sign in sign up
<<
Home , Andrew Hoyem, And Now Tomorrow, Arion Press, Bible paper, Bookplate, Calder Willingham

And Rare A Miscellany.

1502 - 2000

Catalogue 298

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 consid- ered 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 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 Fax machines 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 inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.

______We invite you to visit our web site: www.reeseco.com Where color images of many of the items in this catalogue are available. Over thirty-five thousand items from our inventory are searchable on our site and may be ordered directly via a secure server. Images associated with many items from this catalogue are also posted on our web site, and significant new acquisitions are posted there long before they appear on any of the collective databases.

Those wishing to receive e-mail notification of the posting of new catalogues and lists to our website may request same by forwarding expressions of interest to [email protected] ______William Reese Company 409 Temple Street New Haven, CT. 06511 USA Phone: 203.789.8081 Fax: 203.865.7653 e-mail: [email protected] Members ABAA and ILAB Cover image: Item No. 320 The Hoe Copy of the 1. : [Title in Greek:] ... ÆSCHYLI TRAGOEDIAE SEX, GRAECE. [Venetiis: In aedibus Aldi et Andreae Soceri, Febrvario 1518]. 113,[1] leaves. Small (155 x 95 mm). Full citron morocco, heavily decorated with a mosaic pattern in gilt, with red and black morocco inlays, raised bands, gilt compartments with inlays, heavily gilt decorated pale violet-rose morocco doublures, gilt over marbled edges, gold foil onlaid to free endsheets, unsigned but possibly by Tarutz-Bauzonnet. Printed in Greek type, with the in italic. Aldine anchor on title and . With the gilt monogram on the front doublure, and on endsheet verso, of collector Robert Hoe. Minor to prelims and terminal leaves, otherwise a fine copy, in cloth chemise and full morocco solander case.

The first in form of the Greek text of some of Aeschylus’s Tragedies, edited for the press by Franciscus Asulanus, and with a preface by Francesco Torresani. Although printed a few years after the death of Aldus the Elder, this continued the tradition of his program for the classics of Greek and literature from manuscript sources. Unfortunately, this edition is also notable for the editor having not noticed that the manuscript source on which he was relying lacked some leaves, including the last part of Agamemnon and the first part of Choephori, resulting in the presentation of the incomplete works as one continuous text. GOLDSMID 145. RENOUARD 85:9. BM (ITALIAN STC), p.8. ADAMS A262. BRUNET I:77.\ $35,000. 2. [African American ]: Original studio lobby card for RHYTHM AND BLUES REVUE. []: Studio Production, [1955]. Vintage 11 x 14” pictorial lobby card. faintly tanned, minor use at corners, very good or better. An uncommon lobby card for this documentary, filmed at the Apollo Theatre, directed by Joseph Kohn and Leonard Reed, featuring Count Basie, Joe Turner, Sarah Vaughan, (featured on this card), Nat King Cole and many, many more. Any form of publicity relating to the original release of this film is rare. $350.

3. [Alechinsky, Pierre]: Caillois, Roger: UN MANNEQUIN SUR LE TROTTOIR. [Paris]: Yves Rivière, [1974]. Small . Folded sheets, laid into chemise and decorated board slipcase. Illustrations in color by Alechinsky. Slipcase a bit smudged and edgeworn, contents fine. First edition. A facsimile of Caillois’s corrected typescript, accompanied by color full- and in/over text illustrations by Alechinsky. One of a total edition of 450 numbered copies, signed by the author and by the artist. $750.

4. Alken, Henry: IDEAS, ACCIDENTAL AND INCIDENTAL TO HUNTING, AND OTHER SPORTS, CAUGHT IN LEICESTERSHIRE, &C. : Published by Thomas M’Lean, [1826-30]. Title leaf plus 42 colored plates. Folio (37 x 26.5 cm). Full forest green crushed levant, gilt, raised bands, t.e.g., with interleaves inserted between plates, by Hatchards. Some largely marginal foxing and spotting, a few careful early repairs to a margin here or there, elongated rust mark on verso of one plate not affecting recto, a few minor nicks to binding fore-tips and edges, otherwise a very good or better copy, the images generally fresh and bright.

First edition of this series of hand-colored soft ground etchings, published in sequence over the span of four years. Tooley notes that “a fire consumed part of the stock, and the plates were reissued in oblong folio. These latter are inferior.” The plates most often depict mishaps on horseback, racing or in carriages, and in the field, with a few ventures into other pastimes, including fishing. TOOLEY 36. SCHWERDT I:17. SILTZER, p. 17. $9500.

5. [Alken, Henry]: Reynardson, C.T.S. Birch: ‘DOWN THE ROAD’ OR REMINISCENCES OF A GENTLEMAN COACHMAN. London: Longmans, Green, and Co., 1875. xxi,[3],230pp. plus frontis, pictorial extra-title, and eleven chromolithographed plates. Three quarter red morocco, raised bands, gilt extra, t.e.g., by Morrell. First edition. Illustrations chromolithographed by Hanhart after designs by Henry Alken. In spite of tissue guards, the plates have offset to facing leaves a bit, some occasional marginal foxing and thumbing, but a very good copy. $300.

