Käutner’s 1950 film, Epilog: Das Geheimnis Der Orplid, based on a story by Artur Brauner and Fritz Böttger. This was likely prepared and circulated in an effort to accomplish distribution in English-speaking markets, or a version with English subtitles or dubbing. Christopher Huber, in his notice of the 2008 Filmarchiv Austria retrospective of Käutner’s films, describes this work as a “pent-up, Wellesian allegorical crime yarn....” Duplicate from the Selznick Archive. $125.

284. Kelly, Robert: ARMED DESCENT. New York: Hawk’s Well Press, [1961]. Pictorial stiff wrappers. First edition of the poet’s first book. White portion of wrappers a bit darkened, as usual, else near fine. $100.

Deluxe Issue with Extra Suite

285. Kent, Rockwell [illustrator]: THE CANTERBURY TALES OF GEOFFREY CHAUCER TOGETH- ER WITH A VERSION IN MODERN ENGLISH VERSE.... New York: Covici-Friede, 1930. Two volumes. Large quarto. Full brown pigskin, stamped in blind, t.e.g., fore and bottom edges untrimmed. Plates and vignettes. Neatly rebacked, with much of the original backstrips (rather darkened and worn) laid down, internally fine and with the boards in excellent state.

First edition of this new translation into modern English by William Van Wyck, printed parallel with the Middle English text. Illustrated with twenty-five full-page woodcuts of the pilgrims in two colors, and over fifty head and tail pieces by Rockwell Kent. From a total edition of 999 sets signed by the artist, this is one of seventy- five deluxe sets printed on Crane’s Old Book paper at the Stratford Press, specially bound, and accompanied by a separate set of five panoramic sheets of Kent’s full-plate woodcuts of the pilgrims, each signed by him in the lower right margin. The separate suite is folded in a chemise, and with the two volumes, inserted in a three-compartment cloth slipcase. One of the monumental works of Kent’s peak decade as an American book illustrator, published in the same year as his classic edition of Moby Dick. Scarce with the separate suite of plates intact. STANLEY (GROLIER) 39. $3500.

286. Kent, Rockwell: N BY E. New York: Random House, [1930]. Quarto. Elaborately gilt decorated cloth. Pictorial title, plates and head-pieces by the author. Small smudge on fore- edge, else fine in very good slipcase with fading to spine label.

First edition, limited issue. One of nine hundred numbered copies, printed by the Pynson printers, and signed by the author. $500.

287. Kent, Rockwell: GREENLAND JOURNAL. New York: Ivan Obolensky, [1962]. Gilt cloth. Plates, endsheet maps and illustrations by the author. Very faint darkening to spine, else fine in lightly sunned slipcase.

First edition, limited issue. One of one thousand numbered copies. Accompanied by a separate suite of six lithographed reprintings of Kent illustrations, one of them signed by him in ink in the lower margin. $300.

288. Kent, Victoria: CUATRO AÑOS EN PARIS (1940 – 1944). Buenos Aires: Ediciones SUR, [1947]. Printed wrappers. Text block uniformly tanned, as usual, slight rubbing to corners, otherwise a fine, unopened copy.

First edition (in Spanish) of this memoir of her exile and survival under the occupation by the prominent activist for the Spanish Republic. An edition in French appeared the same year. $65.

289. [Kerouac, Jack (sourcework)]: Original Studio Insert Poster for THE SUBTERRANEANS. [Np]: Loews Incorporated, 1960. Narrow folio (36 x 14” [91 x 36cm]) highly pictorial insert poster, printed on recto only. Unused, with typical horizontal folds, but near fine.

An original pictorial studio insert poster for the 1960 film adaptation of Kerouac’s novel, based on a screenplay by Robert Thom, directed by Ranald MacDougall, starring Leslie Caron, George Peppard, Janice Rule and Roddy McDowell. It features a great soundtrack by Gerry Mulligan and cronies, and that, perhaps, is the best that can be said for this movie, the first mainstream film adaptation of a work by Kerouac. Uncommon in unused condition. $250.

290. [Kerouac, Jack (sourcework)]: Set of Original Lobby Cards for THE SUBTERRANEANS. [Np]: Metro-Goldwyn-Mayer / Loew’s Inc. / Nat’l Screen Service Corp, [1960]. Eight color pictorial lobby cards (11 x 14 inches), printed on rectos only. Unused, and apart from a bit off proximity offsetting on versos and to a few margins, and a few smudgy finger prints on the title card, very good, or better.

A complete set of the original studio lobby cards issued to promote the 1960 film adaptation of Kerouac’s novel. The captions tell it all: “When the party’s over and she’s alone, the wild Bohemian searches her soul for the answers,” or “The lure of Gerry Mulligan’s saxophone fires Janis Rule into a dance of poetry and passion.” $450.

291. Kilmer, Joyce: SUMMER OF LOVE. New York: Baker & Taylor Company, 1911. Blue-gray cloth, stamped in gilt, t.e.g. Bookplates on pastedown, 1912 Easter gift inscription, spine extremities frayed. A sound copy, in an unusually grotesque half-morocco, silk-lined slipcase.

First edition of the author’s first book, with the first state of the imprint, in BAL’s primary binding. BAL 11096. $55. 292. King, Rev. Martin Luther, Jr.: WHERE DO WE GO FROM HERE: CHAOS OR COM- MUNITY? New York: Harper & Row, [1967]. Cloth and boards. Cloth a trace dusty, with a couple small rubs along lower joint, otherwise a very good copy, without dust jacket.

First edition. An inscribed presentation copy: “To Rev. & Mrs. Robert McGregor In appreciation for your great support Martin Luther King Jr.” Rev. McGregor, an Episcopalian priest, was a graduate of Oberlin and General Theological Seminary, and served in a number of parishes, including association with Washington Cathedral, Trinity Cathedral (Newark) and Grace Church in Providence. He participated in the 3rd march from Selma to Montgomery in the 3rd week of March, 1965. $7500.

293. Kirstein, Lincoln: ELIE NADELMAN. New York: The Eakins Press, [1973]. 358,[1]pp. Large quarto. Cloth. Plates and photographs. Bookplate on front pastedown, otherwise about fine in dust jacket with light use at crown of spine, without slipcase.

First edition, trade issue. One of 3000 copies (of 3075), printed at the Stamperia Valdonega. Includes a draft catalogue raisonné, a bibliography, and contemporary notices by Gide, Stein, McBride, et al. $75.

294. Koenig, Lester: [screenwriter]: “FREEDOM OF THE PRESS” TREATMENT OUTLINE BY... [Hollywood]: Selznick International Pictures, 29 August – 1 September 1938. 8;[4],12;16 leaves (in three sections). Quarto. Carbon typescript, rectos only. Bradbound in typed wrappers, with Selznick checkout leaves inserted in front of each section (coupons clipped). Corner creases to wrapper, author’s pencil last name on upper wrapper, else very good.

An original film treatment by Koenig, a one-time William Wyler associate who gave up film- work in 1953 in favor of full time concentration on his legendary record company, Contem- porary Records, due to the persistence of the Blacklist. The film is set in the context of the Spanish-American War and deals with the issues surrounding legitimate reporting versus propaganda. $85.

295. Komroff, Manuel: THE VOICE OF FIRE. Paris: Edward Titus at the Sign of the Black Manikin, 1927. Quarto. Cloth and pictorial boards. Boards a bit tanned and edgeworn, edges and endsheets faintly tanned, otherwise a very good copy.

First edition. Illustrated with engravings by Polia Chentoff. Inscribed by the author to his future publisher: “For Thomas R. Coward ... Dec. 1927 P.S. This was my bridge between the short story and the novel.” The recipient’s firm, Coward-McCann, published several of Komroff’s books in the following decade. $125.

Dedication Copy

296. Kosinski, Jerzy: DER BEMALTE VOGEL [i.e. THE PAINTED BIRD]. [Bern & Munich]: Scherz Verlag, [1965]. 343,[1]pp. Gilt cloth. About fine, in edgeworn, slightly nicked and frayed dust jacket, with two short tears at lower edge of upper panel.

First edition in German of the author’s controversial first novel, translated by Herbert Roch. The dedication copy, inscribed in Kosinski’s hand below the printed dedication to his first wife, Mary: “...and without whom this life would have no other aspect than that of the absurd -- with all my feelings of love and devotion. Jurek. Bern, September 1965.” Kosinski’s use of “Jurek,” the name he adopted while in Europe for protection from possible anti-Semitic persecution due to his given name (“Józef Lewinkopf”), is curious. Kosinski and his first wife, Mary Hayward Weir, were divorced in 1966; she died shortly thereafter. $950.

297. Krauze, Andrzej [poster artist]; [Capote, Truman, and Wyatt Cooper (sourcework)]; Wynn, Tracy [screenwriter]: Original Exhibition Poster for the Polish Theatrical Release of CIEPLARNIA [i.e. THE GLASS HOUSE]. [Warsaw?]. [ca. 1974]. Folio (32.5 x 22.5”; 83 x 57 cm). Folded, as issued, filing, importer and identification info on verso, otherwise near fine.

A stark monochrome poster by artist Andrzej Krauze for the Polish theatrical release of the 1972 made for television film adaptation of Capote and Cooper’s story, “The Glass House,” here rendered in Polish as Hothouse. Tom Gries directed the multi-award nominated film, which starred Vic Morrow, Alan Alda, Clu Gulager, Billy Dee Williams, et al. As a made for television film, publicity paper for the original U.S. release would have been minimal, hence the posters for Eu- ropean theatrical releases are significant, and in this case, artistically important. Krauze left Poland for Paris in 1979, and then settled in London, where as a British citizen, he has become a leading cartoon and poster artist, painter and book illustrator. $125.

298. Kurosawa, Akira, et al: RAN [in Japanese]. [Tokyo: Shueisha, 1984]. Quarto. Cloth. Profusely illustrated in color. About fine in very faintly rubbed dust jacket with small nick at one tip.

First edition. The screenplay for Kuro- sawa’s 1985 epic, cowritten with Hideo Oguni and Masato Ide, accompanied by Kurosawa’s own color artwork for set, scene and costume designs. An afterword by Kuro- sawa appears in an English translation by Margaret Benton. An English translation of the screenplay appeared in 1986 in the U.S. as a paperback original. The original Japanese edition is uncommon in the U.S. $225.

299. Lanier, Sidney: LETTERS SIDNEY LANIER TO COL. JOHN G. JAMES. Austin: The Miriam Lutcher Stark Library The University of Texas, 1942. Small octavo. Printed stiff wrappers. Portrait. Facsimiles. Fine in tissue jacket, in slipcase with darkening along joints due to inferior adhesive.

First edition, edited by Margaret Wiley. One of only 165 numbered copies printed by Carl Hertzog, and signed by him. Signed as well by Margaret Wiley at the end of her prefatory note, and inscribed by her on the laid in Stark compliments card. A formerly difficult Lanier item, in earlier years subject to the demand imposed on the small edition by a now considerably thinner generation or two of Hertzog collectors. BAL 11288. LOWMAN 18. $175.

300. Laughlin, James: IT DOES ME GOOD [caption title]. [New Haven]: Bibliographical Press Poetry Broadside, 1977. Narrow folio broadside (45.5 x 21 cm). Printed on recto only. A couple of very faint dust smudges, otherwise fine.

First printing in this format. An unnumbered, out of series copy, signed by the author. “Handset in Caslon types and printed on the Vandercook Press in the Sterling Memorial Library” on the occasion of JL’s 16 November reading. $50.

301. Laughlin, James: IT DOES ME GOOD [caption title]. Vancouver: Slug Press, March 1982. Two printed broadsides (305 x 205 mm and 380 x 255 mm). Fine.

Two completely variant broadside printings of this poem, published as a “Fly-by-Night” broadside on the occasion of JL’s reading in Vancouver on 18 March, priority unknown. The broadsides vary in terms of font size, layout and ornamentation, as well as dimensions (priority unknown to this cataloguer). Both bear JL’s inscription to his bibliographer, “John” Harrison. $75.

302. Laughlin, James: STOLEN & CONTAMINATED POEMS. [Isla Vista]: Turkey Press, 1985. Large octavo. Cloth and paper over boards. Fine, without dust jacket, as issued.

First edition, limited issue. One of two hundred numbered copies printed on Frankfurt Cream paper in Dante type, from a total edition of 240 copies, signed by the author. There were forty deluxe copies printed on handmade paper. $150.

303. Laughlin, James: HEART ISLAND & OTHER EPIGRAMS. Isla Vista: Turkey Press, 1995. Octavo. Cloth and paper over boards, hand-colored vignette on upper cover, paper spine label. Illustrated. New.

First edition. Illustrated with engravings after those of M.L. Breton used in Collin de Plancy’s Dictionnaire Infernal (1863). One of two hundred press-numbered copies, printed on Nideg- gen and Kitakata papers in Walbaum type, designed, printed and bound by Sandra and Harry Reese, and signed by the author. Kindly dedicated by the author to a grateful bookseller. A lovely book, at publication price. $200.

304. Le Corbusier [pseud. of Charles Edouard Jeanneret-Gris]: LE LYRISME DES TEMPS NOUVEAUX ET L’URBANISME. Colmar: Les Editions du Point, [ca. 1939]. Small quarto. Glossy printed wrapper over stiff wrapper. Profusely illustrated with photographs, heliogra- vures and renderings. Glossy wrappers a bit dust darkened at edges, with some rubbing at extremities, internally (apart from the inevitable slight tanning to the text stock), about fine.

First edition, published as a special number (XX) of Le Point. Frontis photograph by Rene Zuber. $300.

305. Lea, Tom: A GRIZZLY FROM THE CORAL SEA CONVERSATIONS AND PICTURES. [El Paso: Carl Hertzog, 1944]. Cloth. Illustrations and pictorial endsheets by the author. Fine in near fine dust jacket with two minute chips and two short closed tears at the top edge.

First and, until recently, only edition, regular issue. One of 295 copies designed and printed by Carl Hertzog, of which ten special copies were printed on all rag paper and specially bound. There were also a handful of variant bindings on the copies on Brooke paper, but this copy is in the standard binding. The first of Lea’s two war narratives, a reminiscence based on his experiences as a war artist during two months aboard the USS Hornet. HOLMAN 25b. $600.

306. Lead [or Leade], Jane: URSACHEN UND GRÜNDE WELCHE HAUPTSÄCHLICH ANLAß GEGEBEN, DIE PHILADELPHISCHE SOCIETÄT AUFZURICHTEN UND ZU BEFÖRDEREN SO WOL AUCH AUS DENENSELBEN AUSGEZOGENE, UND IN HEIL. SCHRIFFT GEGRÜN- DETE PROPOSITIONES. UND DENN ENDLICH DER ZUSTAND UND BESCHAFFENHEIT DIESER SOCIETÄT: ODER DIE GRÜNDE, WORAUFF SIE STEHET: PRO UND CONTRA GENAUER BETRACHTET, UND ZU ABWENDUNG ALLER MISVERSTÄNDNÜSSEN ÖFFENTLICH AN TAG GEGEBEN. Amsterdam: Im Jahr 1698. 95,[1]pp. Small octavo. 19th century paper over boards. Engraved title vignette. Some surface chipping to binding at extremities, occasional early ink annotations (including the scoring through of a name and an attribute of another name on the dedication page), occasional light early underscores, two terminal text leaves a bit creased and torn at gutter, with no loss, but a good or better copy.

One of two 1698 editions in German of Lead’s A Message to the Philadelphian Society (London, 1696). The other has a completely different setting of the title-page, with a large floral device rather than the detailed allegorical engraving that appears in this copy. Lead (1624-1704), an English mystic and visionary heavily influenced by the writings of Jacob Boehme, gathered around her a circle of like-minded individuals formalized as the Philadelphia Society for the Advancement of Piety and Divine Philosophy, which flourished until the years immediately following her death in 1704. The Society oversaw the publication of her works, and fostered converts in Europe, as well as in North America. This work includes an explanation of the Society’s purpose as well as its constitution. Her writings had some influence on later generations of serious religious thinkers, as well as on esoterics of various flavors and a genuine crackpot or two. Lead’s original English publications tend to be quite rare -- ESTC locates only 6 copies of the Lon- don printing of this text. And although OCLC/Worldcat finds a decent number of copies of this German text held by European institutions scattered among several records, Bethel College and Duke are the only North American locations recorded there for copies of one or the other original edition. $850.

307. Leary, Timothy: [Inscribed typescript of:] ‘THE PERSONAL BRAIN (OR THE BRAIN WAVE)’ A NOVEL [with other items]. [No place, but possibly Laurel Canyon]. [First three items:] 26 December 1983 & [the last:] 26 Dec. 1984. 4,3,4,8 leaves. Quarto. Dot-matrix printed typescript, punched at top margin, stapled at upper left corner. A few spots to second leaf, otherwise very good or better.

A series of three typescript project proposals by Leary, including the following a) an outline and “Cast of Characters” for the work above (4 and 3 leaves respectively), the first inscribed on the top sheet in red and blue ink: “For Alan V. [S.] from Timothy This is a brief outline. Plot details & sample chapter coming soon!!” (the ‘S’ is affected by the punch hole) and on the first sheet of the Cast: “For Alan V.”; b) “The Care and Use of the Personal Brain According [to] The Instructions of the Manufacturers,” 4pp., inscribed on the top sheet: “For Alan V.S. from Timothy Proposal for [A]gency – video tape – like J. Fonda’s – except for the Brain!”; and c) “The Manual,” 8pp., continuing: “...on How to Increase Your Intelligence ....” Each piece is captioned with a “Version” number, and it is possible that the date ‘1984’ appearing on the last is in error. A representative sample of Leary’s brainstorming from the 1980s, evidencing speculation about the interrelations between cognition and computers, artificial intelligence, man’s potential for further evolution and other such concerns that dominated his public life and writings in the 1980s and 1990s. A manuscript list in an unknown hand identifies the recipient of the inscriptions as “his agent.” $1650.

308. [Lehmann, Rosamund (source work)]: Blankfort, Michael [screenwriter]: THE BAL- LAD AND THE SOURCE ... SCREENPLAY BY ... [wrapper title]. [Culver City: Selznick / Vanguard], 26 September 1947. 132 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in typescript wrappers. Script number stamped on upper wrapper. A very good or better copy.

An unproduced screen adaptation of Lehmann’s celebrated 1945 novel. Blankfort (1907-1982) had a number of screen credits during his career (including The Caine Mutiny), and served as President of the WGA. In 1950 he served as Albert Maltz’s front for Broken Arrow. $175.

Inscribed to a Member of the Cast

309. Leonard, Elmore: THE MOONSHINE WAR. Garden City: Doubleday, 1969. Cloth. About fine in slightly darkened dust jacket with minor wear at toe of spine panel.

First edition of the author’s first non-western, and the basis for the 1970 MGM/Filmways production. This is an excellent association copy, inscribed: “For Max Showalter with best wishes – Elmore Leonard Sept. 1969.” Showalter played the role of Mr. Wortham in the film. Laid in is the original mailing label from Leonard to Showalter (c/o MGM) and a portion of the envelope. $1250.

310. Levinson, Barry [screenwriter & director]: DINER. Culver City]: Metro-Goldwyn-Mayer, 12 January – 23 February 1981. [1],117 leaves plus lettered inserts. Quarto. Photomechani- cally reproduced typescript, printed on rectos only of white and pale blue stock. Bradbound in studio wrappers. Name effaced from upper margin of front wrapper, soft corner crease, otherwise very good to near fine.

A “final draft” of this original screenplay, but with further revisions in the form of dated revises as late as 23 February. Levinson’s breakthrough film as writer/director, released in March of 1982, starring Steve Guttenberg, Daniel Stern, Mickey Rourke, Kevin Bacon, Ellen Barkin, et al. Levinson’s script was nominated for an Academy Award, as well as nominations and wins from other judging bodies. Mickey Rourke came in for special notice for his portrayal of Robert ‘Boogie’ Sheftell. $150.

311. Lewis, Andy, and David E. Lewis [screenwriters]: KLUTE. [New York: Gus Productions / Warner Brothers], 26 June 1970. [1],124 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bolt bound in Studio Duplicating Service hot-stamped flexible wrappers. Residue of filing label on spine, binder a bit creased, ink name (see below), otherwise very good, internally about fine.

Copy #94 of an unidentified preproduction draft of this important original screenplay, the basis for the June 1971 Alan Pakula release, starring Jane Fonda, Donald Sutherland, Charles Cioffi, et al. In addition to being the vehicle for Jane Fonda earning a Best Actress Oscar, the script was nominated for awards from the Academy, Golden Globes and WGA, and the film has a well-deserved place in the upper tier of American films of its generation. A comparison of this draft of the screenplay with the released film reveals a multitude of differences between the two. This script bears the ownership signature of sound mixer Les Lazarowitz. Although not listed in the sound credits for this film, Lazarowitz had his hand in the sound production of a long list of significant films, among them Taxi Driver, Raging Bull, The Godfather, etc. A novelization by William Johnston appeared in 1972. An important script, and uncommon script (apart from the usual much later pirated copies, which are likely ripoffs of later drafts). Sold

312. Lewis, Grover (1934 – 1995): [Typed Letter, Signed]. San Francisco. 18 January 1974. Two pages, on two leaves, quarto. Paper clip rust mark at upper left corner, two ink deletions, else very good.

A witty letter to an editor, ca. 200 words, in response to second hand news that the editor is looking for him: “...Since I’m relatively certain that I don’t owe you any money, I’m happy to disclose that I’m settled in for the duration...I’ve got this nifty typewriter on which I’m currently composing a screenplay [in reference to the large, sans serif typeface]. In my free time, I talk to my attorney on the phone, who regales me with the grisly details of what he’s going to do to ...[another editor] on my behalf. It is a quiet life....” He continues further with speculation and humor about what possible reason the recipient might have for trying to contact him: “...hiring somebody of my stellar caliber would only be carrying logical positivism to its logical end...Maybe they need an ed. heavy to unsplit Larry King’s infinitives....” An excellent and characteristic letter by one of the legendary figures of both the New Journalism and the Texas literary renaissance. $150. 313. Lewis, Matthew Gregory: JOURNAL OF A WEST INDIA PROPRIETOR, KEPT DURING A RESIDENCE ON THE ISLAND OF JAMAICA. London: John Murray, 1834. [8],408pp. Original muslin backed boards, untrimmed. Boards a bit bumped and worn, lower joint separated, spine label wanting, ink name erased from upper corner of half-title, internally very good.

First edition of Lewis’ posthumously published journal. Turning his back for a time on his sensational career as novelist and dramatist, Lewis traveled to inspect the status of the West Indian landholdings he inherited from his father. “This action was regarded as mad by his family and friends ... [and his journal] attests a philanthropy unique in its time” – Kunitz & Haycraft. On the return journey from a second visit, he contracted yellow fever and died at sea. “An interesting document dealing with the state of the island after the abolition of the slave trade and before the freeing of the blacks. The author’s viewpoint is that of a cul- tured English gentleman who has a sincere if somewhat misguided interest in the welfare of Negroes who have suddenly become his property” – Ragatz. The popularity of this work is evidenced by the frequency with which copies turn up; however, it is somewhat uncommon in original boards, untrimmed. NCBEL III:743. SABIN 40821. RAGATZ, pp.227-28. $325.

314. Lewis, Wyndham: TARR. London: The Egoist Press, 1918. Orange-brown cloth. Binding very slightly darkened, with a few minor bubbles to spine, a couple of small spots to lower board, otherwise a very nice, unfoxed copy, without the scarce dust jacket.

First British edition of the author’s first novel, one of one thousand copies printed. First published by Knopf in New York a month earlier; however, this edition incorporates a number of minor textual changes. MORROW & LAFOURCADE A3b. MODERN MOVEMENT 29. $350.

315. [Lime Rock Press]: Seymour, Tryntje Van Ness: ACOMA. Salisbury, CT: Lime Rock Press, 1979. Folio (355 x 280 mm). Bifolia and mounted photographs laid into cloth-covered clamshell box. About fine, with the prospectus laid in.

First edition, regular issue. Illustrated with twelve original black & white photographs (250 x 175 mm), each mounted on board, accompanied by descriptive text. One of 75 numbered copies with the text printed on Stonehenge Rag Paper, with each photograph captioned and signed by the photographer on the mount, and signed again on the colophon. A photographic exploration of Acoma, its environs, its people, and the distinctive pottery they produce, accompanied by descriptive text. $400.

316. [Longfellow, Henry W.]: OUTRE-MER; A PILGRIMAGE BEYOND THE SEA. New York: Published by Harper & Brothers, 1835. Two volumes. 28,[4],[4],226;[6],[3]-252pp. Full polished calf by Zaehnsdorf, spines gilt extra, preliminary adverts retained, t.e.g. Joints and extremities rubbed, small patch of surface scrape to one board, internally very good.

Second edition (after the two preliminary parts published in 1833-4), but the first complete edition of Longfellow’s first original publication, with additions to the first volume and with the majority of the contents of the second volume new. Page [175] in the second volume is in the uncorrected state. Inset into a binder’s blank in the first volume is a clipped inscription: “Yours truly Henry W. Longfellow.” BAL 12059. $650.

317. Longfellow, Henry W.: VOICES OF THE NIGHT. Cambridge: Published by John Owen, 1839. xv,[1],144pp. Small octavo. Original drab boards, printed spine label. Spine ends and joints rather chipped, but sound, internally a very good copy. Cloth slipcase and chemise.

First edition of Longfellow’s first collection of verse. As usual, a mixture of the variant readings noted by BAL are present and were likely the result of changes made in the course of printing. BAL 12065. $375. 318. Lummis, Charles: THE LAND OF POCO TIEMPO. New York: Scribner, 1893. Large octavo. Decorated cloth. Frontis, plates, illustrations. Bookplates of two noted western collectors on pastedown, 1895 ownership inscription on first blank, modest wear to spine extremities, usual offset from frontis tissue guard, but a very good copy.

First edition of one of the most important non-fiction works by the poet/novelist/editor and Native American rights activist. It includes an important account, with photographs, of the Penitent Brothers. $150.

319. Lummis, Charles F.: THE ENCHANTED BURRO STORIES OF NEW MEXICO AND SOUTH AMERICA. Chicago: Way & Williams, 1897. Small octavo. Picto- rial cloth, t.e.g., others untrimmed. Frontispiece and 14 plates. Spine faintly rubbed and creased, 1898 pencil ownership inscription, a couple marginal finger smudges; a very good copy.

First edition. The plates are by Charles Abel Corwin, based on Lummis’s photographs. The title-page design is by Frank Hazenplug. Among the author’s least common books -- unsold copies were distributed by Stone after the dissolution of Way & Williams, and the title was assumed by Doubleday thereafter. KRAUS 55. WRIGHT III:3432. $450.

320. MacNeven, William James: A RAMBLE THROUGH SWISSERLAND, IN THE SUMMER AND AUTUMN OF 1802. Dublin: Printed by J. Stockdale, 1803. [4],280pp. Octavo. Contemporary mottled calf, gilt spine label. Uniformly tanned (except for the final gathering, which is on better paper), joints cracking, but sound, a couple of calligraphic renderings of title/ author on front endsheets, but otherwise a very good copy.

First edition. With the pencil ownership signature of George Ives, grandfather of American modernist composer Charles Ives, dated “Danbury 13th July 1833.” MacNevan (1763-1841), one of the leaders of the United Irishmen, earned his medical degree at the University of Vienna. He was arrested in 1798 for his activities trying to promote French backing for an Irish insurrection. After his release from Fort George in 1802, he undertook the walking tour described herein, after which he enlisted in the Irish Legion of the French Army and endeavored to further support a plan of invasion. However, suspicious of French motives for same, he resigned and traveled to New York, where he settled in 1805, quickly rising in prominence in American medical and scientific circles, and in Irish-American politics. Curi- ously, the Bradshaw Collection catalogue includes none of MacNeven’s Irish publications. $600.

321. Malinowski, Bronislaw Kaspar: THE SEXUAL LIFE OF SAVAGES IN NORTH-WESTERN MELANESIA. AN ETHNOGRAPHIC ACCOUNT OF COURTSHIP, MARRIAGE, AND FAM- ILY FILE AMONG THE NATIVES OF THE TROBRIAND ISLANDS, NEW GUINEA. London: George Routledge & Sons, 1929. xx1v,505,[1]pp. Large, thick octavo. Three-piece polished buckram. 96 photographs and illustrations. Cloth lightly smudged and handsoiled, a bit of foxing early and late, but a near very good copy.

First edition, public issue. Preface by Havelock Ellis. A landmark work by the Polish-born anthropologist, based on his extended stay and research in the region of Papua New Guinea during the years of the Great War. Regarded as one of the primary founders of modern social anthropology, Malinowski and his publications had considerable impact on other fields, notably in the critique of certain aspects of Freudian psychology. A special presentation issue of 25 copies was also prepared. $150. 322. March, William [a.k.a. William Edward Campbell]: [Two Autograph Letters, and One Typed Letter, Signed “William March”]. New York. 17 November 1938, 18 & 21 January 1939. One page typed, quarto; three pages autograph, on two folded octavo lettersheets. Very good or better, with the envelopes, two addressed in manuscript.

Three polite and generous letters to a fan, largely in fulfillment of getting some books signed, with comments on personal health, a forthcoming collection of short stories from Little, Brown, etc. March was best known during his lifetime for his first novel, Company K (1933), based on his experiences during the Great War, during which he served as a US Marine, and was awarded the Croix de Guerre, Distinguished Service Cross and Navy Cross. The short story collection he refers to, Some Like Them Short, was published in 1939 by Little Brown. Alistair Cooke regarded March as “the most underrated of all contemporary American writers of fiction ... the unrecognized genius of our time.” He lived only a few weeks following the publication of his most commercially successful book, The Bad Seed. $225.

323. Markfield, Wallace: TO AN EARLY GRAVE. New York: Simon & Schuster, 1964. Pub- lisher’s blue morocco. Joints somewhat worn, but sound, else a very good copy.

First edition of the author’s first book, specially bound by the publisher for presentation. Laid in is a t.l. from the publisher, 10 March 1965, on letterhead, signed “B,” presenting this copy. The source novel for the 1968 Sidney Lumet film, Bye Bye Braverman, starring George Segal and Jack Warden. $150.

324. Marmontel, M. [Jean Francois]: CONTES MORAUX ... SUIVIS D’UNE APOLOGIE DU THÉÂTRE. Paris: Chez Lesclapart le juene, 1761. Bound with: SUITE DES CONTES MORAUX .... Amsterdam: Aux Depens de la Compagnie, 1762. Three volumes bound in one. xvi,[1],400; iii,[1],490; 96pp. Small, thick 12mo. Old calf, raised bands, spine gilt extra, gilt label, pastepaper endsheets. Engraved title vignettes. Ink name on title, thin splash mark on last leaf of second volume mirrored to title-leaf of third volume, short marginal tear in one leaf (no loss), spine shows creases from having been read, tiny worm hole in spine, otherwise a very good copy.

“Nouvelle Edition, corrigée & augmentée” of the Contes. The collected sketches Marmontel contributed to Le Mercure De France, notable for their polished style and their faithful depiction of French society during the reign of Louis XV. The first edition appeared the same year, pirated editions flourished, leading to the authorized, and celebrated, edition illustrated with plates after Gravelot published in 1765. GAY-LEMONNYER, 709-10. $375.

325. Matheson, Richard, and Lewis Meltzer [screenwriters]: Original One Sheet for THE BEAT GENERATION. [Culver City: Metro-Goldwyn-Mayer] / Albert Zugsmith Productions, 1959. Original color lithographed one sheet (27 x 41”). Minor breaks and tanning at folds (one with inconspicuous small repair on blank verso), generally very good.

A garish one sheet 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. A barely clad Van Doren appears directly beneath a vignette of Louis Armstrong performing, counterbalanced by a stylized cartoon of a bearded hipster. $165.

326. Matheson, Richard, and Lewis Meltzer [screenwriters]: Studio Publicity Press Book for THE BEAT GENERATION. [Culver City]: Metro-Goldwyn-Mayer / Albert Zugsmith Productions, [1959]. [12]pp. plus newsprint herald. Folio (43 x 31 cm). Pictorial self-wrappers. Heavily illustrated. Clean partial split to spine fold of outer sheet, but very good or better.

A substantial press book 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. $65. 327. Maybeck, Bernard R.: PALACE OF FINE ARTS AND LAGOON PANAMA-PACIFIC INTERNATIONAL EXPOSITION, 1915. San Francisco: Paul Elder and Company, [1915]. Narrow small octavo. Publisher’s forest green leather, stamped in orange. Frontis and plate in photogravure. Spine a shade sunned, with rubbing at tips, but an otherwise fine copy, partially unopened.

First edition of this monograph by Maybeck on his design for the Palace, amplified from a speech he delivered to the Commonwealth Club, with an introduction by Frank M. Todd. One of the two photogravures is directly attributed to William Hood, the Southern Pacific RR Chief Engineer and amateur photographer, and it is likely the frontispiece is by him as well. This copy is in the publisher’s rather uncommon deluxe binding, and is accompanied by an original silver print (165 x 90 mm) of a photograph of a different view of the Palace and Lagoon, at night, with fireworks, tipped to a larger sheet of stiff card. While there is no way to confirm that it originally accompanied this book on publication, it is of appropriate vintage, and sympathetic in style to Hood’s photo of the Palace and Lagoon on “A Foggy Night,” which is the basis for the second photogravure in the book. The silver print is oxidized toward the edges, but the image is not obscured significantly. This slim publication is the highly important and influential Bay-area architect’s only book. $650.

328. McBride, Robert: THE CANADIAN ORANGE MINSTREL, FOR 1860, CONTAINS NINE NEW AND ORIGINAL SONGS, MOSTLY ALL OF THEM SHOWING SOME WRONG THAT AFFECTS THE ORDER OR THE TRUE COURSE OF PROTESTANT LOYALTY TO THE BRITISH CROWN. London, CW [Ontario]: Printed at the Free Press Steam Printing Office, 1860. 13,[1]pp. Original printed pale yellow wrappers. Wrappers faintly dusty at edges, otherwise very near fine.

First edition of this timely collection of satirical poems/songs, directed principally against Thomas McGee. Irish-born McBride emigrated to Canada in the mid-1850s, and eventually settled in Port Franks, Ontario. He was appointed the first postmaster there, and “during his short tenure at Port Franks he became embroiled in local politics and some serious financial reverses which resulted in him serving time in debtor’s prison in Sarnia. Upon his release he secured a position as teacher in Warwick, Ontario in Lambton County, and then removed to Oil Springs in 1862” – Wikipedia. A staunch Orangeman, he published a like collection in 1870. In 1869, he published his most substantial collection, Poems Satirical and Sen- timental On Many Subjects Connected with Canada, which was amplified from a much smaller collection self-published in 1858. He appears to have given up pursuing his muse publicly in the 25 years leading to his death in 1895. WATTERS, p.87. TPL 5917. $175.

329. [McCoy, Horace]: Brown, Harry [screenwriter]: Set of Eight Studio Lobby Cards for KISS TOMORROW GOODBYE. [Burbank]: Warner Bros., 1950. A complete set of vintage 11 x 14” lobby cards. Marginal staple holes from display use, card 7 has 2” tear at upper edge (with no loss, but entering image area), the title card has unrelated admission display information on blank verso, card 5 has a tear in the top margin mended with paper tape on recto and verso, a few marginal paper clip marks, but a generally good to very good set.

A vintage, complete set of the highly pictorial and atmospheric lobby cards promoting the 1950 film adaptation of McCoy’s hard-boiled third novel (1948), based on a screenplay by Brown, directed by Gordon Douglas, and starring James Cagney a “Thug with a Heart of Ice,” Barbara Payton, Helena Carter, Ward Bond, Luther Adler, et al. The film was banned in Ohio, for among other things, “an extreme presentation of crime with explicit steps in commission.” $250.

330. McInerney, Jay [sourcework & screenwriter]: BRIGHT LIGHTS, BIG CITY BASED ON THE NOVEL BY .... New York: Mirage Productions, 20 May through 22 June 1987. [1],144 leaves plus lettered revised inserts and three copies of the six leaf staff & crew list bound in back. Quarto. Mechanically reproduced typescript, printed on rectos only of white, blue and salmon stock. Bradbound in plain wrappers. Ink name (see below), upper wrapper and title leaf a bit dusty and frayed, some inking to the spine, but otherwise a very good copy.

Denoted the “First Draft New Version,” but in fact heavily revised by an array of inserted dated revises on variously colored stocks. This new version is the script credited to McIner- ney for the adaptation of his first novel, undertaken for director Jim Bridges. An earlier draft, attributed to Tom Cole, appears to have been superseded by this new version when Bridges assumed the position of director. This is copy #42 of the script, designated for sound mixer Les Lazarowitz, and was utilized by him in the production. The 1988 release starred Michael J. Fox, Kiefer Sutherland, and Phoebe Cates. $300.

331. [McMurtry, Larry (sourcework)]: Ravetch, Irving, and Harriet Frank Jr. [screenwriters]: Original Lithographed Australian Daybill for HUD. Sydney: Paramount Pictures, [ca. 1963]. Folio (30 X 13.25”, 76 X 34 cm). Folded, as issued, about fine.

Vintage lithographed daybill poster for the Australian release of Martin Ritt’s multi-award- winning film adaptation of McMurtry’s first novel, Horseman, Pass By, based on a screenplay by Irving Ravetch and Hariett Frank, Jr., starring Paul Newman, Melvyn Douglas, Patricia Neal, et al. Lithographed by Robert Burton PTY. Ltd, of Sydney. $125.

332. Melville, Herman: OMOO: A NARRATIVE OF ADVENTURES IN THE SOUTH SEAS.... London: John Murray, 1847. Contemporary polished calf, spine richly gilt, marbled edges and endsheets, bound without the terminal catalogue. Frontis map. Some scuffs and rubs to the boards, but otherwise a very good copy in contemporary dress.

First edition, BAL’s state A of the signature mark on p. 209. Melville’s second book, and like its predecessor, published in London a few days prior to its American publication, in both wrappers and in cloth, in Murray’s Home And Colonial Library series. BAL 13655. $1250.

333. Melville, Herman: MARDI: AND A VOYAGE THITHER. New York: Harper & Bros., 1849. Two volumes. Green cloth, stamped in blind and gilt, yellow endsheets. Light wear and a couple small nicks to spine extremities, foretips rubbed, bookplate on each pastedown and a late 19th century typographic bookplate on verso of each title, some foxing throughout, light tidemark in upper gutter of second volume, otherwise a good to very good set.

First American edition of Melville’s third book, and first novel, issued a few days after the scarce three volume London edition. BAL 13657. WRIGHT I:1860. $2500.

334. Melville, Herman: WHITE-JACKET; OR THE WORLD IN A MAN-OF-WAR. New York & London: Harper & Brothers ... London: Richard Bentley, 1850. vii[1],[9]-465,[1],[6]pp. Gray- green cloth, sides ornately stamped in blind with frame and publisher’s device, spine lettered in gilt, yellow coated endsheets. Usual darkening offset to coated endsheets, light foxing (a bit heavier in prelims and terminal leaves), shallow loss at extreme crown and toe of spine, neat engraved bookplate, otherwise a very good copy.

First U.S. edition, BAL’s first printing, first cloth binding, form ‘B’ of the end gatherings. The London edition in two volumes appeared in late January; this edition followed up in March, and includes an author’s ‘Note’ dated New York, March 1850. BAL 13662. $2000.

335. Melville, Herman: MOBY-DICK; OR, THE WHALE. Berkeley, Los Angeles & London: University of California Press, [1981]. Small folio (34 x 23 cm). Blue cloth, spine lettered in silver. Illustrated. Very, very faint sunning to spine, otherwise a fine copy in matching slipcase.

The “California Deluxe Edition,” being a sympathetic photo-offset reduced replication of the 1979 Arion Press edition, which was illustrated with original woodcuts by Barry Moser. This printing includes a prefatory note by James D. Hart and was limited to 750 copies. The text is based on the Newberry / Northwestern edition. The trade edition was presented in much smaller format. $850. 336. [Member of the Constitution-Club]: THE SPEECH OF A MEMBER OF THE CONSTI- TUTION-CLUB AT OXFORD, FEB. 9 1715-16. BEING HIS DEFENSE AGAINST CERTAIN ARTICLES EXHIBITED AGAINST HIM AND SEVERAL OTHER GENTLEMEN, IN THE CHANCELLOR’S COURT THERE. London: Printed for John Baker, at the Black Boy in Pater-Noster Row, 1716. [4],35,[1]pp. Octavo. Extracted from pamphlet volume, untrimmed. Somewhat dusty and lightly foxed, upper blank fore-margin of half-title torn away, otherwise a good copy.

First edition. ESTC locates a single edition, but with the date inferential, [1716]. The present copy is explicitly dated. The occasional attribution to Ayliffe is noted by ESTC, but is problematic, as the issues herein pertain to charges of disturbing the peace and political rowdiness while at a tavern rather than to the issues that preoccupied Ayliffe at the time. ESTC locates 9 copies in North America. ESTC N24401. $125.

337. Michaux, Henri: MISÉRABLE MIRACLE (LA MESCALINE). Monaco: Éditions du Rocher, [1956]. Quarto. Printed wrappers. Illustrated with 48 plates reproducing Michaux’s writings while under the influence. Light use to head and toe of spine, else about fine, in tanned glassine.

First edition of this substantial addition to Michaux’s documentation of his experiments with mescaline and hashish. One of 1500 numbered copies on Roto blanc Aussédat, from a total edition of 1685 copies. $200.

338. Milius, John [screenwriter and director]: THE WIND AND THE LION. [Np: The Author, prior to 1975]. [1],109 leaves. Quarto. Mechanically reproduced typescript, printed on rectos only. Bradbound in gilt lettered stiff wrapper (denoted “Office Copy” on upper wrapper). Title lettered on spine, upper wrapper a trace curled from reading, very good.

An unspecified, but preproduction draft of this original screenplay by Milius, who also directed the 1975 film, starring Sean Connery, Candice Bergen, John Huston, and Brian Keith, who delivers a standout performance as Theodore Roosevelt. $125.

339. [Millar, Kenneth]: Macdonald, Ross [pseud]: THE FERGUSON AFFAIR. New York: Knopf, 1960. Cloth and boards. Top edge a bit sunned, else a near fine copy in very good or better dust jacket with a couple of small patches of rubbing to spine panel and a minute nick at the crown of same.

First edition. Adapted by Wendell Mayes for a 1992 television film, Criminal Behavior. $300.

340. Miller, Henry: MONEY AND HOW IT GETS THAT WAY. Paris: Booster Publications, [1938]. Printed wrappers. Fore-corners slightly bumped, otherwise an uncharacteristically near fine copy.

First edition. One of ca. 495 copies printed. Though this is among the very best preserved of the many copies of this fragile book we’ve had over the years, it is nonetheless one of the few we recall without a presentation inscription and/or the characteristic copyright statement in Miller’s hand. $400.

341. Miller, Henry: MURDER THE MURDERER AN EXCURSUS ON WAR FROM “THE AIR- CONDITIONED NIGHTMARE.” [Fordingbridge, Hants]: The Delphic Press, [1946]. Pictorial wrapper over stiff wrapper. A couple of faint spots on rear wrapper, small private booklabel inside rear wrapper, but a nice copy.

First British edition. Signed by the author on the title. His signature is accompanied by his assertion in manuscript that the sub-title is “Incorrect!” $225.

342. Miller, Henry: MY LIFE AND TIMES. [New York]: Playboy Press, [1971]. Quarto. Crimson silk, stamped in gilt. Extensively illustrated. Fine in dust jacket, and silk over boards slipcase (the latter slightly soiled at the toe of the backstrip).

First edition, limited issue. One of five hundred copies, specially bound, and signed by Miller, incorporating a brief afterword not in the trade edition. The first and most interesting of the late-career coffee-table books by or devoted to Miller. $200.

343. Miller, Henry: [Original Watercolor]. [Probably Big Sur, CA.]. no date. Original watercolor on paper, 19.5 x 21 cm, matted and framed under glass. Not examined out of mount, but visible portions fine.

A characteristic watercolor, likely painted during the period of Miller’s residence in Big Sur, when he actively solicited financial assistance in exchange for his paintings to enable him to survive and continue writing (ref: An Open Letter To All And Sundry, etc etc). The dominant colors are shades of blue and black. The painting depicts a male and a female figure, in a bathtub, exposed from mid-chest up. Not signed by Miller, but inscribed by his friend Emil White, who functioned during his Big Sur residence (1944-62) as his aide/secretary in correspondence with painting customers and the public: “This was painted but not signed by H.M. E. White.” $4000.

344. Mimard, Louis [-Jules]: [Four Lithographed Art Nouveau Calendar Maquettes, Finished in Watercolor]. [N.p. but perhaps Sèvres, France]. 1900. Four original color lithographs, finished in watercolor. 18.5 x 26.5 cm, plus substantial margins. Matted. About fine.

Signed in the plate, with the plate for summer dated ‘1900’. Each of the four plates depict three months of the year grouped by season; the months are denoted within stylized captioned rectangles, but without the days denoted. Louis Mimard was a designer/decorator known chiefly for his work in porcelain at the Sèvres, France, Manufacture Nationale de Sèvres (1884-1928). and his graphic works are represented in the fac- tory’s archive. Mimard produced a suite of illustrations for La Fontaine (1908), as well as wrapper designs for children’s instructional pamphlets, including some based on text by Charles Perrault. A stunning example of his porcelain decoration in the collection of the Victoria & Albert Museum, entitled “Vase d’Argenteuil,” was the Grand Prix winner at the Paris 1900 Exhibition. $950.

345. [Minerva Press]: [Clarke, Edward Daniel]: A TOUR THROUGH THE SOUTH OF ENG- LAND, WALES, AND PART OF ENGLAND, MADE DURING THE SUMMER OF 1791. London: Printed at the Minerva Press ... For R. Edwards, 1793. xxx,[2],403,[1]pp. plus one diagram and 10 (of 11) aquatint plates. Octavo (in 4s). Modern three quarter calf and marbled boards, raised bands, gilt labels, bound with the half-title and blank d4. Offset and small corner chip to half-title, plates trimmed close at fore-edge, light offsetting from plates, occasional light foxing or minor spotting, otherwise an attractive copy, neatly bound.

First edition of the author’s first book. Although the number of plates in this copy conforms to the count reported in Cox (10 plates, one plan), it would appear that a significant number of copies include an additional plate. In response to the Gentleman’s Magazine notice of this title, wherein it is called “a foolish, ill-placed piece of levity...,” Cox suggests “it is not so bad.” Lowndes offers a note on this book: “This work, published anonymously, was the first production of the celebrated traveller, and was written before he was of age ...The greater part of the copies have been destroyed or lost within a short period after its publication.” The aquatints are by H. Spence, and include five views of Stonehenge, which is also the subject of the diagram. There were some additional copies on large paper, and others on fine paper, with the plates colored. The number of copies located in ESTC and OCLC belie the relative scarcity of copies implied by Lowndes. Oddly, not in Blakey. ESTC T145932. COX III:39. BRUNET II:85. OCLC: 1634090. $475.

346. [Miniature]: Boorstin, Daniel J.: GRESHAM’S LAW: KNOWLEDGE OR INFORMATION? Dallas: The Somesuch Press, 1980. Miniature (7.5 x 6.2 cm). Decorated cloth. Decorations. A few minor dust marks to cloth, otherwise near fine.

Copy ‘A’ of an unspecified quantity of lettered copies, from a total edition of 300 copies (275 for sale), designed, printed and bound by Don Kelley and Susan Acker at the Feathered Ser- pent Press, with decorations by Diane E. Weiss, signed by the author, and by Kelley, Acker and Weiss. Accompanied by the publisher’s review slip, as well as a brief t.l.s. from Stanley Marcus to a noted Dallas book person, hoping he’ll be able to write an article about it. The letter and slip are folded and somewhat dust tanned. First printing in this format of remarks at a White House Conference on library and information services in November 1979. $100.

347. [Miniature]: [Clemens, Samuel L.]: Twain, Mark [pseud]: NICODEMUS DODGE. San Diego: The Ash Ranch Press, 1989. Miniature. 2 5/16 x 1 7/8 inches. Full black publisher’s leather. Miniature bookplate on pastedown, otherwise about fine in three-color pictorial dust jacket.

First edition in this format, ordinary issue. From an edition of 52 copies printed on handmade paper by Don Hildreth, this is one of 26 numbered copies bound thus, in full black bonded leather, gilt. The text is reprinted from A Tramp Abroad, 1880. BRADBURY 2970. $200.

348. [Miniature Books]: Henderson, James D. [editor] THE NEWS-LETTERS OF THE LX- IVMOS. Woodstock, VT: The Lilliputter Press, 1968. Cloth. Illustrations and two miniature “attachments.” Fine, without dust jacket.

A facsimile of the twenty-one issues of this periodical devoted to the fascination of miniature books, November, 1927 – November, 1929. Foreword and Index by Robert E. Massmann. As a sidenote of interest, the original issue #9 was printed and distributed by the Black Sun Press. An extraneous prospectus for The Little Cookie Book, and an issue of The Miniature Book Collector (II:3, December, 1961) are laid in. $75.

349. [Mitchell, Margaret (sourcework)]: Howard, Sidney, et al [screenwriters]: SELZNICK IN- TERNATIONAL PRESENTS “GONE WITH THE WIND” FROM THE NOVEL BY ... [wrapper title]. [Culver City]: Selznick International, 24 January 1939. [4],273 leaves. Quarto. Mim- eographed typescript, printed on rectos only of white stock. Canary yellow studio mimeo’d upper wrapper, wanting the lower plain wrapper. Repunched by a former owner for insertion into seven-ring vinyl binder, very minor use, but otherwise very good or better.

Copy #146 of the “Final Shooting Script” of Selznick’s expansive transfer of Mitchell’s Pulitzer Prize winning best-seller to the screen, based on a script by Sidney Howard, with contributions, largely uncredited, by Ben Hecht, Jo Swerling, Oliver H. P. Garret, John Van Druten and others. Victor Fleming was the credited Director, with contributions by George Cukor and Sam Wood. The cast of hundreds was headed by Vivien Leigh, Clark Gable, Hattie McDaniel, Butterfly McQueen, Leslie Howard, Olivia de Haviland, and on and on. The film premiered in December 1939, with general release in January 1940. The four preliminary leaves in this copy consist of a cast list and a staff list. The film swept the Oscars in several prime categories, including Best Screenplay, Best Picture, Best Director, Best Actress, Best Actress in a Supporting Role (to Hattie McDaniel, the first African American Oscar nominee/ winner), Best Cinematography, et etc. In 1989 it was inducted as a member of the first class into the National Film Registry. It has also maintained a place in the top ten of the AFI 100 Years – 100 Movies list. In spite of criticism, both legitimate and overly harsh, Gone With The Wind was an important milestone in the development of American popular film, and adjusted for inflation, is still among the most successful, if not the most successful, films in US box office history. $14,500. With An Original Watercolor by A.E.

350. Mitchell, Susan L.: FRANKINCENSE AND MYRRH [wrapper title]. [Churchtown, Dun- drum: Privately printed at ] The Cuala Press, [December 1912]. Small octavo. Printed wrappers. Hand colored frontispiece by Jack B. Yeats. Wrappers lightly used and nicked, otherwise a very good copy of a fragile booklet.

First edition. Although without limitation statement, one of three hundred copies printed for the author for private distribution. This copy has a highly finished watercolor by George Russell oc- cupying most of the abbreviated title-page, signed in the lower corner: “AE.” Mitchell was, for a time, Russell’s secretary and protégé. A scarce Cuala imprint, and not in Colbeck’s otherwise interesting array of Mitchell’s books. MILLER, p.127. $1750.

351. MODERNE BAUFORMEN MONATSHEFTE FÜR ARCHI- TEKTUR UND RAUMKUNST. Stuttgart: Julius Hoffman Verlag, February – September 1933. XXXII:2-9. Eight issues. Quarto. Pictorial wrappers. Heavily illustrated with photographs, schematics, renderings, etc (a few plates in color). Some modest chipping to spines and light dust soiling to wrappers, otherwise very good.

A good, representative lot of issues of one of the most popular German periodicals devoted to mainstream architecture and interior furnishing from the pre-war years. $165.

352. Moore, George: SISTER TERESA. London: T. Fisher Unwin, 1901. Dark green cloth, lettered in gilt, t.e.g. A bit of foxing to endsheets, front inner hinge appears to have been repaired, light soiling to cloth, but a good copy.

First edition. Inscribed by Moore in the margins of the title leaf: “My dear Evelyn Marshall Field I must love [deletion] you dearly to sign all [deletion] these books for you – I can think of no other explanation. George Moore April 6.” GILCHER A25a. $350.

353. Moore, George: THE UNTILLED FIELD. London: T. Fisher Unwin, 1903. Red cloth, decorated in blind, lettered in gilt, t.e.g. Foxing early and late, spine extremities frayed and snagged; just a sound copy.

First edition, first binding. Inscribed by Moore to Evelyn Marshall Field in 1922, on the half- title, as “...from an old friend ....” GILCHER A26a. $250.

354. Moore, Marianne: OBSERVATIONS. New York: The Dial Press, 1924. Black cloth and boards, printed paper spine label. Offsetting from a now absent clipping between two pages, a few small rubs to boards, otherwise about fine in the very uncommon foil finish dust jacket, which shows careful restorations at crown and toe of spine, along the front flap fold, and to three creased tears in the lower panel.

First edition of Moore’s first clothbound book, incorporating the text of her preceding two pamphlets in company with new work and work not hitherto collected. This volume was the recipient of the Dial Award for 1924, an honor accorded only one other poet to that point: T. S. Eliot for The Waste Land. Although the size of the edition is not recorded by the bibliographer, it was no doubt small: the first printing is uncommon in commerce (notably so in dust jacket), and a corrected second printing was required and issued three months after the first. The Waste Land’s edition of one thousand copies was exhausted and a second printing appeared in a similar time frame; however, The Waste Land is a relatively common book, and Observations is not. Most likely the first printing did not exceed one thousand copies, and may very well have been smaller. ABBOTT A3.1. $2250.

355. Moore, Marianne: THE STUDENT [caption title]. New York: The Ibex Press, June 1965. Folio broadside (38 x 30.5 cm). Edges a trifle dusty, small corner bump, but a very good copy.

First separate edition. Copy #21 of twenty-five numbered copies. The poem was reprinted, with permission, from What Are Years. ABBOTT A28. $225.

356. Moore, T. Sturge: THE VINEDRESSER AND OTHER POEMS. London: At the Sign of the Unicorn, 1899. Small octavo. Green cloth, t.e.g., ribbon marker. Fine.