6. [Allahabad Mission Press]: Caleb, John James: INTILÁB I TARIKH I KALÍSYÁ. Allahabad: Printed at the Allahabad Mission Press, 1871. vi,172pp. Large octavo. Blue cloth, stamped in gilt. Title printed in red, green and black. Text in double columns. Illustrations. Crown of spine has shallow loss, uniform toning to textblock, a few hand smudges, but a good copy. First edition. A translation into romanised Urdu by Caleb of anecdotes from the and church history. The title indicates the edition consisted of 500 copies. Caleb is associated with a number of the translations from English and other publications under the Press’s imprint. $125.

7. Amis, Martin: THE RACHEL . London: Cape, [1973]. Gilt cloth. First edition of the author’s first book. Small erasure mark in upper corner of free endsheet, else a fine copy in near fine with a bit of the almost inevitable sunning to the spine panel. $750.

8. Amis, Martin: DEAD BABIES. London: Cape, [1975]. Gilt cloth. First edition of the author’s second book, signed by him on the title-page. A fine copy in near fine dust jacket with a bit of the almost inevitable sunning to the colored horizontal bars across the spine panel. $850.

9. [Anonymous]: “Friend to Mankind, A”: THE PHILOSOPHICAL MONITOR; BEING AN INVESTIGATION OF THE CAUSES, WHICH DIMINISH THE MORAL AND PHYSICAL PERFECTION OF HUMAN SOCIETY: IN WHICH MANY HEREDITARY POPULAR CUSTOMS, GENERALLY SUPPOSED INNOCENT, AND SHEWN TO BE PRODUCTIVE OF INDIGENCE, DISEASE, AND PREMATURE TERMINATION OF LIFE. Published in the United States: For the Benefit of the Public, 1818. 34pp. 12mo. Original paper over birch boards. Some foxing, binding a bit soiled with some small nicks to edges of boards, early ink inscription on endsheet (“Friends Academy”), but a good copy of a fragile book. First and only edition of this native guide to behavior, proper eating and such. The anonymous author fulminates against a variety of things: shaving, sugar (“a poisonous substance”), over fermentation of bread dough, metallic oxides, the use of stoves, corsets, war, slavery, theatrical amusements, etc. Scarce: OCLC locates a single copy, at New York Historical Society. OCLC: 122362285. SHAW & SHOEMAKER 45323. $175. 10. [Apperley, Charles James]: Nimrod [pseud]: THE LIFE OF A SPORTSMAN ... WITH THIRTY-SIX COLOURED ILLUSTRATIONS BY HENRY ALKEN. London: Rudolph Ackermann, 1842. vi,[2],402pp. plus five leaves of adverts. Large octavo. Fine grain blue cloth, decorated in blind and gilt, a.e.g. Color frontis, pictorial title and 34 hand-colored aquatint engravings after designs by Henry Alken. Spine gilding slightly rubbed, inner hinges cracking but webbing still sound, slight marginal foxing to frontis and title and a few tissue guards, but in general, an unusually nice, bright copy. Half morocco clamshell box. First edition, in Tooley’s first issue, with four of the plates mounted with printed captions. “Considered by many to be the premier coloured plate sporting book in the 19th century, by others as sharing this honour with Jorrock’s Jaunts” – Tooley. Uncommon in original cloth. TOOLEY 65. $3000.

11. Barclay, John: BARCLAY HIS ARGENIS. OR, THE LOVE OF POLYARCHUS & ARGENIS. FAITHFULLY TRANSLATED OUT OF LATIN INTO ENGLISH ... TOGETHER WITH A KEY PRÆFIXED TO UNLOCK THE WHOLE STORY. London: Printed for Henry Seile, 1636. [36],719,[1]pp. Large octavo.. Full modern calf to contemporary style, spine heavily gilt extra, gilt label, a.e.g.. Engraved title, woodcut head and tail-pieces, and 24 full-page engravings, including a portrait, by Leonard Gaultier and Claude Mellon. Top margin of title shaved just slightly touching the plate mark, blank upper fore-corner of 2F5 torn away, two short marginal tears with obvious mends, terminal leaf creased, with mend at toe of blank verso along with some early ink scribbles, occasional tanning, minor discolorations, and inky finger smears, a few instances of early marginal annotations or underscores, early ink ownership signature of “Anne Duckett,” with another obscured in a top margin by an early overlay; still, a good copy in an attractive period pastiche binding. With a 19th century bookplate, and considerable neatly penned learned comments on the retained earlier binder’s blanks. First illustrated edition of this translation by Kingsmill Long, first published in 1625 under Seile’s imprint. Although this edition is denoted the “Second Edition, Beautified with Pictures,” there were prior reprinting/editions in 1628 and 1629. Barclay’s prose romance was first printed in Paris, in Latin, in 1621, shortly after the author’s death under suspicious circumstances. It “has been admired by Richelieu, Leibnitz, Jonson, Grotius, Pope, Cowper, Disraeli, and Coleridge ... To it were indebted, in whole or in part, Fénelon’s ‘Telemaque,’ du Ryer’s tragi- ‘Argenis et Poliarque,’ Calderon’s ‘Argenis y Poliarco,’ an Italian play ‘Argenide,’ by de Cruylles, and a German play by Christian Weysen, 1684. The ‘Argenis’ was soon translated into French, Spanish, and German ... There have been [subsequent] translations into Italian, Dutch, Greek, Hungarian, Polish, Swedish, and Icelandic” – Catholic (online). ESTC S100846. STC 1395. $850.

Association Copy 12. Barry, Philip: FOOLISH NOTION A COMEDY. New York: Brandt & Brandt Dramatic Dept. Inc., [1945]. [3],167 leaves. . Carbon typescript on flimsy, bradbound in printed agency wrappers. Wrappers chipped and mended around spine, and at edges, ownership stamp and some relevant pencil notes; typescript very good. A production script for this original comedy by Barry, with the ownership stamp of influential theatrical designer, Jo Mielziner, who prepared the scene and lighting design for the opening Broadway production at the Martin Beck Theatre (12 March – 9 June 1945). Some pencil underscores early on pertain to the set (the entire play takes place in the of the Hapgood house). Another note (“New Haven Feb 1”) suggests a traditional preview may have taken place there. Tallulah Bankhead, Henry Hull and Donald Cook were among the premiere cast of the Theatre Guild Production, directed by John C. Winston. OCLC does not record separate publication of this play. $600.

13. [Barry, Phillip]: Three color studio lobby cards for THE BARGAIN. []: First National and Vitaphone Pictures, [1931]. Three vintage 11 x 14” color lobby cards. Isolated dark spotting in blank margins and affecting one title bar, pinholes at margins from display, else a good, bright lot. Three lobby cards for a film, now presumed lost, based on an adaptation of Philip Barry’s 1923 Harvard Workshop 47 prize play “You and I,” by Robert Presnell, Sr. The film was directed by Robert Milton, and starred Lewis Stone, Evalyn Knapp, Doris Kenyon, and Charles Butterworth, with praise to Una Merkel and Mr. Butterworth. As a contemporary review noted: “As the improvised model, Miss Merkel makes the most of her part. Her confusion when she is asked to pose set the rafters ringing yesterday. Her attempts to portray ‘joy, wonder, consecration’ brought helpless tears. In Philip Barry, it would appear, both Miss Merkel and Mr. Butterworth have an author worthy of their talents” – Mordaunt Hall, NYT, September 5, 1931. $250.

14. [Bass, Saul]: Greene, Graham [screenwriter]: Original color title lobby card for SAINT JOAN. [Century City]: , 1957. Vintage 11 x 14” color studio lobby card. 2.5 cm creased closed tear in right margin repaired on blank verso, small nick in lower margin, darkened and bumped at four corners, else very good. The title card for the lobby set for the 1957 reimagining of Shaw’s play, based on an adaptation by , and directed by Otto Preminger. The film starred Richard Widmark, Richard Todd, Anton Walbrook, , and marked the film debut of Jean Seberg. As he did for many of Preminger’s productions of the period, Saul Bass designed the titles and promotional paper. WOBBE D14. $250.

15. Bazaine, Alain [illustrator]: L’ÊTRE PERDU. By Alain Delahaye. [Paris]: Maeght Éditeur, [1977]. Large octavo. Loose signatures laid into printed wrappers. Fine in cloth chemise and slipcase. First edition. Illustrated with four color lithographs by Bazaine, each signed in pencil by him in the margin. This is one of forty numbered copies, signed by the author and artist, with an extra suite of the lithographs printed on Japon Nacré and signed by the artist, from a total edition of 620 copies printed on vélin d’Arches. Bazaine (1904-2001) enjoyed a considerable reputation for both his painting and his monumental works in stained glass. MONOD 3558. $1500. 16. Beard, Mark: MANHATTAN THIRD YEAR READER. New York: Vincent Fitzgerald & Company, 1984. Oblong folio (28.5 x 37.5cm). Red silk over boards, lettered in blue, by Gerard Charriere. Illustrated with seventeen images incorporating thirty-five color linocuts. Bookplate on front pastedown, vertical crease in the tissue-like front free endsheet, otherwise about fine. First edition of the first of the artist’s autobiographical visual , with the text reproduced by silkscreen from his manuscript, complemented by the array of linocuts printed on a variety of papers and incorporating occasional onlays, pullouts, foldouts, applied surfaces, highlighting, collage effects, handcoloring, photographs, etc. One of a total edition of thirty numbered copies, signed by the artist. $6000.

17. Bemelmans, Ludwig: HOTEL SPLENDIDE New York: Viking, 1943. Decorative brocade cloth. Illustrations by the author. A very near fine copy in lightly rubbed slipcase. First edition, limited issue. Copy #2 of 245 numbered copies (of 305), specially bound in “the draperies of a famous New York Hotel” and signed by the author. $300.

18. Bennett, Arnold: THE OLD WIVES’ TALE A ... London: Chapman & Hall, 1908. Pale violet cloth, lettered in white. First edition of the author’s most widely admired novel. As usual, the white stamping on the spine is a bit faint, there’s some foxing to the fore-edge and lower edges of the prelims, and there are a few minor spots to the cloth. All together, a somewhat above average copy of a book notoriously difficult to find in collector’s condition. Handsome half morocco slipcase and chemise. NCBEL IV:430. $175.