First edition of the author’s first public collection, preceded by at least one editing job, and the privately printed Two Poems of 1893. This copy is in the variant binding, without the gilt frame on the boards. NCBEL IV:315. HAYWARD 313. $200.

357. More, Thomas: THE COMMON – VVEALTH OF UTOPIA: CONTAINING A LEARNED AND PLEASANT DISCOURSE OF THE BEST STATE OF A PUBLIKE WEALE, AS IT IS FOUND IN THE GOVERNMENT OF THE NEW ILE CALLED VTOPIA. London: Printed by B. Alsop & T. Fawcet, and are to be sold by Wil:Sheares ... 1639. [6],288,279-305,[1]pp. 12mo. Elegantly bound in full olive green crushed levant, raised bands, elaborately gilt with triple vertical columns of leaves and flowers surrounded by a dense field of gilt small circles, with title, date and author in gilt, inset within blind and gilt borders on each board, and with each spine compartment similarly embellished with gilt small circles and blindstamped floral devices, a.e.g., by Riviere and Son. Engraved pictorial extra title. Modest soiling at lower forecorners of engraved title and title, intermittent light tidemark to lower forequarters of some leaves in gatherings E through J, and toward end, half small finger-tip size smudge in lower margins of same leaves, but a very good copy in a handsome exhibition binding.

The scarce fifth edition of Ralph Robinson’s translation into English of More’s masterwork. The engraved title was executed by William Marshall, and the errors in pagination vary between copies, and include misnumberings of several individual pages. Robinson’s translation was first published in 1551, and although Gilbert Burnet’s new translation (1684) is in many ways its superior, it has been frequently used as the English text even into the 20th century. Dibdin frowned on the careless production evidenced in this edition, but nonetheless utilized it for his own reprint. The binding is first quality, and a note on the front pastedown records: “This binding was designed by Thomas Chatto & executed by Messrs. Riviere,” below which appears the engraved bookplate of Noel Barwell. ESTC locates 11 copies in North America. Thomas More’s Utopia ... marks the creation of a genre that was to have a far-reaching effect on the world of letters and of the imagination. The notion of an ideal society had been canvassed before, notably in Plato’s Republic, but it was More who fully developed the concept of an imagined ideal world, and who also gave the familiar name to the concept, with his famous pun on “good place” (eutopos) and “nowhere” (outopos). ESTC S112890. PFORZHEIMER 741. STC 18098. PRINTING AND THE MIND OF MAN 47 $4500.

358. [Morris, Gouverneur, and Raymond M. Crosby (illus)]: A BUNCH OF GRAPES CUT FROM THE VINE WITH A PAIR OF SHEARS BY HIM & ME. [New Haven]. [nd. but ca. 1890s]. [32]pp. Quarto. Later three quarter morocco and Fabriano over boards, original pictorial self- wrappers bound in. Illustrations. Small repair to fore-edge of terminal leaf, bookplate scars to front and rear pastedowns, tips a bit rubbed, but a very good copy.

First edition of this undergraduate jeu d’esprit, most likely the first separate publication by the future prolific writer of short stories and screen scenarios, and as well a very early production with illustrations by the well-known contributor to The Chapbook, Saturday Evening Post, Cosmopolitan, etc. The text consists of humorous doggerel relating to student life at Yale. OCLC/Worldcat locates 11 copies, but there are several more at Yale. $125.

359. Morris, Lloyd R.: THE CELTIC DAWN. A SURVEY OF THE RENASCENCE IN IRELAND 1889 – 1916. New York: The Macmillan Company, 1917. Green cloth, stamped in gilt. Fine in dust jacket. Half morocco slipcase.

First edition. Signed and dated by the author in 1917, with a number of scattered textual corrections. $275.

360. [Motley, Willard (sourcework)]: Set of Studio Lobby Cards for LET NO MAN WRITE MY EPITAPH. [Los Angeles]: Columbia Pictures Corp., 1960. Eight 11x14” pictorial color lobby cards. A few small spots to title card and to margins of second card, else very good and bright.

A complete set of the promotional lobby cards for Robert Presnell, Jr.’s adaptation to film of Motley’s third novel. Philip Leacock directed a cast that included Burl Ives, Shelley Winters, James Darren, Jean Seberg, Ricardo Montalban and Ella Fitzgerald. $100.

361. Nadel, Arno [illus], and Justus Lichten: BEETHOVEN GEDICHTE VON JUSTUS LICH- TEN ... [wrapper title]. Berlin: Drei-Welten-Verlag G.M.B.H., 1923. [8]pp. Folio. (41 x 33 cm). Sewn self wrappers. Sewing a bit slack, otherwise very good or better.

First edition. Illustrated with an original etching by poet/musician/artist Arno Nadel. One of two hundred numbered copies, signed by the author, and by the artist below the etching. Nadel (1878 – 1943) was born in Lithuania. He was appointed Kapellmeister to the Berlin Jewish Community in 1916, and died at Auschwitz. $150.

362. Nadel, Arno [illus], and Justus Lichten: EROICA GEDICHTE VON JUSTUS LICHTEN ... [wrapper title]. Berlin: Drei-Welten-Verlag G.M.B.H., 1923. [8]pp. Folio. (41 x 33 cm). Sewn self wrappers. Sewing a bit slack, with short splits to spine at crown and toe, otherwise very good or better.

First edition. Illustrated with an original etching by poet/musician/artist Arno Nadel. One of two hundred numbered copies, signed by the author. Nadel (1878 – 1943) was born in Lithu- ania. He was appointed Kapellmeister to the Berlin Jewish Community in 1916, and died at Auschwitz. $125.

363. Nelson, Paul: LA MAISON SUSPENDUE. Paris: Éditions Albert Morancé, [1939]. [8] pp. plus 14 plates. Quarto. Spiralbound stiff printed wrappers. Photographs, renderings and a tinted plan. A bit dusty, some discoloration and small chips along lower wrapper juncture with metal spiral, Barcelona bookseller’s ticket inside rear wrapper; otherwise very good.

First edition. The primary contemporary monograph by Nelson on his masterwork. Influenced by the International Style and emerging structural technologies, Nelson’s work became more experimental and cerebral over time, reaching its apogee in his most recognized design, the Maison Suspendue, in which interchangeable prefab- ricated units were literally hung within a structural metal armature, allowing for endless freedom and adaptation to modern living. This unrealized project was exhibited at the Museum of Modern Art in New York City and established Nelson as a major figure in the European architectural scene ...” – commentary, Avery Architectural Library online exhibit. $500.

364. [New Directions]: Harrison, John A.; Rebecca Newth, and Anne Marie Candido [comp]: PUBLISHED FOR JAMES LAUGHLIN: A NEW DIRECTIONS LIST OF PUBLICATIONS, 1936 – 1997. [Fayetteville, AR]: Will Hall Books, [2008]. xii,220pp. Stiff decorated wrappers. Plates. As new.

First edition. Preface by Rebecca Newth. A comprehensive, thoroughly indexed annotated checklist of six decades of the publications of J. Laughlin’s New Directions imprint, adapted from the format – though arranged chronologically – established with the preliminary checklist appended to the 1964 New Directions Reader. $15.

Early Advocate of Vegetarianism

365. [Nicholson, Asenath Hatch]: NATURE’S OWN BOOK. SECOND EDITION. ENLARGED AND IMPROVED. New York: Wilbur & Whipple, 1835. [5],6-84pp. Octavo. Original publisher’s light purple cloth, titled in gilt. Engraved title vignette. Some scattered foxing and modest spotting, cloth a bit sunned and slightly bubbled, but a very good, sound copy.

Denoted the “Second Edition.” Cagle and Stafford reported that “no copy of an earlier edition is known.” However, OCLC/Worldcat now locates two copies of an 1835 edition of 64pp. under the imprint of W.S. Dore (Duke and Ohio Historical). American reformer Nicholson is best remembered for her walking tour of Ireland in 1844-5, and her advocacy of the cause of Irish immigrants and those suffering under the Famine. In the course of her work as an Abolitionist and Temperance advocate, she had worked among the Irish immigrants in New York prior to the trip and maintained a vegetarian temperance boarding house in the Five Points. The text here consists of rules for that house (dated at the end 1832 and signed “S. Graham”), some 25 pages of vegetarian recipes and food recommendations, suggestions for mothers and young women, and an account of her own experiences with illness and diet. The Preface describes the earlier edition as “hastily sent out, to answer the demands for receipts. The typographical and grammatical errors, together with bad punctuation, were not carefully corrected in the proof sheets ....” Nicholson’s A Treatise On Vegetable Diet was published in Glasgow in 1848. OCLC/Worldcat locates over twenty copies of this edition, but it is uncommon in commerce. CAGLE & STAFFORD 569. LOWENSTEIN 188. AXFORD, p.289. OCLC: 6630146. $450.

366. Nin, Anais: WINTER OF ARTIFICE. [New York: The Gemor Press, nd. but ca. 1942]. Pictorial boards. Illustrated with copper-plate engravings by Ian Hugo. Very shallow fraying at extreme crown of spine, else about fine.

First American edition, and first illustrated edition, substantially revised from the text presented by the 1939 Paris Obelisk Press edition. One of five hundred copies printed and published by the author and the artist. Inscribed and signed by Nin to poet “Robert Morse in answer to poems Anaïs Nin.” FRANKLIN A3b. $550.

367. [Nordhoff, Charles, and James Norman Hall (sourcework)]: Jennings, Talbot, and Jules Furthman [screenwriters]: MUTINY ON THE BOUNTY.... [Culver City]: Metro-Goldwyn-Mayer, 12 October 1934. 209 leaves. Quarto. Mimeographed typescript, printed on rectos only, bradbound in mimeographed wrappers. Denoted “Temporary Complete,” “Vault Copy,” and “File Copy” on upper wrapper. Portion of MGM file label torn away, wrappers lightly smudged and sunned, upper wrapper has corner creases and small corner chip, but a very good copy.

An unspecified but clearly substantially pre-production draft of Jennings and Talbot’s adaptation, the basis for the Oscar-winning 1935 Frank Lloyd film starring Charles Laughton, Clark Gable, and a host of others. Upon its release, Carey Wilson was added to the scriptwriters’ credits but is not yet credited in this draft. Adding to that the substantial length of this script, which would imply a running time far greater than the film’s release length of 132 minutes, and the implication is that this draft is still a good distance from the finished film. It was an early credit for Jennings (whose later films include The Good Earth and Northwest Pas- sage) and a substantial addition to Furthman’s career, which began in 1915, and included such major films as The Big Sleep, To Have and Have Not, Nightmare Alley, and The Way Of All Flesh. $1850.

368. [Nordhoff, Charles, and James Norman Hall (sourcework)]: Lederer, Charles, et al [screenwriters]: MUTINY ON THE BOUNTY.... [Culver City]: Metro-Goldwyn-Mayer, 13 October – 22 December 1960. A1-F1,210 leaves, plus numerous lettered inserts. Quarto. Mimeographed typescript, printed on rectos only of canary, salmon and blue stock. Bradbound in mimeographed wrappers. Denoted “Temporary Complete” on upper wrapper. Residue of label and adhesive along spine edge of upper wrapper, title hand lettered on spine, lower wrapper matches, but may have been supplied from another copy or script, pencil name and light discoloration at top edge of upper wrapper, otherwise very good.

Copy #111 of this unspecified but heavily revised “rainbow” script of this new adaptation of Nordhoff and Hall’s novel. Lederer received screen credit, but Eric Ambler, Ben Hecht and several others made uncredited contributions. Lewis Milestone directed the November 1962 release, starring Marlon Brando, Trevor Howard, Richard Harris, and many others. It garnered seven Oscar nominations, including Best Film. Laid in are three casting call sheets for days of shooting in January 1961. $1250.

369. O’Brian, Patrick: [A Sequence of the Aubrey and Maturin Novels and Precursors]. New York: W.W. Norton & Company, [1990 through 1995]. Twenty-two volumes. Cloth and boards. Uniformly fine and fresh in pictorial dust jackets.

An excellent start for a reader, consisting of volumes I through XI of the Norton Uniform Edi- tion, each present in the first printing, and supplemented by the following, which are either the first printing of the first U.S. edition, or the first printing of the Norton edition: The Letter of Marque (1990); The Thirteen Gun Salute (1991); The Nutmeg of Consolation (1991); The Truelove (1992); The Wine-Dark Sea (1993); The Commodore (1995); The Yellow Admiral (1996); The Hundred Days (1998); Blue At The Mizzen (1999); The Golden Ocean (1994); and The Unknown Shore (1995). Shipping extra. $1250.

370. [O’Brian, Patrick (sourcework)]: Weir, Peter, and John Collee [screenwriters]: Set of Ten Original Color Lobby Cards for MASTER AND COMMANDER THE FAR SIDE OF THE WORLD. [Los Angeles]: Twentieth Century Fox, 2003. Ten 11 x 14” color studio lobby cards. Fine.

A complete set of the lobby cards issued to promote the U.S. release of Peter Weir’s ably written, directed and intelligently crafted sea adventure adapted from O’Brian’s Aubrey / Maturin novels, starring Russell Crowe, Paul Bettany, Max Pirkis, among an entire crew of sea-faring men aboard the HMS Surprise. The film was nominated in nearly every category of the Academy Awards, winning in the categories of Cinematography and Sound Editing, and won AFI’s Movie of the Year. In all, the film won 24 awards, and received 57 additional nominations, from the various award-granting organizations. $85.

371. O’Donnell, E.P.: GREEN MARGINS. Boston: Houghton Mifflin, 1936. Trimmed signatures, perfect bound in a preliminary form of the dust jacket of the published book. A bit of minor creasing and rubbing at the edges of the wrappers, else near fine.

Advance reading copy of the first edition of the author’s Houghton Mifflin Fellowship novel, set in the Louisiana Delta region where he was then resident. O’Donnell is also remembered for his substantial library, and the persistent ownership signatures and effects of the southern climate that marked its constituent books. $200.

372. [O’Flaherty, Liam (sourcework)]: Nichols, Dudley [screenwriter]: Original Studio Publicity Press Book for THE INFORMER. [New York]: RKO Radio Pictures, 1935. [16]pp. Folio (455 x 305 mm). Pictorial self wrappers. Heavily illustrated. Horizontal fold, pencil note on front wrapper (a screening schedule), light edgewear, narrow clean split to spine at toe, but very good.

A visually striking vintage studio press book for John Ford’s multi-award winning film adaptation of O’Flaherty’s 1925 novel set in the turmoil of 1922 Dublin, based on a screenplay by Dudley Nichols, and starring Victor McLaglen, Heather Angel, Preston Foster, et al. The film garnered Oscars for Best Leading Actor, Best Director, Best Musical Score and Best Screenplay (which Nichols declined). It was also nominated for Best Picture and Best Edit- ing. The sample press articles contained herein are particularly extensive, as is the array of visually stunning promotional paper. Promotional material for the original 1935 release of this important film is uncommon. $450.

373. [O’Flaherty, Liam (sourcework)]: Coburn, Robert W. [photographer]: Vintage Silver Print of Climactic Scene from THE INFORMER. [Np: The Photographer, ca. 1934 – 1935]. Original double weight matte-finish gelatin silver print, 11 x 14” (with margins; image size 9 x 11 3/8”). Faint dent in lower corner of image, otherwise about fine.

A superb, quality print of this still image by Robert W. Coburn taken during the production of John Ford’s multi-award-winning film adaptation of Liam O’Flaherty’s novel, based on a screenplay by Dudley Nichols. This print is clearly a very high quality print, perhaps by Coburn himself, prepared for special use. The scene depicts Victor McLaglen, as Gypo Nolan at the climax of the film, being confronted by the IRA enforcer on the front steps of the apartment, just seconds after being shot. Robert W. Coburn (1900-1990) was one of the legendary greats of Hollywood still and portrait photography. This work for RKO predates his twenty-year association with Columbia Pictures. His portraits of Joan Crawford, Rita Hayworth, Katherine Hepburn, Henry Fonda, Marlon Brando, Orson Welles, Carol Lombard and many others have achieved almost iconic status. $450. 374. [O’Flaherty, Liam (sourcework)]: Coburn, Robert W. [photographer]: Vintage Silver Print of Climactic Scene from THE INFORMER. [Np: The Photographer, ca. 1934 – 1935]. Original double weight matte-finish gelatin silver print, 11 x 14” (with margins; image size 9 1/4 x 11 3/8”, offset to corner). Printed very slightly askew, otherwise about fine.

With an Original Drawing by Larry Rivers

375. O’Hara, Frank: A CITY WINTER AND OTHER POEMS TWO DRAWINGS BY LARRY RIVERS. New York: Editions of the Tibor de Nagy Gallery, “1951” [i.e. 1952]. Small quarto. Linen and decorated boards, spine panel lettered in gilt. Frontis and two illustrations by Rivers. Extremities a bit rubbed and modestly darkened, spine a bit sunned and smudged, but a very good copy.

First edition, deluxe issue. One of twenty numbered deluxe copies printed on Japanese Kochi paper, specially bound, with an original graphite and wash drawing (24.2 x 15.2 cm; 9.5 x 6”) by Larry Rivers tipped in to serve as the frontispiece (in this case, of a male nude, signed “Rivers”). The ordinary issue consisted of another 280 copies on Arches (although the colophon called for 130, and many of the overrun copies were issued unnumbered and without wrappers). Not all of the drawings used for this special issue were signed by the artist. One of the most significant first books of its generation, a key book among those associated with the New York School of Poetry, and, in this deluxe issue, an uncommon book. SMITH A1b. $20,000.

Summer of ‘31

376. O’Neill, Eugene: MOURNING BECOMES ELECTRA A TRILOGY. New York: Horace Liveright, 1931. Cloth. Tiny corner crease to front free endsheet, front inner hinge cracking slightly, otherwise near fine, in good dust jacket with split along upper joint and across the spine panel.

First edition, trade issue. A lovely association copy, inscribed by O’Neill the month following publication: “To Doctor & Mrs. Babbott – with grateful memories of a delightful summer at their Beacon Farm where I put in the final touches on this trilogy – Eugene O’Neill Dec. 1931.” Accompanied by the original lease attending Eugene and Carlotta O’Neill’s renting of Beacon Farm from 10 June through 15 October 1931, for the sum of $3500. The lease is signed in full by both Eugene and Carlotta, by the owner, Frank L. Babbott, Jr., as well as his attorney. O’Neill and Babbitt have each initialed three clauses in the body of the contract. The property was located at Eaton’s Neck, Northport, Long Island, and based on the number of photographs extant of the O’Neills there, it was a happy, productive summer, leading into the Autumn production of this play trilogy. The contract, formerly torn down the middle, has been restored by an expert conservationist and preserved flat in a 10 x 31” cloth backed board folder. ATKINSON A32-I-I.a. $5500.

Signed by Cast Members

377. O’Neill, Eugene: Playbill for STRANGE INTERLUDE. New York: The Actor’s Studio The- atre, 1963. Pictorial wrappers. Lacking the center bifolium, but offered as an autograph item.

The first production of the Actors Studio Theatre, a revival of O’Neill’s play directed by José Quintero. This copy is signed on the upper wrapper by cast members Jane Fonda, Ben Gaz- zara, Geraldine Page, Betty Field, Pat Hingle, William Prince, Geoffrey Horne, and a very youthful Richard Thomas. $125.

378. Odets, Clifford: COUNTRY GIRL ...TITRE FRANCAIS PROVISOIRE BOUCHE D’OR. [Np. nd but prior to 1955]. [4],22,19,19,25,34,20,22 leaves. Quarto. Original carbon typescript, typed on rectos only, with a handful of manuscript corrections, and with stage directions underlined in red ink. Bradbound in plain wrappers, captioned in manuscript. Prelims frayed and chipped at fore-edges and with old tape mends, wrappers chipped at spine, agent’s label on title leaf, else very good.

A preliminary version of Constance Coline’s translation into French of Odet’s play, Country Girl. The translation saw production on 23 April 1955, and was published, under the revised title Pour Le Meilleur Et Pour Le Pire..., in a special theatrical supplement to France Il- lustration. $125.

379. [Officina Bodoni]: Dante Alighieri: VITA NUOVA DI DANTE PROEMIO DI BENEDETTO CROCE. [Montagnola: Officina Bodoni, 1925]. Folio. Publisher’s gilt vellum over boards, gilt morocco spine label, fore and bottom edges untrimmed. Trace of dust-darkening along top edges, a few isolated faint marginal finger smudges, otherwise a very good or better copy, unopened, without slipcase.

First edition in this format. One of 225 copies printed by hand by Giovanni Mardersteig on Fabriano handmade paper, from a total edition of 230 copies. The text is that of the “Società Dantesca,” and in his prefatory essay, Croce remarks that this “is more beautiful, perhaps, than any previous edition [of this work], though there have been some lavish ones. In this edition, quite properly, the reader susceptible to poetry is left alone with Dante...” [translation by Schmoller]. MARDERSTEIG 14. $2250.

380. [Officina Bodoni]: Mardersteig, Giovanni: THE OFFICINA BODONI AN ACCOUNT OF THE WORK OF A HAND PRESS 1923 – 1977. Verona: Edizioni Valdonega, [1980]. Quarto. Gilt cloth. Portrait, plates, illustrations and facsimiles. Fine, in lightly worn paper slipcase.

First edition in English, trade issue. Edited and translated by Hans Schmoller. One of 1500 copies printed at the Stamperia Valdonega. $225.

381. Orage, A.R.: READERS AND WRITERS (1917 – 1921). New York: Knopf, 1922. Cloth. Small production smudge in blank portion of one leaf, else an unusually nice, largely unopened copy, in the uncommon dust jacket, which has a couple of minor nicks and creases.

First U.S. edition of this collection of columns by the editor of New Age, including notes on Pound, Nietzsche, Marx, Irish Literary Theatre, A.E., et al. $150.

382. [Orlik, Emil (illustrator)]: Hearn, Lafcadio: [Uniform Series of Selected Works in Ger- man]. Frankfurt A. Main: Literarische Anstalt Rütten & Loening, 1905 – 1910. Six volumes. Uniform publisher’s limp vellum over boards, elaborately decorated in gilt and black, t.e.g., others rough-trimmed, ribbon markers. Pictorial and gold-flecked endsheets, decorated titles, sectional titles. end-pieces and initials. Minor hand-smudging to vellum, but a very good to near fine set.

First editions in German, each work an authorized translation by Berta Franzos. The design, decorations and illustrative matter were undertaken by the noted Prague artist, Emil Orlik, who met Hearn in Japan during one of his tours to the Far East to study artistic techniques beginning in 1900. This handsome series was a consequence of their association, and includes volumes under the titles Kokoro, Lotos, Izumo, Buddha, Kyushu, and Kwaidan. There were also twenty-five copies of each volume printed on Japan vellum. The series was popular; two additional works appeared in 1911 and 1912 and several of the volumes were reprinted in later years. $550. Will Ecstasy Be A Crime?

383. [Orwell, George (sourcework)]: Original Studio One Sheet for 1984. [Los Angeles]: Co- lumbia Pictures, 1956. Vintage color lithographed one sheet (41 x 27”). Folded, as issued, with usual ID stamps and a pencil note or two on the blank verso. Apart from a few tiny breaks at some folds (with no loss), a bright, very good or better example.

A vintage one sheet for the U.S. release of the1956 British film adaptation of Orwell’s novel, based on a screenplay by William P.Templeton and Ralph Bettinson. The film was directed by Michael Anderson, and starred Edmond O’Brien, Jan Sterling, Michael Redgrave, Donald Pleasance, et al. The b&w adaptation captured the dingy bleakness of Orwell’s vision of the future, and served its origin well; however, this one sheet features a garish, colorful and sensational theme, depicting a member of the Anti-Sex League eavesdropping via video on a scene of intimacy between the lead characters, posing the question: “Will Ecstasy Be a Crime in the Terrifying World of the Future?” The film is itself rather elusive these days, and publicity paper associated with it even more so. $400.

384. Ouida [pseud of Louise de la Ramee]: TWO LITTLE WOODEN SHOES A SKETCH. London: Chapman and Hall, 1874. Large octavo. Blue cloth, lettered in gilt, ruled in black, edges rough trimmed. First edition. Front inner hinge cracking slightly, gilt morocco bookplate on pastedown, light rubbing at edges and with narrow streak of rubbing on lower board, light foxing, otherwise a good or better copy. SADLEIR 1947 (ref). WOLFF 5351. $375.

385. [Overbrook Press]: [Evans, Margaret B.]: THE PIED PRINTER’S PRIMROSE PATH A TYPOGRAPHICAL NONSENSE BOOK. Stamford: The Overbrook Press, 1940. Gilt cloth. Typographically illustrated in various colors. Slightly dusty at edges, else near fine in dust jacket.

First edition. One of two hundred and fifty copies printed in handset Centaur and Lutetia types on papier de chine. One of the AIGA Fifty for its year. CAHOON, p.24. $100.

First American Ovid

386. Ovidii Nasonis, P.: METAMORPHOSEON LIBRI X. OR TEN SELECT BOOKS OF OVID’S METAMORPHOSES; WITH AN ENGLISH TRANSLATION .... Philadelphia: Printed by William Spotswood, 1790. [44],328pp. Octavo. Contemporary boards, rebacked to style in mottled calf, gilt label. Woodcut headpiece. 19th century ownership inscription on detached free endsheet, boards edgeworn, typical tanning and occasional light discolorations, but about very good.

The first edition of Ovid printed in the U.S., and one of the first classical texts printed in the post-Revolutionary states. The text is derived from the translations of Davidson and Clarke, and presented with notes as a textbook. Coincidentally, the first literary work composed in British North America was George Sandys’ translation of Ovid, published in Britain in 1632 after he had returned there from Virginia. ESTC W27557. EVANS 22753. $400.

387. Ovidius Naso, Publius: METAMORPHOSES D’OVIDE EN RONDEAUX ... Paris: De L’Imprimerie Royale, 1676. [14],463,[1],[8]pp. Quarto (28 x 22 cm). Full black calf, ruled in gilt and blind, with overall decoration within gilt and ornamented rules of fleurs-de-lys and other ornaments, a.e.g., attributed to Milpied. Engraved pictorial extra-title, and 226 engraved illustrations in text. Small surface chips at extreme crown and toe of spine, lower joint cracking at crown, fore-edge of front free endsheet a bit nicked and frayed, scattered foxing and occasional marginal smudges, early ownership inscriptions to title with a faint shadow of a tidemark at the gutter, clean marginal tears in B1 and S4 (with no loss), early manuscript poem on blank [464]; early ink doodles across extreme upper margin of page 184; withal, a good, sound copy. Marbled board slipcase.

First edition of this verse translation by Isaac Benserade, concluding with an amusing acrostic utilizing the names of Louis XIV and Madame de Ludre. The beautiful engraved extra-title is by Sébas- tien Le Clerc after Charles Le Brun. The 226 text engravings are by Le Clerc and Francois Chauveau. Prefatory “Lettre de m. Le Brun a m. de Benserade.” “Édi- tion recherchée uniquement à cause de grav[ures] ...” – Brunet. BRUNET IV:288. TCHEMERZINE-SCHE- LER I:614. $5000.

388. Oz, Frank [screenwriter & director]: THE MUPPETS IN MANHATTAN (WORK- ING TITLE). [New York: TriStar / Henson Associates], 7 March 1983. [1],108 leaves. Quarto. Mimeographed typescript, printed on rectos only, boltbound in hot-stamped Studio Duplicating Service flexible binder. Ink name (see below), toe of spine and lower forecorners of binder bumped, a few bits of highlighting early in the script, but a very nice copy.

The “second draft” of this original screenplay, here credited solely to director/star Frank Oz (a.k.a. Miss Piggy / Fozzie / Animal / Bert / Cookie Monster). Final screen credits included cowriting credits to Tom Patchett and Jay Tarses, who cowrote the story. The Henson Com- pany of puppeteers starred in the 1984 release (as The Muppets Take Manhattan), along with a broad range of celebrity cameos. This copy bears the ownership signature and few annotations / highlighting of Les Lazarowitz, who worked as sound mixer on the production. Uncommon. $375.

389. Papé, Frank C. [illustrator], and Anatole France: THE WELL OF ST. CLARE. London & New York: John Lane the Bodley Head / Dodd, Mead and Co., [1928]. Large octavo. Gilt decorated pictorial cloth, fore and bottom edges untrimmed. Frontis and eleven plates. Nu- merous text illustrations. About fine in dust jacket with minor use at edges.

First edition with these illustrations, U.S. issue, in the Dodd, Mead binding and dust jacket. The Allinson translation. BLEILER, p.76. $95.

390. [Paper Sample Book]: RHODODENDRON COVERS [wrapper title]. [Boston & Denver: Carter, Rice & Co., January 1902]. Quarto (270 x 205 mm). Pictorial wrappers, with silk tie. Lower corners of upper wrapper chipped away, not touching image, internally about fine.

A sample book, including thirteen printed sample sheets, and three leaves of specs and order information on similar stock. The samples feature highly characteristic period typography and illustration. $225.

391. Pauvert, Jean-Jacques [ed]: L’ENRAGÉ. [Paris: Pauvert], 17 & 24 June, 1 July, & 1 August 1948. Whole numbers 4,5,6 & 8 (of 12 published). Quarto. Pictorial self wrappers. Heavily illustrated. Printed on cheap newsprint and a bit tanned, several forecorners chipped, spine of #8 worn, but intact.

Edited and published by Pauvert in this ephemeral form in the context of the strikes and other events of May, featuring, in the main, satirical anti-Gaullist visuals, occasionally with text commentary. A total of 12 numbers were published. $125.

392. Percy, Walker: THE LAST GENTLEMAN. New York: Farrar, Straus & Giroux, [ca. 1966]. Narrow quarto. Plastic comb bound printed wrappers, with authorship ascription on upper wrapper in ink. Some occasional creasing and nicks at corners, but a very good copy.

Uncorrected proofs of the first edition of the author’s second book. An excellent association copy of this uncommon proof, with Paul Horgan’s bookplate, as well as his scattered annotations in the text and occasional marginal commentary. Given that Percy and Horgan were the most widely read American Catholic novelists of their generation, this is an important association copy. $1250.

393. Percy, Walker: OUESTIONS [sic] THEY NEVER ASKED ME. Northridge: Lord John Press, 1979. Small octavo. Cloth and decorated boards. First edition in book form. One of three hundred numbered copies (of 350), signed by the author. This copy exhibits the uncorrected state of the title-page, with the initial ‘O’ rather than ‘Q.’ Fine. $250.

394. Percy, Walker: LOST IN THE COSMOS THE LAST SELF-HELP BOOK. New York: Farrar, Straus & Giroux, [1983]. Blue cloth, stamped in silver. First edition, limited issue. One of 350 numbered copies, specially bound, and signed by the author. Fine in slipcase. $250.

395. Percy, Walker: DIAGNOSING THE MODERN MALAISE. New Orleans: Faust Publish- ing, 1985. Quarter publisher’s gilt leather, pictorial onlay. Portrait. First separate edition. One of fifty deluxe copies, from a total edition of three hundred numbered copies, signed by the author. Fine. $400.

396. [Pit Bull Fiction]: Kirk, R.G.: WHITE MONARCH AND THE GAS-HOUSE PUP. Boston: Little, Brown and Co., 1917. Small octavo. Olive-gray cloth, lettered in white and with pictorial vignette. Frontis and three plates by William A. Kirkpatrick. Tips slightly rubbed, but a very good, bright copy.

First edition of this unusual fictional exploration of class differences as personified by the clash between two pit-bulls with owners on opposed sides of the economic chasm. Evidently something of a standard in the field, reprinted in a limited edition in 1988 by The Dog Club Magazine (London). SMITH K-286. $200.

397. [Plath, Sylvia (sourcework)]: [Promotional Album of Twenty-Two Original 11 x 14 Mat Gelatin Silver Prints for:] THE BELL JAR. [New York: Avco Embassy, ca. 1979]. Oblong folio. Ringbound with printed card coversheet and acetate cover. Light use at edges, short closed tear at top edge of one print, light hand soiling to versos of a few prints, but very good or somewhat better.

An elaborate presentation of double weight mat finish stills for the critically controversial 1979 film adaptation of Plath’s semi-autobiographical novel, based on a screenplay by Marjorie Kellog, directed by Larry Peerce, and starring Marilyn Hassett, Julie Harris, Jameson Parker, et al. Unfortunately, the still photographer for the production is not identified by IMDB Pro. Because of the inherent cost of preparing a presentation of this nature, it is likely that the number produced was not large. $350.

398. Poe, Edgar Allan: THE RAVEN AND OTHER POEMS. New York: Wiley and Putnam, 1845. [8],91,[1]pp. Small octavo. Bound in handsome modern full red morocco, raised bands, gilt label, t.e.g., half-title bound in, but bound without terminal adverts. Occasional isolated foxmarks, upper blank margin of leaf 29/30 shows early professional restoration, otherwise a very good or better copy. Enclosed in a cloth folding case with gilt spine label with matching morocco facing along fore-edge of upper panel.

First edition, published as Volume VIII in Wiley and Putnam’s Library of American Books. Published originally in wrappers (and very scarce thus), cloth, or in publisher’s cloth conjoined with sheets from the 2nd or 3rd printings of Tales. Sets of sheets were also exported for the London issue, with a cancel title-leaf. In additional to the title poem, among the works here collected are “The Haunted Palace,” “The Conqueror Worm,” “Israfel,” “The City in the Sea,” and the section of “Poems Written in Youth.” “The most important volume of poetry that had been issued up to that time in America ... In this little volume the weary, wayworn wanderer had successfully reached his own native shore in the realm of the imagination” – H. Allen. BAL 16147. GROLIER AMERICAN HUNDRED 56. HEARTMAN & CANNY, p.97ff. ROBERT- SON, p.53. $10,000.

399. Porter, Katherine Anne: A CHRISTMAS STORY...DRAWINGS BY BEN SHAHN. New York: Delacorte Press, [1967]. Square octavo. Gilt green cloth, decorated endpapers. Frontis and illustrations by Ben Shahn. Spine lettering a bit dull, else fine in publisher’s gilt-stamped cloth slipcase.

First Delacorte edition. One of five hundred numbered copies signed by the author and the illustrator, the former initially via autopen. This copy also bears the author’s authentic signature supplementing the autopen signature. $250.

400. Pound, Ezra: FROM CANTO CXII [caption title]. [Norwich, NY]: Wu-Shan, 2011. Oblong folio broadside (315 x 440 mm). Fine.

One of fifty numbered copies, printed on Rives, and illustrated with an image after a brush- drawing by Path Soong. Signed by the artist, and with the atelier’s ink chopmark. $300.

401. Powell, Anthony: VENUSBERG. London: Duckworth, 1932. Gray cloth, lettered in gilt. Endsheets slightly tanned, light foxing to top edge, crown of spine a bit rubbed, else a very good copy, without dust jacket.

First edition of the author’s second book, likely published, according to the author’s recollec- tion, in an edition of less than three thousand copies. This copy bears his early presentation inscription: “For Hans Martin, from the author Anthony Powell June 8th 1933 In memory of a delightful visit to Holland and in admiration of the K.L.M. – and its chief.” LILLEY A2a. $4500.

402. Powys, John Cowper: SAMPHIRE. New York: Thomas Seltzer, 1922. Small octavo. Decorated boards, paper labels (Thomas’s primary binding). About fine in the highly pictorial dust jacket (a bit dusty at edges, with small creased tear and nick in lower edge of rear panel). THOMAS A14. $125. 403. Price, Richard [sourcework], and Walter Newman [screenwriter]: “BLOODBROTHERS” ... FROM THE NOVEL BY .... [Los Angeles]: Warner Brothers, 14 March – 9 May 1977. [1],132,[1] leaves plus lettered inserts. Quarto. Mechanically reproduced typescript, printed on rectos only of white, blue and salmon stock. Bradbound in studio wrappers. Inner top corner of lower wrapper and terminal leaf a bit dust-tanned, small spot on lower wrapper, typical modest use at overlap wrapper edges, but very good or better.

Copy #3 of this “Final Draft” of Newman’s adaptation to film of Price’s 1976 novel, but evidencing further revisions over the 8 week stretch noted above. Robert Mulligan directed the Fall 1978 release, starring Paul Sorvino, Richard Gere, Tony Lo Bianco, et al. Marcus’s screenplay was nominated for both Academy and WGA awards. Newman had a distinguished career as screen and television writer going back to the 1950s, with credits on The Man With The Golden Arm, Cat Ballou, and uncredited work on The Magnificent Seven. In 1986, with The Color Of Money (for which he received an Oscar nomination), Price emerged in his own right as a significant screen and television writer. $175.

404. Pronti, Domenico: NUOVA RACCOLTA DI 100 VEDUTINE ANTICHE DELLA CITTÀ DI ROMA E SUE VICINANZE ... [bound with:] NUOVA RACCOLTA DELLE VEDUTINE MODERNE DELLA CITTÀ DI ROMA .... Roma: Presso il Sud. Incisore, 1795 and [1795]. Two volumes bound in one. Engraved title,100 engravings on 50 plates; Engraved title, 70 engravings on 35 plates Quarto. Old calf and marbled boards, gilt label. Binding rubbed, but sound, some smudges to binder’s endsheets, first title a bit dust-soiled, some marginal dusting and light foxing; a good set.

First edition of this highly popular collection of fine engraved views of ancient monuments and ruins, and in the second volume, of distinguished modern structures (with a few interiors). The engravings are printed two per sheet. BRUNET IV:903. $650.

405. [Proust, Marcel]: Seymour, Gabriel North: MARCEL PROUST’S COMBRAY. Salisbury, CT: Lime Rock Press, [1979]. Quarto. Gilt cloth. Photographs. Book about fine, with accompaniments (see below), in folding cloth clamshell box, the latter with a couple smudges to label, and slight lifting of cloth along one seam.

First edition, deluxe issue. One of 100 numbered copies, from a total edition of five hundred copies. Prefatory text and photographs by Seymour, accompanied by selections from Swann’s Way. Accompanied by four original 9 3/4 x 6 3/4” matted borderless prints of photographs, each matted and signed by Seymour, enclosed in a numbered and signed paper folder, the whole preceded by an extra bifolium portfolio title and colophon, numbered and signed by Seymour. The publisher’s original ill-considered foam packing inserts were discarded, as they have a tendency to self-destruct. $350.

406. Puzo, Mario: THE FORTUNATE PILGRIM. New York: Atheneum, 1965. Cloth and boards. Fine in near fine pictorial dust jacket with modest tanning along top edge of lower panel.

First edition of the author’s second novel, in former times rather more uncommon than his first. $250.

407. Randall, Margaret: SO MANY ROOMS HAS A HOUSE BUT ONE ROOF. [N.p.]: New Rivers Press, [1968]. Pictorial stiff wrappers after a design by Felipe Ehrenberg. Minor tanning to white areas of upper wrapper, crease to upper corner, else very good.

First edition. Inscribed by the author, “... with love & the promise of these poems, this experience ...,” to one of her publishers (and a fellow poet). $85.

408. Ransom, John Crowe: SELECTED POEMS. New York: Knopf, 1945. Cloth. Endsheets darkened, otherwise near fine in very good dust jacket with several small nicks and minute chips along the top edge showing signs of early repair.

First edition. Inscribed by Ransom to a student at Vanderbilt. The recipient’s small ownership inscription on the front pastedown is dated at Vanderbilt in 1955. $225. 409. Rexroth, Kenneth [trans]: FOURTEEN POEMS BY O.V. DE L.-MILOSZ.... San Francisco: The Peregrine Press, 1952. Quarto. Cloth, paper spine label. Illustrated by Edward Hagedorn. A few stray, small marks to cloth, otherwise near fine, with the original prospectus laid in.

First edition. One of a total edition of only 129 copies, printed by hand, with Hagedorn’s etchings printed directly from the plates, signed by Rexroth, Hagedorn and Henry Herman Evans, the printer. One of Rexroth’s least common books. $475.

410. Rexroth, Kenneth: THOU SHALT NOT KILL A MEMORIAL FOR DYLAN THOMAS. [Sunnyvale, CA: Horace Schwartz / A Goad Publication, 1955]. Gray wrappers printed in red. Text printed via mimeograph. Light smudges and small spot to wrapper, but a very good copy.

First authorized and first formally published edition, preceded by an earlier mimeo circulated by the author, and several unauthorized printings. PERRON A12a. $200.

411. Riding, Laura; Robert Graves, et al [eds]: EPILOGUE A CRITICAL SUMMARY VOL- UME I [&] VOLUME II [&] THE WORLD AND OURSELVES, “By Laura Riding and Sixty-Five Others.” Deya & London: Seizin Press/Constable, Autumn 1935, Summer 1936, and 1938. Three volumes. Two volumes in printed paper boards, and the third in gilt cloth. First two volumes: spines sunned and a bit soiled, typical light foxing to endsheets and edges, else an unusually good pair, with the early ownership stamps of poet/publisher James Laughlin; third volume: light foxing at fore-edge, else fine in lightly foxed dust jacket.

Edited by Laura Riding and, in the case of Epilogue, co-edited with Robert Graves. The first two volumes (of three) published in this format, plus the fourth volume in trade format. More work, both poetic and dogmatic, arising out of the Deya/Focus circle. The third volume appeared in 1937 (not present here), and The World And Ourselves informally completed the series. SULLIVAN (MODERN), p.563. WEXLER A27, A32, and A36. $850.

412. Riel, Louis David: POESIES RELIGIEUSES ET POLITIQUES ... [wrapper title]. Montreal: Imprimerie de “L’Etendard,” 1886. 51,[1]pp. Original printed wrappers, bound up in mid-20th century cloth and marbled boards. Portrait (with short tears at gutter from staples), illustration. A very good copy.

First edition of this posthumously published collection of poems by the French Canadian political agitator, published the year following his execution for treason for his part in the 1884-5 Métis uprising. $125.

First Book

413. [Riley, James Whitcomb]: “THE OLD SWIMMIN’-HOLE” AND ‘LEVEN MORE POEMS. By “Benj. F. Johnson, of Boone” [pseud]. Indianapolis: George C. Hitt & Co., 1883. Small octavo. Original printed parchment-like wrappers, printed in red. Parchment wrapper a bit darkened, with a small spot and some modest chips at spine and fore-tips, 1920 gift inscription on first blank, otherwise a very good copy of a fragile book (though wanting the rare paper dust jacket), enclosed in a full gilt-lettered morocco case with insert, the latter bearing the small label of collector Henry B. Collamore.

First edition of the author’s first book, collecting a number of “Hoosier” dialect poems which had seen earlier publication under the pseudonym in The Indianapolis Journal. This copy bears his presentation inscription (signed as Riley), as well as four lines of verse (signed as by Boone), dated three days after publication, “July 23, ‘83” in Indianapolis. The recipient of the inscription inscribed the front blank as a 1920 Christmas gift, in Crawfordsville, IN. The first edition consisted of one thousand copies, with the cost of publication split between Riley and Hitt, and the edition sold out in three months. Several facsimiles were produced in later years, the most faithful in 1909; this copy includes the features determinative of the proper first: a) title leaf a cancel, b) ‘W’ in ‘William’ present on p.41 in the first line of the 4th stanza, and c) horizontal chain lines uniformly spaced at 1” (scant). Seybolt did not have a copy of this regional rarity in his collection, and the first 7 Gables First Books catalogue could muster only a rebound copy. BAL 16525. RUSSO, pp.3-6. $1000.

414. Riley, James Whit- comb: RUBÁIYAT OF DOC SIFERS. New York: Century Co., 1897. Olive cloth, ruled and lettered in gilt, with pictorial vignette, t.e.g.. Frontis and illustrations by C.M. Re- lyea. Cloth sunned and a bit spotted, two small tape tab marks in gutter of half-title, rear inner hinge cracking, repair at gutter between front free endsheet and preliminary blank; a sound copy, in bit worn and sunned cloth case and chemise. Gilt morocco bookplates of Walter Chrysler and Paul E. Bechet.

First edition. Inscribed by Riley on the preliminary blank: “For -- / Sir Henry Irving, / With greetings and esteem / -- James Whitcomb Riley. / Indianapolis, USA -- / Dec. 2 1897 / ...... / He loves his work -- he loves his friends -- / June, Winter, Fall, and Spring -- / His lovin’ -- fact is -- never ends; / He loves jes ever’thing. / [Rubáiyat of Doc Sifers].” Actor/Manager Irving (a.k.a. John Henry Brodribb), and his personal assistant Bram Stoker, became good friends with Riley, and they were in frequent contact when Riley visited London and when one of Irving’s tours found them in Indianapolis. Stoker records their friendship in Personal Reminiscences Of Henry Irving, p.112. Stoker’s own presentation copies from Riley were sold at the posthumous sale of his library and manuscripts at Sotheby’s (London) on 8 July 1913, and realized more than 10% of the gross proceeds. BAL 16625. RUSSO, pp.69-70. $1250.

415. Risley, R.V.: THE LIFE OF A WOMAN. Chicago: Herbert S. Stone & Co., 1902. Orange cloth, stamped in green, t.e.g., others untrimmed. Ink ownership initials dated in the year of publication on free endsheet, otherwise very good.

First edition. “The last book published by Richard Voorhees Risley, one of the few American contributors to The Yellow Book” – Kramer. Uncommon. KRAMER 297. SMITH R-357. $75.

Inscribed to His Literary Mentor

416. Roberts, Kenneth L.: CONCENTRATED NEW ENGLAND A SKETCH OF CALVIN COOLIDGE. Indianapolis: The Bobbs-Merrill Company, [1924]. Gilt pale red cloth. Light sunning at edges, otherwise a very good copy in somewhat rubbed and soiled dust jacket with a few small nicks and chips.

First edition of this relatively early work in the Roberts canon. A fine association copy, inscribed by Roberts on an unspecified occasion to his neighbor, occasional co-author and literary mentor: “For Booth Tarkington an unwilling mixer in Rooseveltian affairs from his willing Mah-Jongg student Kenneth L. Roberts.” It was Tarkington who urged Roberts to devote his energies, hitherto expended in journalistic endeavors, to writing historical fiction. Roberts acknowledged Tarkington’s considerable assistance as informal editor of his novels, up to and including offering him credit as co-writer of Northwest Passage and Oliver Wiswell. Tarkington’s assistance was publicly acknowledged in the form of Roberts’ dedication of three of his novels to Tarkington. An important copy of an uncommon book. $1250.

417. Roberts, Verne L., and Ivy Trent: BIBLIOTHECA MECHANICA. New York: Jonathan A. Hill, [1991]. xiv,[2],391pp. Quarto. Linen and pictorial boards. Frontis portrait. Illustrations. As new in unprinted dust jacket, as issued.

First edition, trade issue. One of 1000 copies, from an edition of 1100 copies printed by W. Thomas Taylor. An extensively annotated, descriptive catalogue of this collection of primary works relating to the history and development of the mechanical sciences and engineering from the 16th through the 19th centuries. $260.

418. Rodin, Auguste, and Paul Gsell: ART. Boston: Small, Maynard & Company, [1912]. 259pp. plus plates. Large, thick octavo. Handsomely bound in three quarter dark brown crushed levant, raised bands, gilt decorated compartments, t.e.g., others untrimmed (unsigned). A few modest rubs to extremities, some small splash marks to a few pages in the prelims, otherwise near fine.

First U.S. edition of this translation by Mrs. Romilly Fedden of Gsell’s “as-told-to” French text. A somewhat lavish production for the imprint, printed on Old Downshire handmade paper, and with some of the 106 plates rendered in photogravure. $125.

419. Rolfe, Frederick, “Baron Corvo”: THE CARDINAL PREFECT OF PROPAGANDA. London: Nicholas Vane, 1957. Large octavo. Full red-brown crushed levant, gilt, t.e.g., by Zaehnsdorf. Spine and edges slightly darkened, usual offset to endsheets from morocco turn-ins, else fine in lightly rubbed slipcase.

First edition, deluxe issue. Edited by Cecil Woolf. One of twelve lettered copies, printed on blue-tinted handmade paper, and specially bound, from a total edition of 322 copies. Warmly inscribed and signed by the editor four days prior to publication. WOOLF A14b. $1250.

420. Rolfe, Frederick, “Baron Corvo”: LETTERS TO C.H.C. PIRIE-GORDON.... London: Nicholas Vane, 1959. Large octavo. Full blue crushed levant, gilt, t.e.g., by Zaehnsdorf. Spine and edges slightly darkened, usual offsetting from morocco turn-ins to endleaves, else about fine in lightly rubbed cloth slipcase.

First edition, deluxe issue. Edited, with an Introduction, by Cecil Woolf, with an Epilogue by Pirie-Gordon. One of sixteen lettered copies printed on handmade blue-tinted paper, and specially bound, from an edition of 346 copies, published as the first volume of the Centenary Edition Of The Letters. Warmly inscribed and signed by Woolf in 1959. WOOLF A17b. $1000.

421. Rolfe, Frederick, “Baron Corvo”: LETTERS TO LEONARD MOORE.... London: Nicholas Vane, 1960. Large octavo. Full blue crushed levant, gilt, t.e.g., by Zaehnsdorf. Spine and edges slightly darkened, usual offsetting from morocco turn-ins to endleaves, else about fine in lightly rubbed cloth slipcase.

First edition, deluxe issue. Edited, with an Introduction, by Cecil Woolf and Rabbi B.W. Korn, with an Epilogue by Leonard Moore. One of sixteen lettered copies printed on handmade blue-tinted paper, and specially bound, from an edition of 306 copies, published as the second volume of the Centenary Edition Of The Letters. Warmly inscribed and signed by Woolf in 1960. WOOLF A19b. $1000. 422. Rolfe, Frederick, “Baron Corvo”: ONE HUNDRED LETTERS FROM FREDERICK WILLIAM ROLFE TO JOHN LANE. [London]: Privately printed for Allen Lane, Christmas 1963. Large octavo. Boards, stamped in gilt and red. Plates. Edited, with an introduction, by Cecil Woolf. First edition. One of six hundred copies printed on Wookey Hole handmade paper. With a compliments slip, inscribed by the editor, laid in. Fine in lightly worn plain shipping wrapper. WOOLF A23. $250.

423. [Rolfe, Frederick, “Baron Corvo”]: Woolf, Cecil, and Brocard Sewell: THE CLERK WITHOUT A BENEFICE A STUDY OF FR. ROLFE, BARON CORVO’S CONVERSION AND AVOCATION. Aylesford: St. Albert’s Press, 1964 [i.e. 1965]. Gilt cloth. A very good, or better, copy in lightly frayed and worn glassine wrapper.

First separate edition. Copy #13 of one hundred and fifty numbered copies. This essay appeared originally in the collective Corvo, 1860-1960. The prospectus sheet is laid in. WOOLF B25a (note). $125.

424. Rolfe, Frederick, “Baron Corvo”: LETTERS TO HARRY BAINBRIDGE. London: Enith- armon Press, 1977. Cloth, t.e.g. First edition. Edited by Miriam Benkovitz. One of 45 copies, numbered in Roman, specially printed and bound, from a total edition of 395. Fine. $100.

425. Rolfe, Frederick, “Baron Corvo,” and Sholto Douglas: THE SONGS OF MELEAGER MADE INTO ENGLISH WITH DESIGNS BY.... London: The First Editions Club, [1937]. Green cloth, gilt extra, t.e.g. Cloth very slightly sunned, but a very good or better copy.

First edition. One of 750 copies printed on handmade paper by the Chiswick Press after a design by Christopher Sanford. Preface by A.J.A. Symons. The translation by Douglas was revised by Rolfe, leading to their falling out and the cancellation of the original edition. WOOLF B17. $175.

426. [Rolfe, Frederick, “Baron Corvo” (sourcework)]: Luke, Peter [dramatist]: Collection of Twenty-Six Production Stills for: HADRIAN VII. [New York: Friedman – Abeles, 1969]. Twenty-six 8 x 10” glossy silver prints, with minimal borders. Photographers’ stamp on verso of each print, with neatly written pencil captions identifying the actors in each scene; thin strip of residue to the edges of the verso of several of the prints from the former presence of caption snipes (evidently). Near fine to fine.

An excellent representation of production stills from the Broadway production 8 Jan. – 15 Nov. 1969) of Luke’s play, based on Rolfe’s novel and other works. The production was directed by Peter Dews, and for the first six months of its eleven month run, starred Alec McCowen as Rolfe. The production was nominated for a number of awards, and Dews won a Tony as Best Director. Although bearing the stamp of Friedman - Abeles, the photographs are almost certainly by famed theatrical photographer Leo Friedman, and date from the year when the Friedman and Abeles partnership was heading toward dissolution, after Friedman relocated to California late in the year. Sold

427. Ross, Gary, and Anne Spielberg [screenwriters]: BIG. [Np: Gracie Films], 2 February and 2 July – 14 September 1987. Two volumes. [1],135,[1] leaves and [1],131,[1] leaves. Quarto. Photomechanically reproduced typescripts (by Studio Duplicating Service), printed on rectos only. Bradbound in stiff wrappers, the first with production company imprint, the second plain. Ink name in each (see below), light use, but generally very good.

A “shooting script” and a “revised” shooting script of this original screenplay, the latter shot through with dated revises on variously colored stocks. Penny Marshall directed the June 1988 release, starring Tom Hanks, Elizabeth Perkins, Robert Loggia, et al. Ross and Spielberg’s script won a Saturn Award for Best Original Screenplay, and was the film the recipient of a number of other nominations: Oscar, WGA, Hugo, etc. Both of these drafts bear the ownership signature of Les Lazarowitz, production sound mixer for the film. $425. Werewolves, Saxons and the Pied Piper

428. [Rowlands, Richard, a.k.a. ]: V[erstegan], R[ichard]: A RESTITVTION OF DECAYED INTELLIGENCE: IN ANTQUITIES. CONCERNING THE MOST NOBLE AND RENOVVMED ENGLISH NATION. BY THE STUDIE AND TRAUAILE OF R.V. Antwerp: Printed by Robert Bruney ... And to be sold in London ... by Iohn Norton and Iohn Bill, 1605. [24],338,[14]pp. Small quarto. Uninspired half modern calf and marbled boards, all edges with 17th century gilding. Engraved title vignette and illustrations in text. Usual tanning, light foxing and occasional faint marginal tidemarks, a few incidents of early marginalia, blank restoration to upper fore-corner of title-leaf, corner of free endsheet clipped, but a sound copy.