19. [Bentley, E. C.]: Dinelli, Mel [screenwriter]: TRENT’S LAST CASE ... SCREENPLAY BY… [caption title]. [Culver City]: Vanguard Films, Inc., 22 May 1947. [1],109 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in typed wrappers, with Vanguard property leaf. Trace of rust from brads to inside of wrappers, script number stamped on upper wrapper, else near fine. A first draft of this adaptation of Bentley’s 1913 novel, evidently unproduced in this version. It was realized on the screen (for the third time) in 1952, but based on a script by Pamela Bower. In the 15 years following WWII, Dinelli was associated as writer with a number of filmed thrillers and noir-staples. His screen credit just prior to this project was The Spiral Staircase. $175.

20. Berry, Wendell: NOVEMBER TWENTY SIX NINETEEN HUNDRED SIXTY THREE...DRAWINGS BY . New York: Braziller, [1964]. Oblong octavo. Decorated cloth. Fine in lightly rubbed and smudged slipcase. First edition, deluxe issue. One of an unspecified number of copies printed on handmade paper, and signed by Berry and Shahn. $250. A Noblewoman’s Copy 21. [Bible- English]: THE HOLY BIBLE, CONTAINING THE OLD TESTAMENT AND THE NEW: NEW TRANSLATED OUT OF THE ORIGINAL TONGUES ....

Oxford: Printed by T. Wright and W. Gill ..., 1770. Not paginated. A8-3C5, †A8-

†M4, 3D8-3S6. Thick octavo. Contemporary unlettered red morocco, spine gilt extra, covers with gilt roll of vines at edges, with oval black morocco central inlay with the sacred monogram and cross within a gilt sunburst, a.e.g., marbled endsheets. Vertical crack in spine, with shallow losses at crown and toe, front binder’s blank detached (but present), rear inner hinge cracking after free endsheet, some wear to joints and forecorners; still, a good, internally fresh and crisp copy. An attractive octavo printing, including the Apocrypha. Wright and Gill printed an edition in folio the same year. A highly likely of some interest, signed on the front binder’s blank “Sarah S. Villiers 1804” (probably Sarah Sophia Child-Villiers, 1785-1867, Countess of Jersey), and with the earlier signature of “Sarah Child 1779” (her mother, Sarah Anne Child, 1764-1793). Sarah Childs married Lord Villiers on 23 May 1804. As heir to Child’s Bank and to the property at Osterley Park, she brought considerable resources to the marriage and was engaged as an active partner at the bank. She exerted influence in political circles and was prominent socially, sufficient to provide models for fictional characters in by Disraeli and Lady Caroline Lamb. ESTC T91638. DARLOW & MOULE (HERBERT) 1206. $1250.

22. [Bible – English – Geneva Version]: THE BIBLE: THAT IS, THE HOLY SCRIPTURES CONTEINED IN THE OLD AND NEW TESTAMENT. TRANSLATED ACCORDING TO THE EBREW AND GREEKE, AND CONFERRED WITH THE BEST TRANSLATIONS IN DIUERS LANGUAGES. WITH MOST PROFITABLE ANNOTATIONS VPON ALL THE HARD PLACES, AND OTHER THINGS OF GREAT IMPORTANCE [with:] THE BOOK OF PSALMES: COLLECTED INTO ENGLISH MEETER.... [Np. but probably Amsterdam or Dordrecht, nd. but probably 1633 or later]. [3],190,127,121,[11] leaves;[10],93[i.e. 91],[11]pp. Quarto. Early smooth polished olive calf, gilt ruled spine with ornaments, with gilt side panels, each with surrounding a central lozenge comprised of leaf and floral devices, with ornamented corner pieces, finished with ornamented metal center and corner pieces and clasps (one missing the cross-piece), a.e.g. Woodcut titles to Old and New Testaments (but lacking ¶2, the printed title to the former). Text in double columns. Woodcut maps and illustrations, head and tailpieces. Rebacked in brown morocco, with the majority of the original backstrip laid down, binding a bit rubbed and worn, with a bit of isolated surface crazing, occasional marginal discolorations, 19th century inscription on the rather messy and torn front free endsheet, some occasional marginal smudges or soiling, but in general a good, though imperfect, copy. One of a field of with false imprints, or as here sans imprint and date, of the Geneva text and the Tomson revision of the N.T., published around the turn, and into the early years, of the 17th century. As often, it is bound with a similarly anonymously printed/published edition of the Sternhold & Hopkins rendering of the Psalms. It compares closely with ESTC1187 in collation and in the misnumbering of page 91 as 93 in the Psalms; however, in this copy the signature mark for C1 in the Psalms is below the space between ‘haue’ and ‘heard’ and thus varies from the examples detailed in ESTC. There are variations in the text of Esther I:1 between the different printings. This copy conforms to the in D&M (Herbert) 255; however, the goose device on the title-page of the Psalms does not a motto. With the small bookplate of Maurice Frost, and ink annotation identifying this as the Harmsworth copy, sold “8.7.46 No. 2492.” A long inscription in a 19th century hand on the front free endsheet, signed by a curate named Handford, asserts that this was, at one time, John Evelyn’s copy. Annotations and collations on the rear free endsheet note its earlier appearance at Sotheby’s in 1930, and declare this copy “apparently perfect” noting the lacking ¶2 as “probably a blank” rather than the printed title it is. DARLOW & MOULE (HERBERT) 255. ESTC S1187. STC 2180 and 2499.7. $1750.