First edition of this fascinating assemblage of antiquarian anecdote, history and lore, rang- ing from Saxon history to accounts of werewolves and what has been claimed to be the first printed English account of the legend of the Piper of Hamelin (here the term ‘Pied’ is applied for what seems to be the first time among early accounts). Rowlands (ca. 1549 – 1640) restored his ancestral name, Verstegan, after he was forced to flee Britain after secretly printing Thomas Alfield’s account of Edmund Campion’s execution. He settled in Antwerp in 1587 and entered into an active career as an agent for the publication and smuggling of Catholic texts, as well as editor, translator and polemicist. The first London printing of this work, which the DNB describes as a “seminal work of Anglo-Saxon scholarship,” did not appear until 1628, but several new editions followed thereafter. “This edition is deservedly reckoned the best, as well on account of containing one or more engravings afterwards omitted, as also for the superiority of the plates, those in the subsequent editions being very indifferent copies” – Lowndes. STC 21362. ESTC S116255 . LOWNDES X:2764. $1150.

429. Ruben, Albert; Sonny Grosso, and Alexander Jacobs [screenwriters]: “THE SEVEN- UPS” ... STORY BY SONNY GROSSO. New York: 20th Century-Fox / D’Antoni Productions, Inc., 27 October – 29 December 1972. [1],127 leaves. Quarto. Mimeographed typescript, printed on rectos only of white, salmon and canary stocks. Bolt bound in hot-stamped Studio Duplicating Service binder. Two ink names (see below), 1” snag at crown of binder spine, else very good.

Copy #104 of an unspecified but revised draft of this screenplay, with dated revises on colored stocks throughout spanning the period above. In many ways The Seven-Ups is a companion film to The French Connection, in which Grosso was also involved as both a principal in the actual events and in the conception of the film. Philip D’Antoni, producer of The French Connection, directed, and Roy Scheider, Victor Arnold, Jerry Leon, Tony Lo Bianco, et al, starred. This copy bears the ownership signature (twice) of Les Lazarowitz, sound mixer for both this film and such classics as Taxi Driver, Raging Bull, etc.. $650.

430. Rubin, Danny, and Harold Ramis [screenwriters]: GROUNDHOG DAY. [New York]: Columbia Pictures, 5 – 17 March 1992. [1],128 leaves plus lettered inserts. Quarto. Photo- mechanically reproduced typescript, printed on rectos only of white, salmon, canary and blue stocks. Ink ownership signature and relevant annotations (see below), otherwise very good.

A revised draft, denoted as “Final Revision by Harold Ramis,” of Rubin’s screen adaptation of his own original story, but with a multitude of colored revises moving the date and text forward 12 days. Ramis directed the February 1993 release, starring Bill Murray, Andie MacDowell, Chris Elliott, et al. The script won a BAFTA award, and tied for second with Schindler’s List for Best Screenplay from the New York Film Critics Circle Awards. It was inducted into the National Film Registry in 2006, and has increasingly found a more intimate place in the hearts and minds of a sizeable audience in the years following its release. This copy bears the ownership signature and scattered relevant annotations of Les Lazarowitz, the credited production sound mixer. $375. 431. [Russian Civil War in Film]: [Original Czech Film Poster for:] NEZAPOMENUTELNY ROK [a.k.a. “LENIN v 1918 GODU” or “LENIN IN 1918”]. [Prague?]. [nd]. Folio pictorial broadsheet (41 x 29cm). Boldly printed in red and black on white stock. Old horizontal fold, otherwise near fine.

An original promotional poster for distribution in Czecho- slovakia of the 1939 130 minute Russian film biography directed by Mikhail Romm, et al, starring Boris Shchukin as Lenin, N.K. Cherkasv as Gorkii, and M. Gelovani as Stalin. The script was credited to Aleksei Kapler and Taisiya Zlatogorova. The film was released in the USSR and the US in 1939, and was eventually distributed in Europe and elsewhere in the years following the end of WWII. The Czech release title translates roughly as “Unforgettable Year,” and the film was a sequel to the 1937 Lenin In October. $125.

432. Ryan, Michael: THREATS INSTEAD OF TREES. New Haven, CT: Yale University Press, 1974. 66pp. Cloth boards. A fine copy in price-clipped dust jacket with a faintly darkened rear panel and hint of rubbing to spine ends and fore-tips.

First edition, clothbound issue, of the poet’s first book of poetry. Published as volume 69 in the Yale Series of Younger Poets, edited and with a foreword by Stanley Kunitz. This is the variant (boards) binding with the flat backstrip. $125.

433. Salter, James: BANGKOK. West Hartford: Raven Editions, 2004. Decorated wrappers. Frontis. About fine.

First edition in book form. From a total edition 110 copies designed, printed and bound by Carol Blinn, this is one of 75 numbered copies, signed by the author. The frontis is a reproduction of a drypoint by Robert Dente. $250.

434. Sandburg, Carl: POTATO FACE. New York: Harcourt, [1930]. Cloth. Early ink name on pastedown, gilt leather bookplate of binder Atmore Beach on pastedown, another bookplate on verso of free endsheet, light rubbing and small nick in upper board, otherwise a good copy in half morocco slipcase and chemise.

First edition. Inscribed by Sandburg on the front free endsheet: “Atmore & Cora Beach 1960. Carl Sandburg.” Laid in is a snapshot of Sandburg and At- more Beach (the latter in a hospital bed) on the occasion, inscribed to the recipients on the verso by a third party. $200.

Deluxe Issue

435. Saroyan, William: THE DARING YOUNG MAN ON THE FLYING TRAPEZE AND OTHER STORIES. [Covelo, CA]: The Yolla Bolly Press, [1984]. Quarto. Half publisher’s leather. Illustrated with woodcuts by Bill Prochnow. Afterword by Herbert Gold. Fine, as issued, in publisher’s elaborate black oak box, with inlaid leather label, the whole enclosed in a custom made cloth clamshell case.

First this edition, deluxe issue, limited to twenty-five numbered copies constituting the “Collector’s Edition.” Accom- panied by a separate suite of printings of the eight woodcuts on fine paper, each specially handcolored, signed and numbered by the artist. The book bears the corresponding number on the colophon, and is also signed by the artist, and by Herb Gold. Accompanied by two typed letters, signed, from the publisher attending publication. $650.

436. Sarton, May: THE TREE [caption title]. [Np]. Christmas 1951. Broadside, 28 x 20.2cm. Printed in green on plain stock. Folded for mailing, else very good.

First printing in this format, and inscribed by the author in later years to her housekeeper: “an old poem for Joan from May.” $150.

437. [Sartre, Jean-Paul]: Huston, John, et al [screenwriters]: Belgian One Sheet for: ... FREUD PASSIONS SECRETES [a.k.a. FREUD THE SECRET PASSION]. Bruxelles: Impr. J. Lichtert & Fils [for]: Universal International, [ca. 1963]. Original pictorial color Belgian one-sheet (trimmed to 49 x 35 cm, costing the extended blank top margin, as often). Neatly linen-backed. Original folds visible, a couple of short marginal tears closed, as well as 2 cm closed tear (with no loss) in image area, minuscule loss to lower extreme blank tips, a few surface rubs, but overall, a bright, well-preserved example.

A beautiful one sheet for the Belgian / French language release of John Huston’s 1962 biopic about Sigmund Freud, starring Montgomery Clift, Susannah York, et al. The history of the development of this film, which began with Huston soliciting Jean-Paul Sartre to write the script, is a long and interesting one -- it has been the subject of at least one substantial book, and the discovery in 2001 of a lost interim draft will further illuminate its development. Suf- fice it to say, in the end Sartre requested that his name appear nowhere in the credits, and here, as usual, the screenplay is credited to Huston, and to Charles Kaufman and Wolfgang Reinhardt, who Huston called in to whittle Sartre’s work down to manageable size. $125.

438. [Sassoon, Siegfried]: Laski, Harold J.: POLITICAL THOUGHT IN ENGLAND FROM LOCKE TO BENTHAM. New York & London: Henry Holt and Co., [1920]. Tan cloth, decorated in black. Cloth a bit finger soiled, else a very good copy.

First edition, probable first printing of this frequently reprinted work. Inscribed by the author to Siegfried Sassoon: “S.S. With warm regard. H.J.L.” Sassoon stayed with Laski in 1920 when his American tour took him to Harvard, where Laski was lecturer on history. Sassoon recalled him in Siegfried’s Journey as “boyishly brilliant, provocative in argument, and essentially generous and idealistic.” When Laski left Harvard shortly thereafter due to a disagreement with Harvard authorities over the Boston police strike and returned to London, he and Sas- soon stayed in contact. With the posthumous Sassoon estate label. $200.

439. Sauvage, Sylvain [illus], and Pierre Louys: LES CHANSONS DE BILITIS TRADUITES DU GREC. Paris: Chez Sylvain Sauvage, [1927]. 153,[5]pp. Quarto (287 x 223 mm). Printed wrappers. Illustrated with original colored woodcuts. Fine in lightly frayed glassine, in somewhat frayed and edgeworn cloth and boards chemise and slipcase.

First edition with these illustrations. One of 235 numbered copies, printed on vergé de Montval, from a total edition of 287 copies. Sauvage’s 37 delicate and sensual designs were rendered as colored woodcuts and printed along with the text by Pierre Bouchet. MONOD 7384. $1250.

440. Schrader, Paul [screenwriter]: TAXI DRIVER [two different drafts]. Burbank: Phillips Productions / Columbia Pictures, 29 April – 13 June 1975. [3],105 leaves plus lettered inserts. Quarto. Mimeographed typescript, printed on rectos only of a rainbow of white and colored stocks. Bradbound in hot-stamped Studio Duplicating Services binder. Paper adhesions to lower wrapper, some irregular punching of revised inserts, offset from front wrapper to title- leaf, ink name (see below), but a very good copy

A heavily revised production draft of the original screenplay for one of the most influential films of its generation, and the first of the films scripted by Schrader and directed by Scorsese that have left an indelible mark on contemporary film. This copy (#40) bears the ownership signature of sound mixer for the production, Les Lazarowitz, along with designations for him in another hand on several of the sections of revises. The February 1976 release starred Robert De Niro, Jodie Foster, Harvey Keitel, Albert Brooks, Peter Boyle, Cybill Shepherd, et al. The screenplay and principals of the production were the recipients of an array of award nominations, and Scorsese received the coveted Palme d’Or at Cannes. The film was inducted into the National Film Registry in 1994, and is among the films included in AFI’s top 100 Greatest American Films. Accompanied by a somewhat earlier draft, dated February 1975, 122 leaves, photographically reproduced typescript, printed on rectos only, bradbound in somewhat worn plain wrappers, with receipt stamp (14 April 1975), again with Lazarow- itz’s ownership signature, as well as what appears to be a contact number for the producer. There are considerable variations between this draft and the substantially revised draft. As an original screenplay rather than an adaptation, and as a script that was subjected to a considerable amount of revision while in production, legitimate examples (with provenance) of the script are not only of considerable importance, but are also very uncommon. Sold

441. [Schrader, Paul]; M[artin] S[corsese], and R[obert] D[e] N[iro] [screenwriters]: PRIZE FIGHTER [with:] RAGING BULL. [New York: Chartoff / Winkler Productions], November 1978 and February – April 1979. Two volumes. [2],103 leaves and [1],101,[1] leaves plus lettered inserts. Quarto. Mimeographed typescript, printed on rectos only, the latter on white, green and blue stocks. Brad and boltbound in plain wrappers. Wrappers somewhat worn and marked, ink name in each (see below), slight marginal discoloration to fore-edge of a few late leaves in the first, some marginal fraying to a few leaves in the latter, some inevitable thumbing and corner creasing from use, but good copies, internally very good.

Two different preproduction drafts of Scorsese and De Niro’s revision of Paul Schrader’s screenplay, which was itself a major revision of Mardik Martin’s preliminary script, adapted in large part from Lamotta’s 1970 memoir. The evolution of the script and the revisions evidenced here are treated in part in Kelly’s Martin Scorsese A Journey, in the chapter “Blood on the Ropes.” The February draft incorporates additional revisions via dated revises spanning February to April. Raging Bull was a critical film in director Scorsese’s career, and the December 1980 release, starring De Niro, Cathy Moriarty, Joe Pesci, et al, garnered a number of award nominations, both domestic and international, along with several wins. In 1990 it was inducted into the National Film Registry. These examples of the two drafts (copies #37 and #69 respectively) each bear the ownership signature of Les Lazarowitz, one of the sound mixers for the production. It is accompanied by Lazarowitz’s original 6 x 12” screenprinted production parking permit. Legitimate examples, with provenance, of the screenplay for this landmark American film are very uncommon. $3500. 442. Scott, Cyril Kay [pseud. of Frederick Creighton Wellman]: SINBAD A ROMANCE. New York: Thomas Seltzer, 1923. Gilt blue cloth. Some spotting to spine and upper board, but internally a fine copy, in a bright, fresh dust jacket (no doubt supplied by an earlier owner) with a chip at the toe of the lower flap fold.

First edition. Inscribed by the author: “For Margaret Hale from her devoted admirer & friend C. Kay Scott New York City, May 25th, 1923.” A novel (perhaps a roman-a-clef?) of life among New York writers and artists, published as Scott’s relationship with Evelyn Scott was plummeting down a difficult path. SMITH S-181. $200.

443. Selznick, David O., [and Oliver H.P. Garrett] [screenwriters]: [Carbon Typescript for:] “ARNOLD OF SARATOGA” (TEMPORARY TITLE). [Hollywood]. January 1965. [1],6,13 leaves. Quarto. Carbon typescript, typed on rectos only. Bradbound in binder with typescript label. Near fine.

An interesting undertaking by Selznick, dating from 6 month prior to his death, denoted as “Confidential.” The text consists of a six page preface in which Selznick details the background on this project, a film biography of Benedict Arnold, and then a treatment for the film. His preface notes that the treatment was an earlier collaboration with Oliver H. P. Garrett (who died in 1952), and he hopes to revive the project in 1965 as “the non-hero is enjoying a vogue,” and “... for the rest of the world, the subject dwarfs in interest such stories as that of Lawrence of Arabia ....” Whether due to lack of interest, or because of Selznick’s death, the project failed to develop further. $150.

444. Seuss, Dr.: [pseud. of Theodore S. Geisel (screenwriter)]: Original Highly Pictorial Three-Sheet for THE 5,000 FINGERS OF DR. T. [Culver City]: Columbia Pictures, 1953. Vintage pictorial color lithographed three-sheet, 78 x 40.5”, in two folded panels, as issued. Usual title stamp on verso (faintly ghosted to recto), with NSS blindstamp in extreme lower blank margin; a few very minor breaks at intersections of folds, otherwise an unusually nice example, near fine.

A superb three-sheet for the sole feature film written by Dr. Seuss (including the song lyrics), at the time something of a critical and financial failure, but revered by subsequent generations of film viewers as a remarkable melding of almost surreal sensibility and imag- ery, and an exceptional undertaking in set design. The film was directed by Roy Rowland (with contributions by producer Stanley Kramer), and Allan Scott received co-credit for the screenplay. Peter Lynd Hayes, Mary Healy, Hans Conried and Tommy Rettig starred. Geisel was disappointed with the end product, never undertook another piece of original feature film work and omitted mention of this project from his Random House biography. The studio marketed the film as the first production in “Wonderama” – pure marketing hype applied to an already established format/aspect ratio. $375.

445. Shakespeare, William: THE POEMS OF SHAKESPEARE. TO WHICH IS ADDED AN ACCOUNT OF HIS LIFE. Boston: Published by Oliver and Munroe, and Belcher and Arm- strong, 1807. 27,[10],40-258pp. Octavo. Blue-gray boards, rebacked, with remnants of original printed paper spine laid down, untrimmed. Neat restoration to upper portion of blank free endsheet, a few leaves a bit carelessly opened, not affecting letterpress, intermittent faint tidemark to a few fore-edges, some foxing, but a good copy, the boards themselves probably an instance of previous artful remboitage. Gilt lettered cloth folding box.

The self-proclaimed “First American Edition” of Shakespeare’s Poems, but properly the first separate Boston edition, following the 8th volume of the 1795-1796 edition of the Plays and Poems printed in Philadelphia. Curiously, while Jaggard fully describes the earlier edition, his entry for this later edition describes it as the “First American Edition...” as well. JAGGARD, p.436. SHAW & SHOEMAKER 13575. $1250. Deluxe Issue with Extra Suite

446. Shakespeare, William: Rockwell Kent [illustrator]: VENUS AND ADONIS. Rochester, NY: The Printing House of Leo Hart, 1931. Quarto. Publisher’s full polished maroon calf, ruled in gilt, t.e.g., others untrimmed. Spine extremities a bit worn, otherwise a fine copy. Slipcased.

First edition, deluxe issue. Illustrated with twenty-one engravings by Rock- well Kent, printed in two colors. One of seventy-five numbered copies printed on handmade paper, specially bound, and signed by Kent, from a total edition of 1250 copies printed at the Oxford University Press after a design by Will Ransom. Accompanied by an extra suite of the engravings, matted and enclosed in a matching cloth box. STANLEY (GROLIER) 40. $3000.

The Houseman-Mankiewicz Julius Caesar

447. [Shakespeare, William (sourcework)]: JULIUS CAESAR. Culver City: MGM / Loew’s Incorporated, 7-26 July & 6 August 1952. [2],107,[1] leaves Quarto. Mimeographed typescript, text on rectos only, bradbound into studio wrappers with label and file stamps. Upper wrapper dusty, with streaking/spotting along right half, a couple of leaves a bit frayed along fore-edge, check-out label detached and laid in, internally very good.

A working script for the John Houseman-Joseph Mankiewicz film adaptation, starring Marlon Brando, James Mason, John Gielgud, et al. While the wrapper bears the date 7 July, scattered leaves in the script bear dates up to and including 26 July, marking revisions, which are in turn recorded inside the front wrapper in the log of additions and changes. In turn, the entire script is noted as rerun 6 August 1952. Several years ago we handled another copy, used by the production’s sound-mixer, which included revises only up through the 17th. An uncommon and important script, marking one of the most celebrated, and successful, transpositions of Shakespeare’s work to the screen. $950.

448. Sharpe, Tom: RIOTOUS ASSEMBLY. London: Secker & Warburg, [1971]. Gilt cloth boards. First edition, first novel. Fine in price clipped dust jacket with only trivial sunning to the spine panel and a minute nick at top edge. $250.

449. Shaw, George Bernard: [Autograph Letter, Signed, Correcting a Press Article In ‘THE LADY’S PICTORIAL’]. Ayot. St. Lawrence, or London. 11 December 1910. One full page, in ink, on oblong octavo sheet of dual address letterhead, ca. 175 words. Folded for mailing, a few marginal spots or finger smudges, otherwise very good.

To Arthur Goddard, Jr., of The Lady’s Pictorial: “May I suggest that you should give the writer of the enclosed cutting a friendly blowing-up. It happens that the passage I have underlined is not only not true, but precisely the opposite of the truth. My contribution to the subject, which is accessible in print to anyone who takes the trouble to verify statements before making them public, is a demonstration of the utter impossibility of the State Stud Farm proposal, and the necessity of trusting solely to Nature in marriage ....” He further cautions, “from one journalist to another – a writer so incautious and inconsiderate of his journal and his editor may make his (or her) next mistake about one of the people who live by taking actions against newspapers. You are in no danger in my case ....” He concludes by suggesting that the situation might prove an opportunity to “bring an inexperienced contributor up to the mark ... I offer you the opportunity for what it is worth. Yours faithfully G. Bernard Shaw.” Shaw has captioned the letter at the top: “Private.” $1500. 450. Sinclair, Upton: TO BE PUBLISHED IN NOVEMBER DEBS AND THE POETS .... Pasadena, CA: Upton Sinclair, [1920]. Quarto broadsheet (208 x 151 mm). Printed in black on tan tissue stock. Old fold across middle, soft corner creases, else about fine.

A prospectus for the 1920 anthology edited by Ruth Le Prade, with an introduction by Sinclair. This broadside prints the entire text of Sinclair’s Introduction, and thus constitutes its first appearance, separate or otherwise. AHOUSE C2 (ref). $125.

451. Somerville, E.Œ., and “Martin Ross” [pseud. of Violet F. Martin]: “HAPPY DAYS!” ES- SAYS OF SORTS. London: Longmans, Green and Co., [1946]. Gilt green cloth. Frontis, Plates and illustrations by E.Œ. Somerville. A very good, bright copy, in defective dust jacket.

First edition. Signed by the author on the title-page and inscribed by her on the front free endsheet: “To Mrs. Ruth Worthington and Valerie -- wishing them both the best of luck & continued success – Edith Somerville (late M.F.H. West Carberry Foxhounds) February 14, 1947.” Although Somerville’s writing partner and cousin had died over three decades earlier, this is one of the continuing sequence of posthumous volumes appearing as collaborations. NCBEL IV:740. $275.

452. Southcott, Joanna, and Jane Townley: LETTERS AND COMMUNICATIONS OF JOANNA SOUTHCOTT, THE PROPHETESS OF EXETER: LATELY WRITTEN TO JANE TOWNLEY. Stourbridge: Printed by J. Heming, 1804. 128pp. Octavo. Extracted from bound pamphlet volume. A very good, fresh copy, with only traces of minor foxing.

First edition. Southcott met Townley on a visit to London in 1802, and with Ann Underwood, Townley became among Southcott’s most intimate help-mates, recipient and transcriber of much of her dictation and, as here, letters and “communications.” Interspersed with the text and verse by Southcott are sections of “Continuation of Joanna’s History,” signed by Townley. WRIGHT(SOUTHCOTT) 24(1). $300.

453. Southcott, Joanna: THE KINGDOM OF CHRIST IS AT HAND : BEING AN ANSWER TO A BOOK, DATED APRIL 8, 1805, PRINTED AT HALIFAX IN YORKSHIRE, AND SIGNED A LOVER OF THE TRUTH OF GOD … WITH AN EXPLANATION HOW THE LORD PLEADED WITH MEN IN PAST AGES, AND HOW HE WILL PLEAD WITH ALL FLESH AT HIS SEC- OND COMING; ALSO AN EXAMINATION OF BAPTISM, AND THE USE AND MEANING OF CHURCH ORDINANACES, AND OF THE SEALING OF THE PEOPLE, IN THESE LATTER DAYS. London: Printed by A. Seale ..., [1805]. iv,[5]-62pp. Octavo. Extracted from nonce pamphlet volume. Trace of minor foxing, otherwise a fine, crisp copy.

First edition. A response to an anonymous pamphlet (tentatively identified as The Writ- ings and Seals of Joanna Southcott, And George Turner’s Communications Refuted by Word of God), wherein Southcott refers to her critic as ignorant, inconsistent and “void of reason,” relying on her “Divine Communications” and the Bible to defend her teachings. COPAC locates five copies, but OCLC/Worldcat triples that. WRIGHT(SOUTHCOTT) 35 $225.

454. [Southcott, Joanna]: ANSWER TO MR. BROTHERS’S BOOK, PUBLISHED IN SEPT. 1806, AND OBSERVATIONS ON HIS FORMER WRITINGS; ALSO A LETTER SENT TO MR. HUNTINGTON WITH REMARKS ON THE CALVINIST AND ROMAN CATHOLIC DOCTRINES ... AND THE UNBELIEF OF THE JEWS, AT THE DESTRUCTION OF THE JERUSALEM [caption title]. [London]: Printed by S. Rousseau, [ca. 1806]. 64pp. Octavo. Extracted from bound pamphlet volume. Externally a bit dust soiled, internally very good and crisp.

First edition. Richard Brothers, a competing and rather colorful “prophet,” crossed Southcott, some say, by claiming identity with the figure prophesied to appear in the “last days,” and is here rebuked. William Huntington incurred her criticism by having oversold seats at one of his sermons, leaving Southcott without a perch. WRIGHT(SOUTHCOTT) 47. $175. 455. [Southcott, Joanna]: A TRUE PICTURE OF THE WORLD, AND A LOOKING GLASS FOR ALL MEN [caption title]. [London: Printed by Galabin & Marchant, ca. 1809]. 48pp. Octavo. Extracted from bound pamphlet volume. Some occasional smudges and light foxing, but a very good copy.

First edition of yet another self-defense by Southcott against charges of blasphemy and profiteering, couched in a discussion of religious persecution through the ages. WRIGHT(SOUTHCOTT) 52. $200.

Faith, Prophecies and Corn-Laws

456. [Southcott, Joanna]: [Hagger, John, et al]: COPY OF AN ADDRESS TO THE CHAIR- MAN OF THE ANTI-CORN LAW CONFERENCE IN LONDON, GIVING THE CAUSE, AND SHEWING THE REMEDY FOR THE PRESENT EVILS AND DISTRESSES, AS PROVED FROM THE PROPHETIC WRITINGS OF THE LATE JOANNA SOUTHCOTT. [London. 1842]. 4pp. Octavo. Extracted from bound pamphlet volume. Light creases, else very good.

First edition. The missive is directed to P.A. Taylor, Chairman, and signed in type by fourteen adherents to Southcott’s teachings. As one might expect, the text lays blame at the feet of those fallen away from the faith, but offers little in the way of actual remedy for the “evils and distresses.” OCLC/Worldcat locates two copies: Nat’l Library of New Zealand and UT (Wright indicates the latter is cropped, with loss of text). WRIGHT(SOUTHCOTT) 168. $125.

457. THE SOUTHERN REVIEW. Baton Rouge: LSU Press, July 1935 through Spring 1941. Volume one, number one, through volume six, number four. Twenty-four issues. Large octavo. Bound up in six volumes, gilt buckram, original wrappers bound in, along with volume indices. Cloth a bit dusty and faintly rubbed, a few stray spots to cloth, VI:6 has some damp rippling in the prelims (prior to being bound), one ad leaf is a bit rumpled, with a short tear mended early on, but generally a very good set, bound in characteristic style for James Laughlin.

Edited by Charles Pipkin, Cleanth Brooks and Robert Penn Warren. A substantial run of the earliest incarnation of a critical quarterly of almost legendary status – it continued through a seventh volume, and was suspended with the Spring 1942 issue. Allen Tate articulated the role of The Southern Review in the Winter 1936 issue, suggesting “the ideal task of the critical quarterly is not to give the public what it wants, but what – through the mediation of its most intelligent members – it ought to have.” Contributors, apart from the editors, included Blackmur, Mathiessen, Winters, Stevens, Auden, Jarrell, Davidson, K. A. Porter, Eudora Welty, Caroline Gordon, J.P. Bishop, Ford, Fletcher, Lytle, Ransom, Dewey, Berry- man, Schwartz, Burke, Empson, Farrell, Hook, McCarthy, et al. The title was revived and a new series begun in 1965, but contiguous runs of the first series, in acceptable condition, can no longer simply be called forth with a phone call or two. Extra postage costs. HOFFMAN, et al, p.398. $850.

458. Southern, Terry, et al. [screenwriters]: Set of Studio Lobby Cards for THE MAGIC CHRISTIAN. [Np]: Commonwealth United, 1970. Eight 11x14” color pictorial lobby cards. faint mark of printing offset to top left of one card, otherwise fine, unused.

A complete set of the lobby cards prepared to promote the U.S. release of Southern and Joseph McGrath’s embellished adaptation of Southern’s third novel. McGrath directed the British production, starring Sellers, Ringo Starr, Richard Attenborough, Laurence Harvey, Christopher Lee, Spike Milligan, Raquel Welch, et al. The film was released in the UK on 12 December 1969, following by the US opening on 11 February 1970. Peter Sellers, John Cleese and Graham Chapman contributed additional material to the script. $150.

459. Southey, Robert: LETTERS WRITTEN DURING A SHORT RESIDENCE IN SPAIN AND PORTUGAL. Bristol: Printed by Biggs and Cottle for T.N. Longman and O. Rees, 1799. xiv,[2],176,177*-184*,177-483,[1]pp. Octavo. Old calf, marbled endsheets, half-title bound in. Binding chipped and upper board detached; internally, apart from a few smudges and some light foxing toward the end, a good, crisp copy.

Second edition. With the early ownership signature (last name only) on the title-page of US diplomat and congressman, Samuel Sitgreaves. In addition to Southey’s epistolary narrative, the text includes a number of examples of Spanish and Portuguese poetry in translation, an asset noted on the title page of the 1797 first edition, but dropped from mention from this edition. ESTC T139933. NCBEL III:255. $250.

The Romanticized Natchez Hero

460. Staal, Pierre Gustave Eugene: [Two Original Drawings, Pencil, and Pencil & Ink: “Atala” and “Chactas Mourning at the Grave of Atala”]. [Paris: The Artist], ca.1847. Two drawings, 175 x 120 mm and 170 x 125 mm, matted together. Some tanning, otherwise very good or better.

Two highly finished drawings executed as illustrations for V. Lecou’s 1850 edition of Cha- teaubriand’s Oeuvres Complètes (5 vols), wherein they were engraved by Charles Geoffrey. The subjects are “Atala,” and “Chactas Mourning at the Grave of Atala.” The latter is a prime example of the highly romanticized and influential image of the Natchez Indian portrayed in Chateaubriand’s fiction, derived from oral tradition among the Seminole. The former, executed in pencil alone, is signed and faintly dated 1847. The second, which features ink highlighting and a trace of white wash, is signed, and bears a red ink paraph. The engravings were then later reproduced in album form. Staal (1817-1882) was a prolific artist and draughtsman, illustrating works by Balzac, Sue, Sainte-Beuve, and Mme de Staël, as well as periodicals and anthologies. His portraits of women, of which the first of these images is an example, were published widely. A label on the verso of the mat assigns provenance to the collection of V. De Seglise. $1250.

461. [Stamperia Valdonega]: Morgan, Frederick: POEMS OF THE TWO WORLDS. Verona: Stamperia Valdonega, 1977. Large quarto. Printed wrappers. Illustrated with six drawings by Clyde Lynds. A fine copy, enclosed in quarter vellum and fabriano over boards chemise and paper slipcase.

First edition in this format, deluxe issue. Copy #4 of thirteen out-of-series copies, in addition to 100 numbered deluxe copies, signed by the author and artist, from a total edition of five hundred copies. Inscribed by the poet to the founder of the Eakins Press, Leslie Katz, “who made this book possible ....” A trade edition in different format appeared the same year from Univ. of Illinois Press. $400. 462. [Stanbrook Abbey Press]: TEN SIMPLE RULES FOR THE SPIRITUAL LIFE V CEN- TURY [wrapper title]. [Worcester: Stanbrook Abbey Press, ca. 1959]. Broadside (30 x 15 cm), mounted in slightly larger printed stiff wrapper. Tiny natural spot of thinning in blank margin of broadside, otherwise broadside fine; outer wrapper a trace darkened at edges.

One of an unspecified number of copies printed in handset Cancellersca Bastarda on Milbourn handmade paper, with illuminations by Margaret Adams. Text translated from the Greek by Sebastian Bullough O.P. While the wrapper title is as above, the caption title on the broadside itself omits ‘simple’. $125.

463. [Stein, Gertrude]: Wilson, Robert A. and Arthur Uphill [compilers]: GERTRUDE STEIN A BIBLIOGRAPHY. Rockville, MD: Quill & Brush, 1994. Calf-backed pictorial boards. Nu- merous text illustrations. Essential reference.

Revised, updated and expanded second edition. One of fifty deluxe numbered copies (from a total edition of five hundred), specially bound, signed by Wilson, with an original print of a photographic portrait of Stein laid in. As new, without printed dust jacket, as issued. $150.

464. Stein, Joseph: FIDDLER ON THE ROOF. New York: Harold Prince, 22 September 1964. [1],67,37 leaves. Quarto. Mimeographed typescript, printed on rectos only. Boltbound in gilt lettered Studio Duplicating Service wrappers. Wrappers creased and worn, pencil name and notations on title-leaf, scattered annotations in text; a good copy.

Copy #299 of this theatrical script associated with the Harold Prince premiere run of Stein’s play (based on stories by Sholom Aleichem), with music and lyrics by Jerry Bock and Shel- don Harnick. The previews at the Imperial Theatre began on 17 December, and the formal opening took place on 22 December. This script is denoted the “Final Playing Version as of September 22, 1964.” The play won a Tony Award, and saw publication in book form the same year, based on this production. The ownership signature does not connect with any actual cast members in the production, though it may have been a member of the crew. It was adapted for film in 1971, based on a screenplay by Stein. $250.

465. Stein, Joseph [sourcework & screenwriter]: FIDDLER ON THE ROOF. Los Angeles: Mirisch-Cartier 19 December 1969 – 13 April 1970. [1],A-F,174 leaves plus lettered inserts. Quarto. Mimeographed typescript, printed on rectos only of white, blue and pink stock. Bradbound in production company wrappers. Trace of corner curling, else very good to fine.

A 2nd draft of Stein’s own adaptation to film of his 1964 award-winning play (based on stories by Sholom Aleichem), with music and lyrics by Jerry Bock and Sheldon Harnick. The draft has been further revised by an array of dated revises on blue and pink stock made over the 4 month span noted above. The film was released in November 1971, and was directed by Norman Jewison. John Williams orchestrated the musical adaptations, and the cast included Topol, Norma Crane, Leonard Frey, et al. The film was nominated for, and won, several awards. This copy has been inscribed and signed by Stein; the recipient is not immediately identifiable as associated with the production. $600.

466. Stevenson, Robert Louis: FATHER DAMIEN AN OPEN LETTER TO THE REVEREND DR. HYDE OF HONOLULU ... DATED FEBRUARY 2. San Francisco: Printed for William Andrews Clark, Jr., by John Henry Nash, 1930. Two volumes. Large quarto and octavo, quarter vellum and boards. Portraits. Tan offsetting from slipcase to boards, two faint smudges to one margin, otherwise about fine in dual compartment slipcase with modest wear and soiling. Compliments slip tipped in.

One of two hundred and fifty numbered copies printed on handmade paper by John Henry Nash for private distribution. Introduction by William Andrews Clark to the larger volume, which is a new typographic rendering of the text. The smaller volume is a photo-facsimile of the 1890 Sydney edition. $225. 467. [Stewart, Sir James (attrib)]: THE LIFE OF A LAWYER. WRITTEN BY HIMSELF. London: Saunders and Benning, 1830. [1],421pp. Octavo. 20th century three quarter crimson morocco, spine gilt extra, t.e.g., others untrimmed, by Riviere (bound without the half-title, if issued with one). Small rub at crown of spine, a bit of shelf-rubbing at tips, otherwise a fine copy.

First edition. An uncommon fictional autobiography, tracing the protagonist’s life from being orphaned at the age of four, through his education and legal career, and thereafter through the course of a somewhat meteoric rise to the post of Lord High Chancellor. Halkett & Lang attribute authorship to Sir James Stewart (b. 1758?), and the Faculty of Advocates Library at Edinburgh to James Stewart of Lincoln’s Inn (1805-1860). Not in Wolff. OCLC 10577767 (16 copies). $750.

468. [Stone & Kimball]: Rich, Helen Hinsdale: MADAME DE STAËL THE RIVAL OF NA- POLEON. Chicago: Printed for the Author under the Direction of Stone & Kimball, 1895. [2],26,[1]pp. 12mo. Decorated wrappers. Fragile wrappers split at spine and lightly chipped, otherwise an internally very good copy of this fragile book.

First edition of this historical essay by the author better known for her endeavors in dialect verse, produced for her by Stone & Kimball, and printed at the Lakeside Press. Not noted in Kramer, and OCLC Worldcat locates only 7 copies. OCLC: 32868926. $125.

469. Storey, David: THIS SPORTING LIFE. [London]: Longmans, [1959]. Plain wrappers, labeled in ms. Spine cocked, a bit of foxing, four leaves carelessly opened at fore-edge, else very good.

An early proof impression of the author’s first (and most widely-known) novel, made up of sheets printed on proofing paper as well as more substantial text stock. The manuscript caption on the wrappers includes the statement: “Possible Recommend Jan/Feb,” along with price, title, etc. The source-novel for the 1963 film adaptation, based on Storey’s own script, featuring Richard Harris in an Oscar-nominated performance. $375.

470. Stowe, Harriet Beecher: MEN OF OUR TIMES; OR LEADING PATRIOTS OF THE DAY .... Hartford, New York & Chicago: Published by Subscription only by Hartford Publishing Co., 1868. xiv,[11]-575,[5]pp. plus portraits. Thick octavo. Publisher’s three quarter brown morocco, raised bands, a.e.g. Binding extremities quite rubbed, with slight weakness to upper joint, else a very good copy.

First edition, second corrected state of the title-leaf, in one of the publisher’s deluxe bindings available to subscribers. This copy bears a pencil presentation inscription on the front endsheet which may be in the hand of a publisher’s clerk: “Mr. James Parton From The Author.” Such a presentation from Stowe makes absolute sense, Parton being among the most popular political biographers of the times, and they did correspond on occasion. And although the hand bears similarities to Stowe’s, they are not sufficient to be definitive. BAL 19449. $300.

471. [Stowe, Harriet Beecher]: SOUVENIR BOOK CARL LAEMMLE PRESENTS UNCLE TOM’S CABIN ... [wrapper title]. [Universal City]: Universal Pictures Corporation, [1927]. [16]pp. Oblong octavo (23 x 30.5 cm). Color pictorial wrappers. Illustrated with photographs. Narrow short split at crown of wrapper spine, ink inscription on front wrapper (see below), but a very good copy.

A substantial and particularly lavish souvenir book for Universal’s 1927 film adaptation of Stowe’s novel. While Uncle Tom ... had provided grist for several earlier films, most were shorts or featurettes, the most substantial of which had come in at 54 minutes. This adaptation, which bragged about its budget in excess of a million dollars – it was the third most expensive silent film production – was released with a running time of 144 minutes. Harry Pollard served as director, the story was supervised by Edward J. Montagne, and Marga- ret Fischer, James B. Lowe, Mona Ray, George Siegmann and Eulalie Jensen played the leads. Charles S. Gilpin was originally cast as Uncle Tom, but was replaced by Lowe when his portrayal was deemed “too aggressive.” The film premiered in New York on 4 November 1927, and the early ink inscription on the upper wrapper ties this copy to a viewing on 18 November at the Central Theatre. It achieved wider distribution in 1928. The upper wrapper features an idealized image of Lincoln, Grant and Lee in a three way handshake, with Lincoln’s hand raised in benediction. $250.

Executed in Silverplate Engravings and Ruled in Red

472. Sturt, John [engraver]: THE BOOK OF COMMON PRAYER AND ADMINISTRATION OF THE SACRAMENTS AND OTHER RITES AND CEREMONIES OF THE CHURCH AC- CORDING TO THE USE OF THE CHURCH OF ENGLAND .... London: Engraved and Printed by the Permission of John Baskett ... Sold by John Sturt, Engraver ..., 1717. xxii,162,[2]pp. comprised of engraved dedication, prefatory matter and text, advert leaf and 4pp. subscribers list. Octavo. Richly bound in modern black morocco, raised bands, gilt spine label, boards with decorative roll in blind around edges, edges with original silvering. A bit of foxing to retained original binder’s blanks, uniform slight toning to textblock, otherwise near fine, with the paper volvelle on p. V unsullied by time or abuse. Enclosed in a ultra suede-lined cloth folding chemise.

First edition, printing in octavo format. This is the variant/impression in which page V has an ornamental border composed almost entirely of cherubs and there is no roman numeral at the head of the page. It is also one of the less common copies with the margins, initials and textblocks ruled in red. All aspects of the contents were executed by English engraver and calligrapher, John Sturt via silverplate engraving. Each page is surrounded by a delicate border, and many pages of the main text include one or more of a total of 129 different engraved scenes relevant to the particular text. Sturt (1658-1730) engraved most of the works of English writing-master, John Ayres, and contributed engravings to a number of religious or illustrated publications of his time. The advert leaf enumerates several of them, including the 1721 edition of The Orthodox Communicant – suggesting that the advert leaf was revised as copies were bound and sold in the years following publication. There were also an unspecified number of copies imposed in 4to format, and yet other copies appear without red rules enhancing the borders and text blocks. ROTHSCHILD 1987. ESTC T141241. GRIFFITHS 1717.2 (illustrated). LOWNDES, p.1493. $2350.

473. [Styron, William]: ONE AND TWENTY DUKE NARRATIVE AND VERSE 1924 – 1945. [Durham]: Duke University Press, 1945. Cloth. Illustrated. About fine in dust jacket with a trace of tanning to spine and edges.

First edition. Edited by William Blackburn, and illustrated by students of Claire Leighton (artist-in-residence at Duke the preceding two years). Prints “Autumn” and “The Long Dark Road” by Styron, then in the service, constituting his first book appearance. This copy bears his 1984 inscription to “...A very young, sexy (very sexy, young) mother of five – With pensive admiration ....” $225.

474. [Summers, Montague]: “Jerome, Joseph” [pseud. of Michael Seymour “Brocard” Sewell]: MONTAGUE SUMMERS A MEMOIR .... London: Cecil & Amelia Woolf, 1965. Gilt cloth. Portrait. Bookplate of Dr. Noel J. Cortes and shadow of another, otherwise fine in lightly chipped tissue wrapper.

First edition. One of 750 numbered copies (of 765). Foreword by Dame Sybil Thorndike. Three topically related prospectuses are laid in. $75.

First Book

475. Swift, Jonathan [ed]: LETTERS WRITTEN BY SIR W. TEMPLE. BART. AND OTHER MINISTERS OF STATE, BOTH AT HOME AND ABROAD, CONTAINING AN ACCOUNT OF THE MOST IMPORTANT TRANSACTIONS THAT PASS’D IN CHRISTENDOM FROM 1665 TO 1672.... London: Printed for J. Tonson [et al], 1700. Two volumes. [8],520;360pp. Portrait. Mottled calf, gilt labels. Light tanning and foxing, wanting the front binder’s free endsheet in the first volume, crown of first volume spine has short snag, otherwise a good set.

First edition of the first two volumes of this compilation; a third supplementary volume was published in 1703. The dedication and “Publisher’s Epistle...” in the first volume are wholly Swift’s work. He served as Temple’s secretary for a decade, and this constitutes his first book publication, albeit as editor. TEERINK 469. ROTHSCHILD 2401. ESTC R14603. $650.

476. [Swift, Jonathan, and Thomas Sheridan (eds)]: THE INTELLIGENCER ... BY THE AU- THOR OF A TALE OF THE TUB. London: Printed for Francis Cogan, 1730. [8],268pp. 12mo. Disbound, retaining residue of original heavily gilt contemporary calf spine. Shallow small ink spot penetration in upper margin of top edges of first third of text block, otherwise very good.

Second (and first complete) edition in collective book form, preceded by a London edition the previous year collecting only the first 19 numbers, and the rare serial publication in twenty numbers in Dublin, 1728-29. This edition includes the 20th number omitted from the earlier London edition. Swift and Sheridan were joint editors, though Swift contributed a substantial portion of the text. The Bowyer ledgers suggest the edition consisted of one thousand copies. TEERINK 35. ESTC T130870. $275.

477. [Swiftana]: Garrison, Wendell P.: THE NEW GULLIVER. Jamaica, NY: The Marion Press, 1898. Publisher’s calf backed boards, morocco label. A fine copy, in plain wrapper bearing the author’s designation for delivery as a presentation copy..

First edition of this tale of a modern visit to the land of the Yahoos and Houyhnhnm by a shipwrecked Yale philologist. Inscribed presentation copy from the author. This copy does not have the limitation statement Wright records in some copies, calling for an edition of 120 copies. WRIGHT III:2130. BLEILER, p.80. $125.

Inscribed to Ernest Rhys

478. Synge, John M.: THE ARAN ISLANDS...WITH DRAWINGS BY JACK B. YEATS. Dublin & London: Maunsel & Co. / Elkin Mathews, 1907. Large octavo. Blue green cloth, stamped in gilt. Frontis and plates. Extremities a bit worn, else very good and bright.

First edition, regular paper issue, variant with 1907 date in imprint. The earliest copies bore the date ‘1906’ in the imprint, but the bulk of the first printing was dated 1907 (the year of actual publication) – an alteration evidently accomplished by a stop-press change, not by a cancel leaf. Inscribed: “To Ernest Rhys From Jack B. Yeats Oct. 23rd 1907.” A meaningful association copy – in addition to Rhys’s close friendship with W.B. Yeats, whom he met in 1887, Jack Yeats illustrated Rhys’s The Great Cockney Tragedy, published by Unwin in 1891. COLBECK II:827. $3500.

479. Tarkington, Booth: PRESENTING LILY MARS. Garden City: Doubleday, Doran & Co., 1933. Black cloth, lettered in gilt. Near fine, in price-clipped dust jacket with a bit of corner wear and three short tears at edges.

First edition. Inscribed by the author to his close friend, amanuensis, and the dedicatee of his novel Rumbin Galleries, Elizabeth Trotter, and her husband: “For Elizabeth and William Trotter, affectionately, from Booth. Seawood, August 14, 1933.” The inscription predates formal publication by two days. For a brief summary of 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.

480. Taylor, Edward Robeson [translator]: SONNETS OF JOSÉ-MARIA DE HEREDIA. San Francisco: William Doxey, at the Sign of the Lark, 1898. [20],5-182,[1]pp. Medium green cloth, lettered in gilt, t.e.g., others untrimmed. Spine a trace sunned, with faint dust spots to cloth, otherwise a very good or better copy.

Second (revised edition) of this early work by the lawyer/physician/poet, and future Mayor of San Francisco. From an edition of 550 copies, this is one of fifty printed on Strathmore paper, not for sale. The first edition appeared the previous year, and Taylor’s translations of de Heredia’s poems appear to be among the earliest published in book form. An excellent association copy, inscribed by Taylor “To his children Mr. and Mrs. Edward D. Taylor from Edward Robeson Taylor San Francisco October 18. 1898....” With Edward DeWitt Taylor’s bookplate on the pastedown, featuring a handpress. E. D. Taylor spent his early years in the Bay area printing trade, but gained some recognition as a painter, print maker and poster artist. $200.

481. Taylor, Thomas (the Platonist) [translator]: THE CRATYLUS, PHÆDO, PARMENIDES AND TIMÆUS OF PLATO. TRANSLATED FROM THE GREEK ... WITH NOTES ON THE CRATYLUS, AND AN EXPLANATORY INTRODUCTION TO EACH DIALOGUE. London: Printed for Benjamin and John White, 1793. xxiii,[1],554,[2]pp. Large octavo. Modern three quarter calf and marbled boards, raised bands, gilt label. A tall (22 cm) copy, lower edges untrimmed. Errata corrected neatly in an early hand, a few minor pencil annotations, old tide mark in lower corner at gutter recedes to nothing in first nine leaves, otherwise a very good, crisp copy.

First edition of Taylor’s notable translations of these dialogues -- it was largely in Taylor’s translations that the British Romantics, and the American transcendentalists, read and ab- sorbed Plato. “His style, formed on the Johnsonian model, retained its stiffness to the last. But with an ardour which neither neglect nor contempt could damp, he plodded laboriously on until he had achieved a work never so much as contemplated in its entirety by any of his predecessors. Widely read in America, his works had never much vogue in England, where his frank avowal of philosophic polytheism created a strong feeling against him. He was, however, patronised by the Duke of Norfolk, who subscribed for the entire impression of his Plato [1804], and locked the bulk of it up in his library...” – DNB. ESTC T132207. $850.

482. Tennyson, Alfred: POEMS. London: Edward Moxon, 1857. xiii,[3],375,[1]pp. Small quarto. Portrait and 54 woodcut vignettes. Full medium red-brown morocco, raised bands, elaborately gilt extra, with delicate inlays of black, green and tan morocco as corner pieces and compartment devices, a.e.g., for R. Grant & Son of Edinburgh. Spine extremities a bit rubbed, some dark flecks to upper board, much less than the usual foxing to prelims and endleaves; a handsome copy.

First edition thus. The now celebrated illustrated edition published by Moxon to some con- troversy and only marginal economic success, commingling work by traditional illustrators with work by members of the Pre-Raphaelite Brotherhood, including Millais, Rossetti, Hunt and Stanfield, engraved by the Dalziel Bros., William Linton, and others. RAY (ILLUSTRATOR AND THE BOOK IN ENGLAND), 148. TINKER 2076. ASHLEY VII:114. FREDEMAN 90.3. $1750.

483. [Thomas, Dylan]: Seymour, Tryntje Van Ness: DYLAN THOMAS’ NEW YORK. Salis- bury, CT: Lime Rock Press, [1977]. Quarto. Gilt cloth. Photographs. Book about fine, with accompaniments (see below), in folding cloth clamshell box.

First edition, deluxe issue. One of 100 numbered copies, from a total edition of five hundred copies. Prefatory text and photographs by Seymour, accompanied by selections from Under Milk Wood. Accompanied by four original 9 3/4 x 6 3/4” borderless prints of photographs, each matted and signed by Seymour, enclosed in a numbered and signed paper folder, the whole preceded by an extra bifolium portfolio title and colophon, numbered and signed by Seymour. The publisher’s original ill-considered foam packing inserts lived up to their capacity to self-destruct in this case, leaving some offset and traces of stubborn minute particulates on the slightly creased paper folder, and on the liner and in the joints of the clamshell box. The foam liners are no longer present. $350. The Manuscript [without the] Edition

484. Thoreau, Henry David: THE WRITINGS OF HENRY DAVID THOREAU [Manuscript Edition]. Boston and New York: Houghton Mifflin Company, 1906. Volume one only, of twenty. Polished buckram, paper label. Plates, photographs, illustrations (some colored). Binding worn, sunned and flecked, with endsheets bearing inserted clippings, inserted manuscript leaf fine.

The first volume only from the important “Manuscript Edition” of Thoreau’s works. From an edition of 600 numbered sets (in addition to an unknown number of out of series sets), “signed” by the publisher, and containing in this volume a leaf of autograph manuscript by Thoreau. In the present example, the manuscript is a full leaf, written in ink, with pencil insertions, on recto only, and totals approximately 150 words in Thoreau’s hand. The text conforms to a section in Thoreau’s essay, “Night and Moonlight,” although the published text is considerably revised. The essay was published in The Atlantic Monthly (the November issue of 1863) and in Excursions (1863). BORST B3. BAL 20145. $9500.

485. [Tice, Clara]: BRUNO’S GARRET FIRST EXHIBIT OF DRAWINGS AND PAINTINGS INCLUDING A SET OF ILLUSTRATIONS OF THE ARABIAN NIGHTS BY CLARA TICE. [New York: Guido Bruno], May 1915. [28]pp. 16mo (15 x 10 cm). Pictorial wrapper. Six illustrations. Wrappers slightly dust smudged, with tiny chips at lower overlap edge, otherwise very good.

The uncommon promotional work issued in tandem with Clara Tice’s first one-person public exhibition, noted as comprised of 258 drawings by her, hosted at Bruno’s Garret, the Village landmark maintained by Curtis J. Kirch under his bohemian alias, “Guido Bruno.” The exhibition was mounted two months after the famous (and unsuccessful) raid by Comstock on Polly’s restaurant in order to confiscate some of Tice’s drawings that were on display. This copy is inscribed inside the upper wrapper: “One of 50 copies published. The last one on hand is this one purchased by Dr. A.J. Liebermann. NY Jan 25th 1929. Guido Bruno.” While any such assertion by the always commercially conscious Bruno must be taken with a grain of salt, this is an uncommon and significant bit of documentation from the era of American Dada. $300.

486. [Tice, Clara]: BRUNO’S GARRET FOURTH EXHIBITION BOOK-PLATES WITH NUDES [wrapper title]. [New York: Guido Bruno], July 1915. 20pp. Pictorial wrappers. Illustrations. Lower wrapper spotted, staples a bit rusty, otherwise very good.

First edition. Includes a prefatory essay by Bruno [i.e.Curtis J. Kirch] entitled “Troubadours and Bookplates.” While designs by four bookplate artists (including Pisarro) lead off, the main thrust of this effort is to promote eleven bookplate designs by Clara Tice. Tice’s first one-person exhibition had taken place at Bruno’s Garret in May of the same year. $150.

487. Tidyman, Ernest [screenwriter]: THE FRENCH CONNECTION [New York: D’Antoni Productions], 16 November 1970. [1],93 leaves. Quarto. Mimeographed typescript, printed on rectos only of pale yellow stock. Boltbound in Studio Duplicating Service wrappers. Ink name (see below), a few creases to upper wrapper, otherwise very good.

An unspecified “revised” production draft of Tidyman’s multi-award winning screenplay, adapted in part from the 1969 book by Robin Moore. The October 1971 release was directed by William Friedkin, and starred Gene Hackman, Fernando Rey, Roy Scheider, Tony Lo Bi- anco, Sonny Grasso, et al. As part of a five Oscar sweep, Tidyman won for his screenplay, Hackman won as Best Actor, Friedkin won as Best Director, and the film won Best Picture. BAFTA, Golden Globes and WGA awards piled up, and in 2005 it was inducted into the National Film Registry. This copy of the script (#36) bears the ownership signature of sound mixer Les Lazarowitz, whose participation in this production is not credited, but who had his hand in the sound production of a long list of significant films, among them Taxi Driver, Raging Bull, The Godfather, The Seven-Ups, etc. Legitimate copies of pre-production or production scripts for this film are rather uncommon. $1500.

488. [Torres, Edwin (source work)], and Koepp, David [screenwriter]: CARLITO’S WAY SCREENPLAY BY ... BASED ON THE NOVELS ‘CARLITO’S WAY” AND “AFTER HOURS” BY EDWIN TORRES. [New York]: Carlito Productions / Universal Pictures, 7 October 1992 – 25 June 1993. [2],117 leaves (modified somewhat by revisions and inserts). Quarto. Pho- tomechanically reproduced typescript, printed on rectos only of a rainbow of different colored stocks. Punched and clasp bound in stiff binder. A few early leaves show a light tidemark toward gutter, ink name (see below), very good.

A quite heavily revised production draft of this adaptation to the screen of Torres’s first two novels (1975 & 1979), with a blizzard of dated colored revises spanning a period of eight months. Brian De Palma directed the November 1993 release, which starred Al Pacino, Sean Penn, and Penelope Ann Miller. This copy bears the ownership signature of sound mixer Les Lazarowitz, who worked on the production, and includes a copy of a 3 June 1993 memo from him on technical aspects of sound recording for the film. $650.

489. transition 2. Paris. May 1927. Small octavo. Printed purple wrappers. Plates. Wrappers a bit sunned at edges, 1cm chip at toe of spine, but a very good, unopened copy.

Edited by Eugene Jolas, et al. This issue features contributions by Joyce (WIP), Benn, Wil- liams, Rilke, Larbaud, Gris, Eluard, Essenin, Imbs, Blok, Sage, Fearing, et al. SLOCUM & CAHOON C70. WALLACE C110. $200.

490. transition 3. Paris. June 1927. Small octavo. Printed purple wrappers. Plates. Wrappers a bit sunned at edges, with very shallow losses at crown and toe of spine, but a very copy.