23. [Bible – Greek]: [Titles In Greek:] VETUS TESTAMENTUM GRÆCUM EX VERSIONE SEPTUAGINTA INTERPRETUM [with:] BOOK OF COMMON PRAYER, PSALMS, APOCRYPHA AND NEW TESTAMENT [In Greek]. Cantabridgæ [i.e. Cambridge]: Per Joannem Field, Typographum Academicum, 1665-64. Two volumes. [2],19,[1],755,[1],516; [36],126,[4],171,[1],273,[5],419,[1]pp. 12mo. Full black straight-grain morocco, decorated in blind and ruled in gilt, a.e.g, marbled endsheets. Rebacked in black morocco, with original backstrips laid down. Institutional bookplate (as well as of two earlier owners), and ms shelf number in each , a few lower fore-corners not properly trimmed with slight excess protruding, discoloration at upper gutter of first 100 leaves of second volume, with first title in the second volume started at top, occasional tanning, some rubbing at edges, but a good set. The variant printing (or reissue, with only the prelims reprinted) cited by Darlow & Moule, with the figure in the printer’s device holding the sun in its left hand and the cup in its right, etc. The primary edition was the second English printing of the Septuagint. The Book of Common Prayer was an adaptation, by James Duport, of Elias Petley’s 1638 translation. WING B2719, B2733, B3632, and B2720. DARLOW & MOULE 4702. GRIFFITHS 45.3. ESTC R35301 & R170629. $750.

24. [Bible – N.T. – English – Revised]: PRIVATE ISSUE: NOT FOR PUBLICATION THE “REVISED ENGLISH” NEW TESTAMENT. OR MORE APPROPRIATELY THE NEW COVENANT ... ALTERNATIVE TITLE-PAGE. London & New York: Samuel Bagster and Sons / James Pott and Co., 1904. xix,[1],486,[2]pp. Octavo. Printed wrappers. A few pencil notes, wrappers tanned at spine, with shallow chips at spine ends; a good copy. A preliminary private version of Herbert 2136, with a special preface re: justification and methodology. The wrapper title asserts the text embodies “the Labours of Many Eminent English and Greek Scholars,” and Herbert identifies the editors as Samuel Lloyd and George Washington Moon. The edition described in Herbert is “tentative” and has a different collation; an earlier partial proof appeared in 1902 (see D&M 1348). COPAC locates two copies of the “tentative” edition, and OCLC/Worldcat four, but both come up empty for this “Private issue.” A bibliographic and textual curiosity. HERBERT 2136(ref). $225. 25. [Binding]: Rodin, Auguste: LES CATHÉDRALES DE FRANCE.... Paris: Librairie Armand Colin, 1914. [8],cix,[3,]162,[2]pp. plus 100 plates. Quarto. Full navy blue pebbled morocco, t.e. silvered, others untrimmed, raised bands, inlaid tan morocco cathedral arch design spanning spine and covers, blue morocco doublures, with grey and red brown morocco inlays with cathedral window and arch design, silk covered free endsheets, original upper wrapper bound in. Early ink ownership signature on preliminary blank, some spotting to upper wrapper toward gutter, bit of light foxing to prelims and terminal leaves, spine label a bit darkened, otherwise a handsome copy in modestly rubbed grey and blue morocco slipcase with suede lining.

First edition. by Charles Morice. One of an unspecified number of copies on Hollande Van Gelder Zonen, specially watermarked with the author’s name and title of the book. The impressive binding is signed by American binder Marian Holden (1893-1980), of South Salem, MA. She was the daughter of Edwin B. Holden, member and cofounder of the Club Bindery. Marian Holden studied binding in Paris, and worked for a number of years as a binder. In 1963/4, she presented a substantial gift of binding equipment to the Butler Library at Columbia. $1250.

26. [Bird & Bull Press]: Aymé, Marcel: FIVE SHORT STORIES.... Newtown, PA: Bird & Bull Press, 1994. Large octavo. Cloth, gilt spine label. Fine in publisher’s cloth clamshell box. First edition in this format of this selection, consisting of “The State of Grace,” “The Dwarf,” “Rue de l’Evangile,” “Legend of Poldevia” and “The Seven League Boots” in the Norman Denny translations. Illustrated with ten original woodcuts by Gaylord Schanilec. One of 150 numbered copies, printed on Arches mouldmade paper. Accompanied by an extra suite of the woodcuts, each in a captioned folder, with a separate essay by Henry Morris on the creation of the illustrations, with a by the artist. $400. 27. BLANK PAGE. London: B4 Publishing, 1988 – 1991. Six volumes. Folio. Publisher’s boards, lettered in gilt or various colors. Profusely illustrated. A few rubs and marks to boards, but about fine. Accompanied by the general and the announcement for number six. First and only editions. Limited to one hundred and fifty numbered copies each, with the exception of number two, which is limited to 120 numbered copies. Number three is not numbered. A projected biannual publication of original art and text, designed and edited by Philip Dobree, with literary editor Adrian Self. The intention was to publish these six numbers, encompassing contributions from 110 artists and writers from around the world, with the artwork presented in original multiples, including photographs, lithographs, screen prints, relief prints, woodcuts, collages, etc. Many of the art works are numbered and signed by the respective artists, and the texts are presented in compatible, innovative formats. As a series, a fresh and impressive presentation of a wide range of styles and media, including contributions by: Number One: Selima Hill, Michael Symmons Roberts, David Powell, Alan Bold, Patricia Conolly, Nicholas Rawson, A. R. Lamb, Norman MacAffee, Douglas Allsop, Matthew Tyson, Teal Trigs, Francesca Lowery, Childe Roland, Volker Strater, Matteo Adinolfi, Marco Bettoni, and Josephine Pryde. Number Two: Jean Jacques Bauweraerts, Andrej Dluzniewski, Dre Devens, Ernest Edmonds, Heinz Gappmayr, Heinz Gruchot, Jean Pierre Husquinet, Michel Jouet, Fre Ligen, Jean Pierre Maury, Peter Meyer, Martine Meunier, Manfred Mohr, Tadeusz Myslowski, Nausica Pastra, Sigurd Rompza, Stefan Themerson, Dirk Verhaegen, and Steven Wheeler. Number Three: Juan Agudelo, Nubia Arcia, Bosco Centeno, Jonny Chavarria, Elvis Chavarria, Ivan Guevara, Donald Guevara, Pedro Pablo Meneses, Felipe Pena, Olivia Silva, Charles Bezie, , Gottfried Honneger, James Juszczyk, Claude Pasquer, Yves Popet, Nico W. Pot, Perry Roberts, David Saunders, Francisco Soto Mesa, Jaak Vuylsteke, and Elizabeth Willmoth. Number Four: Andrew Benjamin, Geoff Bennington, Jean-Francois Lyotard, Stephen Melville, Timothy Murray, Peter Osborne, Douglas Allsop, Richard Bell, Marian Bruce, Tam Giles, John Goodyear, Rity Jansen Heijtmeijer, James Hugonin, Ray Masters, Dora Maurer, David Rubello, Albert Rubens, Clifford Singer, G. R. Thomson, Ian Tyson, and Opy Zouni. Number Five: Dietrich Mahlow, Mirella Bentivolgio, Peter Downsborough, Heinz Gappmayer, Pierre Garnier, Ilse Garnier, Bohumila Grogerova, Josef Hirsal, Wilfred Huet, Angelika Janz, Arrigo Lora-Totino, Ann Noel, Mari Orensanz, Andrzej Partum, Jadwiga Przbylak & Janusz Bakowsky, Eino Ruutsalo, Takahashi Shohachiro, Yves de Smet, Grzegorz Sztabinski, Bernar Villiers, and Emmett Williams. And, Number Six: Stephen Bann, Andrew Benjamin, Andrew Wilson, Marcel Baugniet, Charles Biederman, Cesar Domela, Marcel Floris, Anthony Hil, Gottfried Honegger, Michael Kidner, Max Mahlmann, Francois Morellet, Aurelie Nemours, Gudrun Piper, George Rickey, Michel Seuphor, and Anton Stankowski. $4000.

28. Blunden, Edmund: THE TWO BOOKS A NEW POEM [caption title]. [Np: Privately Printed for the Author], Christmas 1941. Single octavo leaf. Very lightly foxed, but a good copy. First separate printing, first published in The Book Society Annual in December 1941. One of 150-200 copies printed as Blunden’s Christmas card. Inscribed below the text by the author’s wife: “The Season’s Greetings from Edmund and Sylva.” KIRKPATRICK A71. $125.

29. Blunt, John James: VESTIGES OF ANCIENT MANNERS AND CUSTOMS, DISCOVERABLE IN MODERN ITALY AND SICILY. London: John Murray, 1823. xvi,293,[1]pp. Large octavo. 20th century cloth, gilt leather labels, untrimmed. Scattered foxing, small indecipherable stamp on verso of title, else a very good copy. First edition. After having been awarded “a Worts travelling bachelorship in 1818 Blunt visited Italy and Sicily; since he was required to write an account in Latin to the vice-chancellor of foreign customs and rarities he was fortunate to meet a peasant who related to him anecdotes of Napoleon at the battle of Waterloo. This expedition and further tours in 1820–21 provided materials [for this work]” – DNB. $175.

30. Bly, Robert: POINT REYES POEMS. [Fairfax, CA]: Jungle Garden Press / Floating Island Publications, 1989. Open sewn stiff wrapper over plain wrapper. Fine. First limited edition in this format. One of 110 copies printed by Marie Dern in Bell type on Arches text, signed by the author. With a two page by Michael Whitt. Not to be confused with either the more modest trade edition that appeared the same year, or the deluxe issue of the 1974 edition. $150.