Edited by Eugene Jolas, et al. This issue features contributions by Joyce (WIP), Stein (“As a Wife Has a Cow A Love Story”), Callaghan, Boyle, Soupault, Blok, Schwitters, Masson, Man Ray, Tchelitcheff, Riding, Crane, Bryher, Tate, Sage, et al. SLOCUM & CAHOON C70. WILSON C59. BOUGHN C89. $200.

491. transition 4. Paris. July 1927. Small octavo. Printed cream wrappers. Wrappers a bit tanned and lightly foxed at edges, a couple faint spots to lower wrapper, but a very good copy, with the printed bellyband laid in.

Edited by Eugene Jolas, et al. This issue features contributions by Joyce (WIP), Geddes, Blok, Gris, H.D., Winters, Alberti, Sage, Stein, Antheil, Fearing, Marinetti, et al. SLOCUM & CAHOON C70. WILSON C61. BOUGHN C89. $200.

492. transition 6. Paris. September 1927. Small octavo. Printed tan wrappers. Plates. Light use at overlap edges, otherwise a very good copy.

Edited by Eugene Jolas, et al. This issue features contributions by Joyce (WIP), Coates, MacLeish, Boyle, Stein, Geddes, Man Ray, Riding, Essenin, Imbs, Sage, Putnam, et al. SLOCUM & CAHOON C70. WILSON C66. $200.

493. transition 7. Paris. October 1927. Small octavo. Printed grey wrappers. Plates. Light use at overlap edges, trace of sunning to spine, otherwise a very good copy.

Edited by Eugene Jolas, et al. This issue features contributions by Joyce (WIP), Williams, Riding, Calder,Ernst, Winters, Tate, Crane, Graves, Reverdy, et al. SLOCUM & CAHOON C70. WALLACE C112. $200. 494. transition 8. Paris. November 1927. Small octavo. Printed tan wrappers. Plates. Upper wrapper lightly foxed, with small smudge, otherwise very good.

Edited by Eugene Jolas, et al. This issue features contributions by Joyce (WIP), Sage, D. Powell, Schwitters, Larbaud, Kreymborg, Williams, Stein, et al. SLOCUM & CAHOON C70. WALLACE C113. WILSON C69. $200.

495. transition 9. Paris. December 1927. Small octavo. Printed rose wrappers. Plates. Spine a bit sunned, with a few minor bits of foxing along upper joint, otherwise a very good, unopened copy.

Edited by Eugene Jolas, et al. This issue features contributions by Joyce (WIP), Josephson, Barnes, Williams, Miro, Rising, Ernest, Crane, Boyle, Winters, et al. SLOCUM & CAHOON C70. WALLACE C114. S&S B10 (etc). $200.

496. transition 10. Paris. January 1928. Small octavo. Printed wrappers. Plates. Spine slightly sunned, pale yellow wrappers faintly dusty, otherwise an excellent, unopened copy.

Edited by Eugene Jolas, et al. This issue features contributions by Stein, Winters, Cowley, the Golls, Williams, Boyle, Antheil, Geddes, Riding, Sage, et al. WILSON C71. WALLACE C115-6. $225.

497. transition 11. Paris. February 1928. Small octavo. Printed gray-blue wrappers. Plates. A few slight creases and nicks to wrappers, but an unusually good copy.

Edited by Eugene Jolas, et al. This copy includes the tipped-in label for the UK distributor, and the opened but mostly intact printed bellyband is laid in. This issue features contributions by Joyce (WIP), Gilbert, Kafka (“The Sentence”), Winters, Sage, Picasso, Barnes, Perse, et al. SLOCUM & CAHOON C70. $225.

498. transition 12. Paris. March 1928. Small octavo. Printed camel tan wrappers. Plates. Upper wrapper slightly dustmarked, modest offset discoloration to areas of the upper portion of the lower wrapper, otherwise very good, with portions of the printed belly band laid in.

Edited by Eugene Jolas, et al. This issue features contributions by Joyce (WIP), Breton, Riding, Salt, Stein, Neagoe, Callaghan, Man Ray, Bowles (his first commercial appearance), Masson, Picabia, Rakosi, Tate, Hermann, et al. This copy has the British distributor’s label tipped to the first leaf. SLOCUM & CAHOON C70. WILSON C72. MILLER C44. $175.

499. [Truffaut, Francois]: Fanne, Dominigue: L’UNIVERS DE FRANCOIS TRUFFAUT. [Np]: Éditions du Cerf, [1972]. 12mo. Stiff pictorial wrappers. Photographs. Wrappers slightly tanned at extremities, some laminate peel to the spine panel, trace of dust to top edge of front free endsheet, else very good.

First edition. With a Foreword by Jeanne Moreau. Warmly inscribed and signed by Truffaut, “Pour ma questionneuse avec le souvenir reconnaissant et amical de Francois Truffaut Nov. 73.” The unnamed recipient, Liz-Anne Bawden, was editor of The Oxford Companion to Film (1976), and lecturer on Film at the Slade School. Her Times obituary notes particularly her friendship with Truffaut, with whom she also maintained a correspondence. This presentation most likely dates from one of their early meetings. $1250.

500. Truffaut, Francois: LES FILMS DE MA VIE. [Paris]: Flammarion, [1975]. Stiff pictorial wrappers. Illustrated throughout with photographs and stills. Usual tanning at edges of textblock, a couple minor creases, spine a bit sunned, but a very good copy.

Later (“6e Mille”) impression of the first edition, printed in February of 1975. Inscribed and signed by Truffaut: “Pour Liz-Anne Bawden amical souvenir, Francois Truffaut.” The recipient was editor of The Oxford Companion to Film (1976), and lecturer on Film at the Slade School. Her Times obituary notes particularly her friendship with Truffaut, with whom she also maintained a correspondence. Truffaut’s central work of film analysis and influences. $1750. 501. Truffaut, Francois: THE STORY OF ADELE H. New York: Grove Press, [1976]. Stiff pictorial wrappers. Illustrated throughout with stills. Usual tanning et edges of textblock, spine a bit sunned, but a very good copy.

First U.S. edition of the screenplay, edited by Helen C. Scott, and with English dialogue by Jan Dowson. Inscribed and signed by Truffaut: “Pour Liz-Anne affectueusement, Francois.” The recipient, Liz-Anne Bawden, was editor of The Oxford Companion to Film (1976), and lecturer on Film at the Slade School. Her Times obituary notes particularly her friendship with Truffaut, with whom she also maintained a correspondence. $1250.

502. Truffaut, Francois [preface], and Bazin, André: LE CINÉMA DE L’OCCUPATION ET DE LA RÉSISTANCE. [Paris: Union Générale d’Éditions] Inédit, [1975]. 12mo. Glossy pictorial wrappers. Slight uniform tanning to textblock, otherwise near fine.

First edition, with a Preface, “Andre Bazin, L’Occupation et Moi,” by Francois Truffaut, pay- ing posthumous homage to his early mentor, the editor of Cahiers Du Cinéma. This copy bears Truffaut’s signed inscription: “Pour Liz-Anne, en souvenir de Bazin, Francois Truffaut.” The recipient, Liz-Anne Bawden, was editor of The Oxford Companion to Film (1976), and lecturer on Film at the Slade School. Her Times obituary notes particularly her friendship with Truffaut, with whom she also maintained a correspondence. $1250.

503. Truffaut, Francois [preface], and Guitry, Sacha: LE CINÉMA ET MOI. Paris: Éditions Ramsay, [1977]. Octavo. Glossy pictorial wrappers. Photographs. A few creases to wrappers, with bump and crimp to slightly tanned spine, otherwise very good.

First edition. Edited by André Bernard and Claude Gauteur, and with a ten-page Preface by Truffaut. This copy bears Truffaut’s signed inscription: “Pour Liz-Anne, amitié des prefacier, Francois Truffaut.” The recipient, Liz-Anne Bawden, was editor of The Oxford Companion To Film (1976), and lecturer on Film at the Slade School. Her Times obituary notes particularly her friendship with Truffaut, with whom she also maintained a correspondence. The text is a selective assemblage of Guitry’s writings and correspondence relating to film spanning 1912 – 1957, excluding those previously published in 1960. $1250.

504. Tschiffely, A[imé]. F[élix].: SOUTHERN CROSS TO POLE STAR TSCHIFFELY’S RIDE BEING THE ACCOUNT OF 10,000 MILES IN THE SADDLE THROUGH THE AMERICAS FROM ARGENTINA TO WASHINGTON. London: William Heinemann, Ltd, [1933]. Large octavo. Gilt green cloth. Frontis and photographs. Endsheet maps. Extremities rubbed and slightly bumped and nicked, a few small bubbles and smudges to cloth, otherwise a good, bright copy.

First edition of the author’s first and most famous book, based on his remarkable long distance ride (1925-8) that made him a public hero. With a Preface by his friend, R.B. Cunninghame Graham. Inscribed and signed by the author in January of the year of publication, “To Mr. Brooke, as a souvenir of our most pleasant meeting in London. Sincerely A.F. Tschiffely London, Jan. 19th, 1933.” $350.

505. Tschiffely, A[imé] F[élix]: BRIDLE PATHS THE STORY OF A RIDE THROUGH ENGLAND. London: Heinemann, [1936]. Cloth. Pictorial chapter headings. Cloth and edges somewhat foxed, endsheets tanned, but a good copy in dust jacket with old paper tape reinforcement along top edge verso.

First edition. Tipped to the front endsheet is the author’s three-line, signed, note of presentation, in Spanish, on letterhead. $75.

506. Untermeyer, Louis: FIRST LOVE A LYRIC SEQUENCE. Boston: Sherman, French & Co., 1911. Cloth and boards, edges untrimmed. Spine and covers a bit soiled and worn; some offsetting to endsheets, faint discoloration to rear board, otherwise a good or better copy.

First edition of the poet/anthologist’s first book, with a presentation inscription from the author on the endsheet: “To Louis H. Wetmore -- because he loves G.K. Chesterton, Billie Burke, peche melba -- & because his tastes, even in such lesser matters as Life & Literature, are often coincidental with those of Louis Untermeyer. November / 1912.” $175. Best Screenplay of Its Year

507. [Verne, Jules (sourcework)]: Perelman, S.J., et al [screenwriters]: JULES VERNE’S “AROUND THE WORLD IN EIGHTY DAYS” .... New York & London: Michael Todd Co., Inc., 18 November 1955. [1],158,[4] leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in stencil-printed production company wrappers, then enclosed in gilt-lettered vinyl binder. Ink note on upper wrapper, a few smudges and curled corners, but a very good copy.

Copy #31 of this unspecified preproduction draft of Perelman, James Poe and John Farrow’s award-winning adaptation to the screen of Verne’s novel. Michael Anderson directed the Oct. 1956 release, one of the first two Todd-AO productions. The cast of literally hundreds spread across a number of countries, and included David Niven, Cantinflas, Noel Coward, John Gielgud, Trevor Howard, Finlay Currie, and many, many others. The film won five Oscars, including Best Picture, and Perelman, Poe and Farrow shared the Oscar for Best Screenplay, as well as NY Film Critics and WGA awards in the same category. It was the last of Perelman’s screen credits over a quarter of a century’s work. The early ink note on the upper wrapper indicates “Minus Henrietta Seq” but the script collates as complete through “The End,” and includes an additional 4 leaf appendix at the end. $1250.

508. Vidal, Gore [screenwriter]: Original Half-Sheet Poster for I ACCUSE!. [Culver City]: MGM / Loews, [1957]. Original color half-sheet (22 x 28”; 56 x 71 cm). Formerly folded in quarters, display tack holes in each corner, some small nicks at folds, filing annotations on verso, but a very good, bright example.

A graphically striking half-sheet poster for the U.S. release of Jose Ferrer’s film adaptation of Nicholas Halasz’s book about the Dreyfus case, based on a screenplay by Gore Vidal. This was only Vidal’s second screenplay credit, although his writing for television had been substantial to this date. Ferrer starred as well as directed, in company with Anton Walbrook, Viveca Lindfors, Leo Genn, Emlyn Williams and Herbert Lom. $125.

509. Vidal, Gore [screenwriter]: Original Australian Lithographed Daybill for I ACCUSE. [Sydney]; MGM, [1958]. Vintage color lithographed daybill poster (30 x 13.25”, 76 x 34cm). Folded, as issued, a couple of short, closed tears in left margin (one penetrating slightly into the color background), a few mild creases along left margin, but a very good, bright copy.

A striking daybill poster for the Australian release of Jose Ferrer’s film adaptation of Nicholas Halasz’s book about the Dreyfus case, based on a screenplay by Gore Vidal. $125.

510. Wade, Kevin [screenwriter]: WORKING GIRL [New York: 20th Century-Fox], 19 De- cember 1987 through 22 February 1988. [1],126,[1] leaves plus lettered inserts. Quarto. Photomechanically reproduced typescript (by Studio Duplicating Service), printed on rectos only of white, blue, pink and canary stocks. Bradbound in plain wrapper. Ink name (see below). Some light spotting along spine edge of upper wrapper, some light ink spattering to lower edge, but a very good copy.

Copy #45 of a “revised draft” of this original screenplay, exhibiting very further extensive revision via dated color revises through the span above comprising the majority of the text. The December 1988 release was directed by Mike Nichols, and starred Harrison Ford, Sigourney Weaver, Melanie Griffith, Alec Baldwin, Kevin Spacey, et al. This copy bears the ownership of Les Lazarowitz, who worked as the production sound mixer. Wade’s script was nominated for both a Golden Globe and a WGA award for Best Original Screenplay in its year. $350.

511. Walpole, Horace: WISDOM OF WALPOLE .... [Canton, PA]: Privately Printed [at the Kirgate Press], 1905. Vegetable parchment and marbled boards, printed label. Boards edgeworn, internally about fine.

One of 75 copies printed on Italian handmade paper, from an edition of eighty copies, printed by Lewis Buddy III. Asserted in the colophon to be the first use of the Bodoni type cast for The University Press, Cambridge, Mass. This copy bears a jestful gift inscription from “C.B.T.” [i.e. Chauncey B. Tinker] to one “V.V. McN,” querying in part: “But who was wiser, Walpole or Bodoni? And who was more useful?...” $150.

512. Walpole, Horace: FUGITIVE VERSES. New York & London: Oxford University Press & Humphrey Milford, 1931. Large octavo. Frontis. Gilt polished buckram. Trace of hand smudging to cloth, ink ownership inscription, otherwise near fine and bright, without dust jacket, and with none of the foxing common to copies of this book.

First edition. Edited by W.S. Lewis, and published as Miscellaneous Antiquities Number V. One of 500 numbered copies. The ownership inscription records this was a gift from Lewis in 1937. $85.

513. Walpole, Horace: THE DUCHESS OF PORTLAND’S MUSEUM. New York: The Grolier Club, 1936. Cloth and decorated boards. Plate. Boards a bit darkened and edge worn, handsome collector’s bookplate, about very good.

First edition, with an introduction by Wilmarth Lewis. One of four hundred and fifty copies issued as Miscellaneous Antiquities Number XI. Inscribed by Lewis: “To Father Leonard, with the gratitude & affection of W.S. Lewis. Strawberry Hill, 28 June 1936.” Father Josephy Leonard, C.M., was resident at Strawberry Hill at the time, and a close friend of a number of British literati, including Shaw and Chesterton. $175.

514. [Walpole, Horace]: MISCELLANEOUS ANTIQUITIES NUMBER FIFTEEN ...THE IMPEN- ETRABLE SECRET PROBABLY INVENTED BY HORACE WALPOLE. AN EXPLANATION OF THE SECRET. WITH A NOTE ON THE ORIGINAL BY W.S. LEWIS. Farmington: Privately printed, 1939. 16mo. Printed wrappers, accompanied by set of printed cards. Contents and paper chemise fine: slipcase with careful repair to back panel joints.

First edition. One of only one hundred sets printed at Hawthorn House. In spite of the limitation, one of the most uncommon of Lewis’s productions. $200.

515. Walts, Frank [cover artist]: THE MASSES. New York. March 1917. Whole number 69 (IX:5). Quarto. Pictorial self wrapper (by prominent African American artist, Frank Walts). Usual tanning to cheap newsprint stock and with a few small nicks and tiny chips at extremities; a typically delicate, but atypically intact copy of one of the more uncommon issues due to the cheap materials utilized.

Edited by Max Eastman and Floyd Dell, with notable contributing and art editors. Published monthly. A representative issue of the last year of The Masses, prior to its being shut down after the Dec. 1917 issue. Founded in 1911, The Masses assumed its most distinctive form after Eastman’s assumption of editorial control in December of 1912, asserting in its credo that it is “a Revolutionary and not a Reform Magazine; a Magazine with a Sense of Humor and no Respect for the Respectable ... a Magazine Directed against Rigidity and Dogma wherever it is found....” After the entry of the U.S. into WWI, The Masses came under government scrutiny, leading to its suppression under terms of the Espionage Act, culminating in the two celebrated trials in April and September 1918. Due to widening interest, and attri- tion due to the inherently fragile materials used in its production, issues of The Masses in acceptable condition are no longer readily found. HOFFMAN, et al, p. 240. GOLDWATER 137. $150.

516. Ward, Lynd: [Original Signed Wood Engraving for Bookplate Design]. [Np The Artist, circa 1940s]. Original wood engraving, printed in black with sepia background, on artist’s tissue. Image size 11.7 x 9 cm, with full margins. Hint of slight rubbing in lower left quadrant of image, else about fine in archival matting.

Signed by the artist, in pencil lower right, within the image border. This owl bookplate design is one of eight color woodcuts by American storyteller and illustrator Lynd Ward produced for the Antioch Bookplate Company in the early 1940s. Company founder Ernest Morgan commented on the tinted background with contrasting foreground design as a way to “con- vey a feeling of depth in time as well as space.” A preliminary sketch of this design is in the collection of the Georgetown University Art Collection. $375.

517. Ward, Lynd: [Origi- nal Signed Illustrative Wood Engraving]. [Np: The Artist, nd]. Original wood engraving, printed in black on artist’s tissue. Matted image size 9 x 13cm, with full margins. Hint of slight sunning through mat diecut, else about fine.

Signed by the artist, in pencil lower right. A highly characteristic and strong wood engraving, much in the manner of the wood engravings executed for Ward’s own narratives, but in this case an image not reproduced in Storyteller Without Words. The image is of a gaunt older man, standing in a cemetery with arms outstretched in despair/supplication, with grave stones in image left, and a couple in mourning retreating into the right background. $375.

Association Copy

518. Warner, Charles Dudley.: ON HORSEBACK A TOUR IN VIRGINIA, NORTH CAROLINA, AND TENNESSEE WITH NOTES OF TRAVEL IN MEXICO AND CALIFORNIA. Boston & New York: Houghton Mifflin, 1888. Pictorial cloth. Spine a bit dull, slight fraying to spine ends, endsheets a bit discolored, otherwise a very good copy.

First edition (1554 copies printed). An excellent association copy, inscribed by Warner in the month of publication to “Joseph H. Twichell Forever Chas. Dudley Warner. Hartford Nov. 1888.” Rev. Twichell was an intimate Hartford friend of both Clemens and Warner, and officiated at Warner’s funeral in 1900. BAL 21168. $175.

Rare Triple Decker

519. [Warren, John Byrne Leicester Warren, Lord de Tabley]: HENCE THESE TEARS. A NOVEL. London: Richard Bentley and Son, 1872. Three volumes. Original medium chocolate brown cloth, side panels intricately decorated in black, spines ruled and lettered in gilt. Er- rata in first volume. Early ink name in each volume (repeated in pencil), a tiny bit shaken, fore-tips and spine ends rubbed, some foxing early and late, rear inner hinge of volume one cracking a bit (but sound), rear inner hinge of volume two neatly mended; a good, sound set.

First edition. One of Lord de Tabley’s four very rare three-volume novels, two of them published pseudonymously, and one other besides this published anonymously: Salvia Richmond (1878). Neither of the anonymous works are recorded in NCBEL. Warren was a prolific poet as well, publishing a number of collections, including several under the pseudonyms ‘George F. Preston’ and ‘William Lancaster’. His earliest collection was a collaborative volume with a close Oxford friend, George Fortescue, whose accidental death in 1859 had a powerful influence on him. He wrote knowledgeably on numismatics, botany, and bookplates, but he temporarily abandoned poetry and drama after the absolute failure of The Soldier’s Fortune (1876). John Lane and Watts-Dunton encouraged him to publish a retrospective collection in 1893 and a new collection appeared in 1895, the year of his death. Sadleir had all four of his novels; Wolff had only A Screw Loose. OCLC/Worldcat locates three (or four) sets: UCLA, the British Library (two entries), and the Nat’l Library of Scotland. SADLEIR 3170. $2750.

Inscribed to the Author by Nagesh Vasudev Gunaji

520. Washington, Booker T.: [UP FROM SLAVERY (In Marathi)]. [Bombay: Printed and Published at the Manoranjan Press ... by K.R. Mitra, ca. 1913]. 252pp. plus plates. 12mo. Pictorial wrappers. Upper wrapper a bit spotted and detached along fold with narrow loss, small spot on half-title, otherwise a very good copy of a fragile book.

First edition in Marathi of Washington’s autobiography, inscribed to him in English by the translator: “Presented with loving regards and best compliments to Dr. Booker T. Washington, Tukegee [sic], Ala, America 13-9-13. N. V. Gunaii, Belgaum (India).” “The book’s reputation was not confined to the United States and [it] was ultimately published in more than 12 languages” – Blockson. The translator, Shri Nagesh Vasudev Gunaji (1876-1963) was born in Belgium, and after moving to India, practiced both law and naturopathy in Belgaum. He is revered as both an author and a spiritual scholar. He wrote or translated nearly thirty works in English and Marathi, including an edition of the Bhagavad Gita and a biography of Ramakrishna. It is recorded that Gandhi was among those patients he treated with his naturopathic and massage techniques. BLOCKSON 51. $475.

521. Weber, Max: ESSAYS ON ART. [New York: Printed by W.E. Rudge, 1916]. Small quarto. Pictorial textured paper wrappers, after a design by the author. Wraps a bit creased at the overlap edges, but an unusually nice copy of a very fragile production.

First edition, trade issue, of the artist’s second book (and the first on the subject that was his metier). $225.

522. Welty, Eudora: [Original Photograph of Ida M’Toy (“Born in this Hand”)]. [Winston- Salem]. [printed 1980]. Original borderless silver print (11.5 x 11”), matted (20 x 16”). Some foxing to mat, two minute blemishes at extreme margin of print, otherwise very good.

Copy XIX/20 of this print from the 1980 Palaemon Press portfolio, Twenty Photographs, published in an edition of twenty copies numbered in Roman, and 75 numbered copies. Five of the sets numbered in Roman were for Welty’s use. Welty has signed this example on the mat in pencil to the right and below the print. The photograph is one of her well-known 1940 portraits of midwife Ida M’Toy, and was supplied with the title above when reproduced in the collection, Photographs (Jackson, 1989). $850.

523. Welty, Eudora: PHOTOGRAPHS. Jackson: Univ. Press of Mississippi, [1989]. Oblong small quarto. Full publisher’s brown simu-leather, lettered in silver. Fine in silk-covered folding case with clasps and onlaid photograph.

First edition, deluxe limited issue. One of fifty-two lettered copies (this being “OO”), specially bound and signed by Welty (of 401). Accompanied by an original silver print, from her negative, of Welty’s photograph of Bowen’s Court, with her copyright stamp on the verso, enclosed in a special folder with caption leaf. Foreword by Reynolds Price, and with an interview with Welty about photography. A breathtaking testament to Welty’s large and embracing talent as a photographer, with particular emphasis on her work from the 1930s. This deluxe issue of the limited edition is not terribly common. $1500.

524. Wescott, Glenway: THE DREAM OF AUDUBON SCENARIO OF A BALLET IN THREE SCENES [caption title]. [Np, nd]. 13 leaves. Quarto. Mimeographed typescript, printed on rectos only, stapled. Light use at edges, a bit of rust to the staple, but very good.

An unusual (to say the least) and fanciful work, placing considerable weight on the spurious allegation of Audubon’s having been the son of Louis XVI and Marie Antoinette (the subject of the third scene). Based on physical appearance, this production likely dates from the 1930s-1940s. Provenance: a small number of duplicate copies from the papers of Monroe Wheeler and Glenway Wescott. $125.

525. West, Nathanael [screenwriter]: Original Studio Publicity Pressbook for MEN AGAINST THE SKY. [Los Angeles]: RKO Radio Pictures, 1940. 11,[2]pp Folio. Pictorial self-wrappers. Heavily illustrated throughout. Horizontal fold (with a bit of wear to upper wrapper along fold), some minor dust marking, pencil booking date erased from white area of upper wrapper, otherwise an unusually good, visually striking example.

A vintage campaign pressbook for the 1940 RKO production based on an original script by Nathanael West, produced by Howard Benedict, directed by Leslie Goodwins, and starring Richard Dix, Wendy Barrie, Kent Taylor, et al. West is given prominent full credit for the screenplay on the pressbook and the publicity paper for the film -- status he by no means enjoyed for all of the films he scripted. The upper wrapper is a variant on the poster art for the film, with images of the lead players filling the bottom half of the sheet; the upper portion is filled with a spectacular image of a man wing-walking and making a leap to another plane, with the title emblazoned diagonally just below. A great example of a classic-style American film pressbook, with images of all the paper, a synopsis, and substantial text. WHITE, p.42 (ref). $450.

526. West, Nathanael, and Whitney Bolton [screenwriters]: Original Studio One Sheet for THE SPIRIT OF CULVER. [Universal City]: Universal Pictures, 1939. Folio (41 x 27” [104 x 69 cm)]. Vintage color pictorial one sheet. A very good, bright example, with a minor break at the bottom crossfold, minor creases along the foldlines and around the edges of the poster, and a few tiny marginal nicks.

A highly pictorial one-sheet for one of West’s major film credits (his first at Universal), based on a screenplay co-written by West and Whitney Bolton (his sole screen credit), adapted from a story by George Green, Tom Buckingham and Clarence Marks first utilized for the 1932 William Wyler/Universal Tom Brown Of Culver. The March 1939 release was directed by Joseph Santley, and starred Jackie Cooper, Freddie Bartholomew, Andy Devine, et al. Publicity paper associated with the original releases of most of West’s screen credits tends to be uncommon, particularly in agreeable condition, as here. A 1950 rerelease featured entirely different artwork. WHITE D22. $350.

528. Weston, Heather: BINDING ANALYSIS : DOUBLE BIND. [London: The Artist, 2000]. Printed sheets, metal-comb bound into stiff foam wrappers. Illustrated. Enclosed in folding cloth wrapper with ties and label. Fine.

First edition. One of an unspecified number of copies, numbered and signed by the author/ designer. “The book is double spiral bound at right and left edges with the pages splitting down the center. Four separate narratives—one pictorial, two textual, one structural — un- ravel concurrently, and the reader must come to an understanding of and solve the riddle contained within the structure. A hidden narrative can only be pieced together when eight pairs of object images, which the binding naturally splits, are reunited and the pages flipped inside out ...”- Publisher’s blurb. $150.

529. [Wheatley, Phillis]: Wesley, John [editor]: THE ARMINIAN MAGAZINE FOR THE YEAR 1781. CONSISTING OF EXTRACTS AND ORIGINAL TREATISES ON UNIVERSAL RE- DEMPTION. London: Printed by J. Paramore, [1781]. vi,680,[8]pp. Octavo. Disbound, with remnants of spine, scattered foxing and occasional annotations, moderate marginal hand- soiling, a few small chips and tears; just a sound copy.