Interesting Provenance 31. [Book of Common Prayer]: THE BOOK OF COMMON PRAYER, AND ADMINISTRATION OF THE SACRAMENTS, AND OTHER RITES AND CEREMONIES OF THE CHURCH, ACCORDING TO THE USE OF THE CHURCH OF : TOGETHER WITH THE PSALTER OR PSALMS OF DAVID .... Cambridge: Printed by Joseph Bentham Printer to the University ... 1762. Not paginated. [¶2],A-2Z4,*A-*C4. Folio (signed in 4s). 40 x 25cm. Contemporary mottled calf, six raised bands, gilt monogram device of King George III in each spine compartment and in the extreme corners of the boards within a triple-ruled border, four ribbon ties at fore-edge (one nearly detached, but otherwise intact), a.e.g. Joints cracking, but cords sound, early amateurish repairs to spine ends and fore-corners, edgeworn, faint tidemark at extreme lower fore-corners of 3Z4 to end, occasional marginal smudges, but otherwise very good. An uncommon variant of Bentham’s folio printing of 1762, with the separately signed Articles at the end concluding with *C4. ESTC locates but one copy of this variant (Queen’s College, Oxford), as opposed to a dozen with the final leaf being 3A2. This copy has an interesting provenance: it is inscribed in the upper margin of the title: “GH Governor of Minorca 1766.” After an active and successful military career George Howard (1718-1796), sat in of Commons for Lostwithiel from 1761 until 1766, when he was appointed Governor of Minorca -- the British had reclaimed the island in 1763 as a consequence of the Treaty of Paris. After holding the post for two years, he returned to political and military pursuits and continued to flourish. His second marriage, in May 1776, was to Elizabeth of the Beckford family. Given the Royal ornamentation of the binding, and the nature of the inscription, it seems probable that this represents a Royal gift to Howard, if not on the occasion, certainly in the year of Howard’s appointment to the Governorship. On the front pastedown appears the bookplate (two lions and “Virtus Mille Scuta”) associated with the Howards of Effingham. In 1762, Bentham published editions of the in quarto, octavo, 12mo and folio, the latter evidently in two issues -- the form recorded by Griffiths as 1762:2, and this form, which is unrecorded by Griffiths. ESTC N67552. $3750.

32. Bosschère, Jean de: MARTHE AND THE MADMAN .... New York: Covici- Friede, 1928. Cloth and decorated boards. Illustrations and special color frontis. Foretips of boards a bit bumped, otherwise a very good, or better, copy, in somewhat battered slipcase. First U.S. edition of this translation by Pierre Loving. One of 275 numbered copies, specially bound and adding the color frontis, signed by the author/artist. $175.

33. Boswell, James: THE LIFE OF SAMUEL JOHNSON, LL.D. COMPREHENDING AN ACCOUNT OF HIS STUDIES AND NUMEROUS WORKS.... London: Printed for Henry Baldwin, 1791. xii,[16],516;588[i.e.586],[1]pp. Two volumes. Quarto (29 x 23 cm). Portrait in first volume and two engraved plates in second. Full olive brown morocco, raised bands, gilt, t.e.g., others largely untrimmed. Occasional light foxing, and some dusting to a few edges, early small marginal restoration around upper blank forecorners of frontis and first five leaves, a few small nicks and rubs at binding extremities, with two narrow surface scratches to boards, but a very good set. First edition, uncorrected state of I:135:10 (‘gve’), with the complement of cancels outlined by Pottle, as usual. In volume two, pages 78, 92, 275 and 352 are in their first, uncorrected states. Uncommon in untrimmed condition: the vertical dimension of this set matches that of the Rothschild set (untrimmed in original boards). One of 1750 copies printed. Frequently remarked upon as one of the triumphs of the art of biography in the English language. With the gilt morocco bookplate in each volume (“Omnia Pro Bono H.M.”), identified by some as an uncharacteristic bookplate for Harold Murdock. Laid in is a copy of A. Edward Newton’s quarto leaflet reproducing the uncorrected II:302, inscribed (with initials) in 1933 to another collector (a bit ragged at fore-edge and folded). ROTHSCHILD 463. POTTLE 79. GROLIER ENGLISH HUNDRED 65. ESTC T64481. $9500.

34. Boyd, William, and [screenwriters]: RICHARD ATTENBOROUGH’S FILM CHARLIE A SCREENPLAY BY .... [Richmond, ]: Lambeth Productions Ltd., April 1991. [1],127,[1] leaves (the last a steno service colophon). Quarto. Photo-mechanically reproduced typescript, printed on rectos only. Punched and bradbound in stiff production company wrappers. Three letter ink note on upper wrapper (‘rec.’), title hand-lettered on spine, otherwise near fine. An unspecified but early preproduction draft of this screenplay by William Boyd, noted as “adapted by” Tom Stoppard, based on a storyline by Diana Hawkins drawing on Chaplin’s autobiography and David Robinson’s biography. The 1992 release starred Robert Downey Jr., in a brilliant, multi-award nominated portrayal of Chaplin, in company with a distinguished supporting cast. Upon release, the screenplay was credited to Boyd, with contributions by Bryan Forbes and , but Stoppard’s involvement was not noted. Baker and Wachs describe archival material relating to Stoppard’s work on this project among his papers, but evidently did not encounter an actual draft of the screenplay in this form. BAKER & WACHS B20. $950.

35. [Bronte, Charlotte]: SHIRLEY. A TALE. By “Currer Bell” [pseud]. London: Smith, Elder and Co., 1849. Three volumes. Contemporary three-quarter calf and boards, bound without the inserted publisher’s catalogue in the first volume, but with the ad leaf in the third. Spines and extremities rubbed, small nick at crown of one joint, a few small spots, pencil name in third volume, otherwise an about very good set. First edition of Charlotte Bronte’s second published novel, which takes its setting in the Yorkshire countryside of the north of England in the later years of the Napoleonic Wars and at the time of the Luddite riots which were caused by the introduction of new machines that replaced human labour. SADLEIR 348. PARRISH, p. 93. WISE 6. $1750.