The annual format for volume IV, consisting of 12 issues, the general title and Preface to the volume. The January number has a folding frontis, and Feb. – June have frontis portraits. Wesley’s primary periodical forum for the Methodist revival, printing both prose and poetry sympathetic to the cause. Of particular note is the appearance in the December issue of three poems by Phillis Wheatley, in the first instance identified as by “Phillis Wheatley, a Negro”: “On the Death of a Child, five years of Age,” “On the Death of a young Gentleman” and “Thoughts on the Works of Providence.” Although the poems are all reprinted from earlier appearances, they constitute one of the small handful of life-time appearances of her poems in periodical form. In line with his outspoken views on slavery, Wesley reprinted eight of Wheatley’s poems (along with one misattribution) in the pages of his periodical, with some variations in their texts. The others did not appear until 1784, and whatever participation she may have had in the circumstances of their publication in this format is unknown. Carretta, PHILLIS WHEATLEY: BIOGRAPHY OF A GENIUS IN BONDAGE, p.188ff. $1250.

530. [White, William Allen]: “WHAT’S THE MATTER WITH KANSAS?” AN EDITORIAL INQUIRY MADE IN THE EMPORIA GAZETTE ... [wrapper title]. [Emporia?. nd. but no later than Sept. 1898]. [8]pp. Self wrappers (18 x 10cm). Externally a bit dusty and smudged, but a good copy.

A separate printing of White’s popular editorial from the Emporia Gazette of 15 August 1896, denoted: “And from that paper printed in the Fifth Edition,” with a blurb at the end of the text promoting White’s The Real Issue A Book Of Kansas Stories, noted as then in the 4th edition, from Way & Williams. Way & Williams was acquired by Herbert S. Stone in Sept. 1898. Uncommon. OCLC locates two copies of a 16pp. “7th edition,” and photocopies or microforms. $125.

531. White, William Allen: [Four Typed Letters, Signed]. Emporia, KS. 10 February through 20 June 1928. Four pages, on half and full page sheets of quarto letterhead. Very good, with three envelopes. Half morocco clamshell box.

To a “Mr. Adam Brand,” of Brooklyn. The crusading editor, politician and sometime poet writes Brand, thanking him for sending a copy of his sonnet on Woodrow Wilson: “It was a noble piece of writing,” and further encouraging him in his notions of writing a dramatic work based on Wilson (“I have always thought there was an acceptable play in the Wilson tragedy. The further you get away from it the more playable it seems.)” As the correspondence progresses, he declines any active participation in the composition, but refers him to his book on Wilson, remains encouraging and is generous with his advice, and forwards to him the manuscript of a sketch he wrote about Wilson, replete with additions and amplifications made when he used it as the basis for an address (not present). He further provides contact information for, or suggestions of, people he feels will be useful or sympathetic toward Brand’s project (including Colonel House), and comments about his three years of efforts to get someone in Hollywood interested in producing a film about Wilson. An OCLC search using the most obvious terms does not reveal any published form of Brand’s play, if it was ever written. Dictated, and then signed “W.A. White.” $200.

532. Whitman, Walt: SALUT AU MONDE! New York: Random House, 1930. Folio. Quarter vellum and printed boards. Two half-page woodcuts and colophon woodcut. Tiny spot in upper joint, faint bump to one fore-tip, otherwise fine. The slipcase, though present, is imperfect.

First printing in this format, as the first of Random House’s “New Fine Book Series.” Designed and illustrated by Vojtech Preissig. One of 390 numbered copies printed on handmade paper at the State Printing Office in Prague, and signed by Preissig. MYERSON H61. $350.

533. Whittier, John Greenleaf: AT SUNDOWN. Cambridge: Privately Printed at the Riverside Press, 1890. 12mo. Gilt lettered olive green cloth, t.e.g. Light foxing to endleaves, a few smudges to cloth, early ink name, but a very good copy.

First edition, preceding the public edition by two years. One of 277 copies printed, and like most copies, equipped with a small slip bearing Whittier’s compliments inscription in facsimile. This copy has the Dec. 17th 1890 ownership inscription of Lilly G. Warner, daughter of Charles Dudley Warner. BAL 22137. $250.

534. Wilde, Oscar: POEMS. London: David Bogue, 1881. Publisher’s parchment over boards, gilt extra, t.e.g., others untrimmed. A rather scruffy copy, with soiling and pitting to vellum, upper joint cracked, endsheets tanned, pencil portrait of unidentified young male on rear blank, extensive pencil highlighting in “Panthea,” occasional minor spotting; just a sound copy.

First edition, first issue, of the author’s first substantial book publication, preceded by the pamphlet Ravenna and the acting edition of Vera. The first edition consisted of 750 copies, of which 500 copies were bound up and issued with cancel prelims denoting them the second and third “editions.” Laid into this copy is an example of Wilde’s printed calling card (with a small spot of sealing wax on verso), which bears the pencil address of the Austro- Hungarian Consulate in Wilde’s hand. MASON/MILLARD 304. $1250.

535. Wilde, Oscar: A HOUSE OF POMEGRANATES. London: James R. Osgood McIlvaine, 1891. Small quarto. Gilt green cloth backed cream cloth over boards, elaborately decorated in gilt and red. Plates, illustrations and decorated endsheets. Binding a bit darkened, with some pale discolorations at edge, 1895 ownership signature on preliminary blank, corners a trifle worn, the plates by Shannon somewhat faded (as usual) but still legible, a few small nicks and a short tear to the edges of the front free endsheet but a good, sound copy, a few leaves unopened.

First edition. Design, illustrations and decorations by C. Ricketts and C. Shannon, with plates by the latter. One of one thousand copies printed. Mason/Millard gives an account of the circumstances which led to the faint state of the Shannon plates. Contains four short stories: “The Young King” (which first appeared in The Lady’s Pictorial, Christmas Number, 1888), “The Birthday of the Infanta” (which first appeared in Paris Illustré, March 30, 1889), “The Fisherman and His Soul,” and “The Star-Child.” Because of its physical construction, a book very difficult to find in agreeable condition. MASON/MILLARD 347. $1250.

536. [Wilde, Oscar]: CHILDREN IN PRISON AND OTHER CRUELTIES OF PRISON LIFE. London: Murdoch & Company, [1898]. 16pp. Printed wrappers. Early cellotape backing along wrapper spine, a bit dusty, otherwise about very good.

First printing in booklet form of Wilde’s letter about the Warder Martin case, first published in The Daily Chronicle on 28 May 1897 – Martin had been dismissed as warder at Reading Prison for having shown kindness and giving food to a hungry child prisoner. The publisher included a prefatory note to this printing of the text, seeking relief and assistance for Martin, who was at that time still unemployed. The text was later reprinted with similar documents in De Profundis. MASON/MILLARD 26. $1750.

537. [Wilde, Oscar]: AN IDEAL HUSBAND. “By The Author of Lady Windermere’s Fan.” London: Leonard Smithers and Co., 1899. Small quarto. In unsigned three quarter green morocco of recent vintage, raised bands, marbled endsheets, t.e.g., with gilt floral device in spine compartment, crowned by red petals. First edition, trade issue. One of one thousand copies printed. Usual faint uniform tanning to the textblock, otherwise a very good to fine copy. MASON/MILLARD 385. $1250.

538. Wilde, Oscar: THE PICTURE OF DORIAN GRAY. London & New York: John Lane the Bodley Head / Dodd, Mead & Co., [1925]. Large octavo. Elaborately gilt decorated black cloth, t.e.g. Frontis and eleven plates, as well as decorations, by Henry Keen. Introduction by Osbert Burdett. First illustrated edition thus, U.S. issue, with the Dodd/Mead imprint at the toe of the spine. Slight bump to crown of spine, otherwise very good and bright, in dust jacket with slight fraying at crown of spine and small surface adhesion affecting three letters in the title. $225.

539. Williams, Jonathan: ELITE / ELATE POEMS SELECTED POEMS 1971 – 75 ... A PORTFOLIO OF PHOTOGRAPHS BY GUY MENDES.... [Np]: Jargon Society, 1979. Small quarto. Cloth. Photographs. Fine in spine-sunned dust jacket with light use along the top edge.

First edition, published as Jargon 91. Introduction by Guy Davenport. One of 150 numbered copies, signed by the author. Laid in is an original 8x10 print of Mendes’ photograph, “Home, Cow, and Country,” initialed and dated by him on the verso in pencil. $250.

540. Williams, Tennessee, and Peter Berneis [screenwriters]: Complete Set of Studio Lobby Cards for THE GLASS MENAGERIE. [Np]: Warner Bros., 1950. Eight 11 x 14 color pictorial lobby cards. Poster exchange stamp and blindstamp on verso of title card and card #7, some light largely marginal smudges and dust marking, mild discolorations to four blank left margins, but overall, a bright set, about very good.

A complete set of the lobby cards issued to promote the screen adaptation of Williams’s play, based on a screenplay co-written by Williams and Peter Berneis. Irving Rapper directed, and Jane Wyman, Kirk Douglas, Gertrude Lawrence and Arthur Kennedy starred. The film was b&w, but the images here are all rendered in color. $175.

541. Williams, Tennessee, and Peter Berneis [screenwriters]: Original Half Sheet for THE GLASS MENAGERIE. [Np]: Warner Bros., 1950. Oblong folio (22 x 28”) color pictorial half- sheet. Formerly folded and now rolled, distribution stamp and date in lower margin (the latter on verso), filing codes on blank verso, a bit of mild smudging in a few places in the margins, but a very good or somewhat better example, the images fresh and bright.

A studio half sheet poster issued to promote the screen adaptation of Williams’s play, based on a screenplay co-written by Williams and Peter Berneis. $95.

542. [Williams, Tennessee (sourcework)]: Brooks, Richard [screenwriter]: CAT ON A HOT TIN ROOF FROM THE PLAY BY TENNESSEE WILLIAMS. [Np]: Avon Productions, 24 January – 14 February 1958. [1],A1,121,[1] leaves, plus lettered inserts, and an additional gathering of 49 supplemental leaves of dated revises. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in mimeographed production company wrappers, stamped “Temporary Complete.” Some corner creasing, wrappers dust darkened at edges; first and last leaves of bradbound supplementary leaves detached and chipped; a good copy.

An unspecified but preproduction draft of this adaptation, with sequences of dated revises through the three week span noted above – those leaves in the supplementary gathering, intended to replace the equivalent sequences in the main script, are from 14 and 17 Febru- ary, while those in the main script date from 24 January through 4 February. Upon release in September, Brooks shared credit for the screenplay with James Poe, whose contribution is not denoted in this draft. Brooks directed the multi-award nominated adaptation of Williams’s 1955 play, starring Elizabeth Taylor, Paul Newman, and Burl Ives. An uncommon and very significant screenplay. $1650. 543. Williams, William Carlos: W.C.W. – F.H.W. APRIL 18, 1959 [wrapper title] – TO BE RECITED TO FLOSSIE ON HER BIRTHDAY [caption title]. [New York: Printed for Florence Williams at the Press of Igal Roodenko, 1959]. French-fold leaflet, printed on laid oriental paper. Near fine.

First edition. One of one hundred copies printed for the author’s wife. The poem saw first periodical publication in the winter 1960/61 issue of Inscape, and was finally collected in Pictures From Brueghel (1962). The imprint is of note as well, being the private press maintained by the distinguished activist/pacifist. WALLACE D18. $150.

544. Williams, William Carlos, and Charles Tomlinson: THE LETTERS OF WILLIAM CAR- LOS WILLIAMS & CHARLES TOMLINSON. New York: Dim Gray Bar Press, 1992. Quarter morocco and boards. Fine.

First edition. Edited by Barry Magid and Hugh Witemeyer, with an introduction by Hugh Ken- ner. One of twenty-six lettered copies, specially bound, in addition to 150 numbered copies, all printed on Arches text at the Center for Book Arts, and signed by Tomlinson. $300.

545. Wister, Owen: OWEN WISTER’S MEDICINE BOW. [Salisbury, VT: Lime Rock Press, 1981]. Quarto. Cloth. Photographs by Tryntje Van Ness Seymour. Fine, enclosed in clamshell box, with accompaniments (see below). Box label has a small smudge.

First edition, deluxe issue. One of 100 numbered copies, signed by the photographer, from a total edition of six hundred published to coincide with the designation of the General Store in Medicine Bow as a landmark. This issue is accompanied by four original 7 x 9.5 inch matted prints of Seymour’s photographs, signed on the verso by her, and by a printed envelope containing a variety of related items, including printed texts and a commemorative ribbon. The original prospectus is also present. $350.

546. Woolf, Virginia: THE COMMON READER. London: Published by Leonard & Virginia Woolf at the Hogarth Press, 1925. Cloth and pictorial paper boards. Tipped-in bookplate of Abel Berland, small bump to lower edge of upper board, faint offset from jacket to boards, otherwise a very good or better copy, in a good, unrestored example of the uncommon Van- essa Bell dust jacket (a bit tanned, somewhat chipped at crown of spine and upper corners, affecting the ‘TH’ and ‘C’ in the spine titling, with shallow loss at the toe of spine, and some fraying along the lower joint).

First edition, first binding. The entire first printing consisted of 1250 copies. An uncommon jacket in any condition. WOOLMER 81. KIRKPATRICK A8a. $4250.

547. Woolf, Virginia: THE YEARS. London: The Hogarth Press, 1937. Green cloth. First edition (18,142 copies printed). Spine a trace darkened, with tiny pinpoint spot on upper board, endsheets very faintly foxed, but a very good or better copy in modestly dust-soiled Vanessa Bell jacket with a 2cm closed tear at the top edge of the front panel and very shallow chipping at the crown and toe of the spine. WOOLMER 423. KIRKPATRICK A22a. $1750.

548. Wyman, Lillie Buffum Chace: AMERICAN CHIVALRY. Boston: W.B. Clarke Co., 1913. [4],148pp.plus inserted portraits and facsimiles. Gilt lettered navy blue cloth. Some sizing speckling to upper cover, most noticeably at the lower fore-corner, otherwise a very good copy.

First edition of this collection of memoirs and informal biographical treatments of prominent reformers and abolitionists, by the daughter of one among them, and widow of another. Subjects include Wendell Phillips, Elizabeth Chase, Sojourner Truth, John Crawford Wyman, et al, and facsimile letters from some of the subjects are included. Affixed to the front free endsheet is a compliments card from the author (“Mrs. John C. Wyman”) and to the pastedown an autograph envelope from the author to Rev. Joseph H. Twichell, the Hartford clergyman, reformer, friend of Mark Twain and other literati, who figures occasionally in the text. En- closed is a two page autograph letter, in pencil on two leaves, 19 August 1913, postmarked Newton Mass, from the author, concerning her personal situation and the difficulty of writing the section about her late husband, John Wyman. A portion of the top blank margin of the first leaf is torn away, not affecting the text. $250.

549. Yeats, William Butler [ed]: A BOOK OF IRISH VERSE SELECTED FROM MODERN WRITERS WITH AN INTRODUCTION AND NOTES BY.... London: Methuen and Co., 1895. Green cloth, stamped in gilt, fore and bottom edges untrimmed. Some foxing at edges, cloth slightly darkened, but a very good copy,

First edition. Yeats’s Introduction is dated August 5, 1894. With a 32pp. terminal catalogue dated January 1895. According to Roth the edition consisted of 1500 copies, 900 of which were reissued in 1900 with revised prefatory matter (described by Wade in a note as a revised “edition”). WADE 225. ROTH 47. $500.

550. Yeats, William Butler: POEMS. London & Boston: T. Fisher Unwin / Copeland and Day, 1895. Tan cloth, elaborately stamped in gilt after a design by H.G. Fell, t.e.g. Spine faintly darkened, with a couple minor marks, else near fine.

First edition, US issue, with the cancel title-leaf. This copy is of the form of this issue with the joint imprint on both the title page and at the toe of the spine. Wade suggests, based on the observations of others, that some (the earliest?) copies have only Unwin’s name on the title, and Copeland & Day’s imprint added to the spine only. However, the upcoming Wade revision provisionally (as of early 2004) assigns “first issue” status to those copies in this form. The British issue consisted of 750 copies; the number of copies issued in this form is unrecorded, although Kraus indicates that 117 copies remained in the Copeland & Day stock in May of 1899. This American issue features gilt top edges; those of the British issue are not gilt. WADE 16. KRAUS 29. $3000.

551. Yeats, William Butler: POEMS. London: T. Fisher Unwin, 1895. Tan cloth, elaborately stamped in gilt after a design by H.G. Fell, edges untrimmed. Lower forecorners bumped, front inner hinge cracking, old bookseller’s description on pastedown, but a very good copy.

First edition, trade issue. One of 750 copies printed, in addition to the deluxe issue on vellum, and an unknown number of copies for U.S. distribution. Yeats’s first “collected” edition, with many of the poems specifically revised for their appearances here. In coming years, Yeats would frequently return to “cutting out the dead wood,” as he described the revision process leading up to the 1927 form of this collection. WADE 15. $3000.

552. Yeats, William Butler: THE WIND AMONG THE REEDS. London: Elkin Mathews, 1899. Blue cloth, elaborately stamped in gilt after a design by Althea Gyles, untrimmed. Gilding patinated and moderately rubbed, faint tan offsetting to endsheets, as usual, stringmark at fore-edge of lower board, a couple minor spots to lower board, but for this book, a very good copy.

First edition, ordinary binding. One of ca. 500 copies. This copy does not contain the errata slip inserted in some (later) copies. Yeats sent Mathews a request for the errata slip, and copy for it, within days of publication, and in the same letter remarked on the problem presented by the poor stamping of the Althea Gyles designs on the ordinary cloth copies: “I have seen several copies in which the gold of the title was very badly blurred & smeared. This greatly spoiled the effect & was in some cases so bad that the binder ought really to have rebound the copies” (Letters II, p.401). “This remarkable book may well be, in the judgment of posterity, the sole rival of A Shropshire Lad for the position of the most significant verse production in England in the eighteen-nineties” – Norman Colbeck. A book which has grown to be somewhat uncommon in recent years. WADE 27. MODERN MOVEMENT 41 (ref). COLBECK II, pp. 960-3. $2250. Inscribed to Lady Gregory

553. Yeats, William Butler: IDEAS OF GOOD AND EVIL. London: A.H. Bullen, 1903. Green cloth and boards, paper spine label, edges rough-trimmed. Edges and end leaves foxed, lower corner bumped, a couple scratches to label, else very good.

First edition, British issue. One of 970 copies, from a total edition of 1490 copies that also included 520 copies with the U.S. imprint. With Lady Gregory’s bookplate. Inscribed in the month of publication: “Lady Gregory from her friend WB Yeats May 9, 1903.” A collection of Yeats’s essays on art and literature (including those on William Blake) collected from their previous appearances in periodicals, 1895 – 1902. Lady Gregory recorded the circumstances of her first meeting with Yeats, and the birth of a friendship central to modern Irish literary history in ‘Our Irish Theatre’: “On one of those days at Duras in 1898, Mr. Edward Martyn, my neighbour, came to see the Count (de Basterot), bringing with him Mr.Yeats, whom I did not then know very well, though I cared for his work very much and had already, through his directions, been gathering folk-lore. They had lunch with us, but it was a wet day, and we could not go out. After a while I thought the Count wanted to talk to Mr. Martyn alone; so I took Mr. Yeats to the office where the steward used to come to talk, less about business I think than of the Land War or the state of the country, or the last year’s deaths and marriages from Kinvara to the headland of Aughanish. We sat there through that wet afternoon, and though I had never been at all interested in theatres, our talk turned on plays. Mr. Martyn had written two, The Heather Field and Maeve. They had been offered to London managers, and now he thought of trying to have them produced in Germany where there seemed to be more room for new drama than in England. I said it was a pity we had no Irish theatre where such plays could be given. Mr. Yeats said that had always been a dream of his, but he had of late thought it an impossible one, for it could not at first pay its way, and there was no money to be found for such a thing in Ireland. We went on talking about it, and things seemed to grow possible as we talked, and before the end of the afternoon we had made our plan. We said we would collect money, or rather ask to have a certain sum of money guaranteed. We would then take a Dublin theatre and give a performance of Mr. Martyn’s ‘Heather Field’ and one of Mr. Yeats’s own plays, ‘The Countess Cathleen’. I offered the first guarantee of £25.” WADE 46. $27,500.

Inscribed to an Abbey Theatre Associate

554. Yeats, William Butler: THE KING’S THRESHOLD: AND ON BAILE’S STRAND: BEING VOLUME THREE OF PLAYS FOR AN IRISH THEATRE. London: A.H. Bullen, 1904. Green cloth and blue-grey boards, paper spine label, edges untrimmed. A trace of foxing to the boards, else near fine in remnants of glassine wrapper.

First British edition. Inscribed: “To Miss Spencer with many thanks for many labors from WB Yeats March, 1904” (the month of publication). The recipient was likely Alice Spencer, Ann Horniman’s friend, who undertook various translation tasks for Abbey Theatre productions during this period (see Letters III, pp. 289 & 657). WADE 56. $5750.

Inscribed to Ann Horniman

555. Yeats, William Butler: POEMS, 1899 – 1905. London & Dublin: A.H. Bullen / Maunsel & Co., 1906. Blue cloth, spine elaborately stamped in gilt, edges untrimmed. Spine faintly rubbed, small bruise to lower edge of rear board, else near fine.

First edition. Inscribed in the month of publication: “To Miss Horniman from her friend the writer. Oct. 1906.” Horniman, the daughter of a wealthy tea merchant, joined the Order of the Golden Dawn in January 1890, the context in which she first met Yeats. In later years, Horniman was the primary patron of the Abbey Theatre and served, for a time, as Yeats’s amanuensis. For a substantial account of her connection with Yeats, see pp. 709-713 of Letters III. WADE 64. $16,500.

556. Yeats, William Butler: SELECTED POEMS. New York: Macmillan, 1921. Printed pale blue-gray boards, with decorations after designs by T. Sturge Moore. Christmas 1926 gift inscription on half-title, fragile boards have shallow chips and cracks at spine ends, trace of tanning to spine, otherwise a very good copy in half morocco folding clamshell box.

First edition, trade issue, of this selection published in the Macmillan Uniform Edition. Signed by Yeats on the title-page. This binding is one of the two forms noted by Wade. $2000.

557. 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 blue endsheets, minor rubbing to spine tips and a few minor flecks 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 #101 of 642 numbered copies, signed by the author. WADE 164. MODERN MOVEMENT 56b. $3500.

558. Yeats, William Butler: THE WINDING STAIR. New York: The Fountain Press, 1929. Loose, gathered signatures. Fine, in half morocco folding case.

Sheets of the published issue of the first edition, limited to 642 numbered copies, printed on handmade paper and signed by the author. However, the colophon accompanying these sheets is not numbered, nor is the requisite leaf signed. This is the set of unbound sheets erroneously reported in ABPC as bearing the Crosby Gaige imprint (the first issue), sold at Swann Galleries, 12 November 1987, lot 336. WADE 164. MODERN MOVEMENT 56b. $850.

559. Yeats, William Butler: THE WINDING STAIR AND OTHER POEMS. London: Macmillan and Co., 1933. Green cloth, elaborately stamped in blind and gilt after a design by T. Sturge Moore, edges untrimmed. Light foxing to endsheets and top edge, else near fine in very good pictorial dust jacket based on the binding design, with small creased tears at crown of spine and one corner and a bit of light soiling.

First edition, a collective gathering of poems from preceding limited editions. One of two thousand copies. Signed by Yeats beneath his printed name on the title-page. Along with The Tower, this collection prints “the greatest poetry of Yeats in his difficult later manner... They constitute a peak in English poetry” – Connolly. And like The Tower, one of the more difficult of Yeats’s ordinary trade editions to find in either signed or inscribed state. WADE 169. MODERN MOVEMENT 56b. $6500.

Inscribed to Edith Shackleton Heald

560. Yeats, William Butler: A VISION. London: Macmillan & Co., 1937. Black cloth and decorated boards. Portrait. Top edge sunned, else a very good copy, without dust jacket.

First revised edition, earliest binding. One of 1500 copies. Inscribed on the day of publication: “Edith Shackleton from her friend WBY. Oct 7, 1907.” A good association copy: Edith Shackleton Heald (d. 5 November 1976) was one of Yeats’s closest companions in his later years, and his last mistress. Heald had a considerable career as a journalist and served as the first female reporter in Britain’s House of Lords. She met Yeats in 1937, via Edmund Dulac and Helen Beauclerk, and he visited her often, staying at the house she maintained with her sister in Steyning while dealing with business in London or in Penns. The date of this presentation coincides with such a visit, of some six weeks duration, recorded by Foster (II, p. 599). She came to his bedside the day before Yeats’s death, and the following night, she and George alternated in keeping vigil over his body. In 1944, Heald embarked on a three decades long relationship with the artist Hannah Gluck. WADE 191. $9500.

561. Yeats, William Butler, and Edwin John Ellis [eds]: THE WORKS OF WILLIAM BLAKE POETIC, SYMBOLIC, AND CRITICAL ... WITH LITHOGRAPHS OF THE ILLUSTRATED ‘PROPHETIC BOOKS,’ AND A MEMOIR AND INTERPRETATION.... London: Bernard Quaritch, 1893. Three volumes. Large, thick octavo. Original green cloth, spines and upper covers elaborately decorated in pictorial gilt after designs by Blake, t.e.g., others untrimmed. Portrait, facsimiles, and plates. Some modest rubbing at extremities, but a quite bright, sound, very good, or better, set.

First edition. One of five hundred sets comprising the regular paper issue. Controversial in its interpretation of Blake’s texts, this work nonetheless remains, in this issue and binding, something of a landmark of 1890s book production. “The enthusiasm and comprehensive- ness of this work are of considerable historical importance” – Bentley. Wade quotes Yeats’s inscription in his own copy about the nature of this collaboration: “The writing of this book is mainly Ellis’s, the thinking is as much mine as his. The biography is by him. He re-wrote and trebled in size a biography of mine. The greater part of the ‘symbolic system’ is my writing; the rest of the book was written by Ellis working over short accounts of the books by me, except in the case of the ‘literary period’ the account of the minor poems, & the account of Blake’s art theories which are all his own except in so far as we discussed everything together....” WADE 218. BENTLEY 369. $3000.

562. Zimmerman, Paul D. [screenwriter]: THE KING OF COMEDY A SCREENPLAY. New York: Bob Greenhut [and:] Gurena A.G & New Regency Films, [15 December 1976 & nd]. Two volumes. [1],133 leaves and [1],105 leaves. Quarto. Mimeographed typescript, printed on rectos only. Boltbound in hot-stamped Studio Duplicating Service binders. Ink name in each (see below), one title-leaf a bit frayed at extreme foremargin, else about fine.

Two substantially different drafts of this original screenplay, the undated draft being denoted a “final draft.” Production began in June 1981, and the film was not released in the U.S. until February 1983, so the dated draft (at least) is rather early. Martin Scorsese directed, and Robert De Niro, Jerry Lewis, Diahnne Abbott, and Sandra Bernhard played the leads. Zimmerman’s screenplay won a BAFTA award for its year as Best Original Screenplay, and the film received four other BAFTA nominations, including Best Actor for De Niro and Best Director for Scorsese. It also won Film of the Year from the London Critics Circle. Both drafts bear the ownership signature of Les Lazarowitz, credited sound mixer for the production. $850.