36. [Brooke, Rupert]: Perdriel-Vaissieres, J.: RUPERT BROOKE’S DEATH AND BURIAL BASED ON THE LOG OF THE FRENCH HOSPITAL SHIP DUGAY- TROUIN. [New Haven: Printed at the Yale University Press, 1917]. Contemporary three quarter morocco and marbled boards by MacDonald, bound without wrappers. Photogravure vignette. Extremities rubbed, shallow bump to top edge of one board, small shelf label in corner of front free endsheet, otherwise a very good copy. First edition. One of 300 copies printed by W.A. Bradley. The translation is by Vincent O’Sullivan, and this copy a 1920 gift inscription from Yale Professor William Lyon Phelps (using initials) to one of his nieces. Not in Bambace. KEYNES, p.137. $300. Cornerstone of American Fiction A Copy in Need of Sympathy 37. [Brown, William Hill]: THE POWER OF SYMPATHY: OR, THE TRIUMPH OF NATURE. FOUNDED IN TRUTH. IN TWO VOLUMES.... : Isaiah Thomas and Company, 1789. vi,[7]-138,[blank leaf];158pp. 12mo. Two volumes bound in one. Contemporary sheep, gilt label. Lacking the engraved frontispiece. Occasional heavy spotting and foxing, some signatures starting, heavy stains to pp. 35-38, marginal tear in d1, 1801 ownership signature on rear free endsheet, the same, though undated, on the front free endsheet, the binding rubbed, but sound. An admittedly poor – and incomplete – copy, accompanied by a color photocopy of the frontis from another copy. First edition of the prose work generally accorded status as the first American “novel,” its few potential predecessors being more properly categorized as political or religious allegories. This epistolary romance was long ascribed to Sarah Wentworth Apthorp Morton due to parallels of incident with events in her life, but the attribution to Brown is now canonical. The novel’s intended purpose, “to expose the dangerous consequences of seduction,” is accomplished, though with a high moral tone, via a of infidelity, suicide and a near miss at an incestuous marriage. The ’s parallels with a reported liaison between Sarah Morton’s husband, Perez, and her sister, Frances Apthorp, lead to the earlier misattribution, and a hostile reception by the clergy and the press, leading to anecdotal tales of destruction of copies shortly after publication. EVANS 21979 BAL 1518. WRIGHT I:432. ESTC W27779. WEGELIN (FICTION), p.26. $1750.

38. [Bruno, Guido]: Kirch, Curtis J., and Milton Fuessle [eds]: THE LANTERN A PUBLICATION OF DISCARDED TRUTH AND REJECTED FICTION... [with:] THE SATURDAY LANTERN. : The Lantern Printery [and:] The Lantern Publishing Company, January through July 1913. I:1-6, and II:1 & 2. Eight issues, of ten (?) published. Octavo and 12mo. Illustrations. Original printed and pictorial wrappers, bound up in contemporary cloth and boards, with printed labels (a publisher’s binding?). Boards darkened and somewhat worn, wrappers of a couple of the oversize issues a bit creased and dusty at edges, otherwise very good. An early and uncommon periodical, co-edited and co-published by Kirch and Fuessle, the former prior to his removal from Chicago to New York and the more public assumption of his pseudonym, “Guido Bruno.” Although aspirations were for the periodical to appear monthly, and as the Saturday Lantern weekly, the sequence is somewhat erratic; however, it would appear that two more numbers appeared than are present here, the last in October. Hoffman, et al, as well as one of two OCLC records, overlook the January issue present here (1/1500 numbered copies), and the latter reports incorrectly that I:1 was not published. This was Chicago book-maven, and occasional contributor to Bruno’s periodicals, Vincent Starrett’s set, with his bookplate, 1949 ink ownership inscription, and long pencil note identifying Kirch as “Guido Bruno,” and reporting (evidently incorrectly) that this is a complete file. A number of contributions bear the Bruno by-line, and the editorial stance is much like that assumed by the later periodicals published from his New York “garret,” though with a greater emphasis on bibliophilic matters and Lincolnana. The loose plate of Lincoln on his death bed is laid into #2. Scarce. $250. 39. [Bukowski, Charles]: Dorbin, Sanford [comp]: A OF CHARLES BUKOWSKI. Los Angeles: Black Sparrow Press, 1969. Cloth and boards. Tipped-in frontis facsimile. Top edge dusty, else about fine in creased and torn acetate dust jacket. First edition, limited issue. One of three hundred and fifty numbered copies (of four hundred), numbered and signed by the subject and compiler. $225.

40. Buñuel, Luis, and “Philip Ansell Roll” (i.e. Hugo Butler) [screenwriters]: Original Studio Publicity Campaign Pressbook for ADVENTURES OF ROBINSON CRUSOE. [Np]: United Artists 1954. 16pp. Small folio (435 X 280mm). Pictorial self-wrappers. Heavily illustrated. A bit creased at edges, with a few short, creased tears, folded very slightly askew along spine, with short breaks at fold, but an about very good copy of this uncommon item. A substantial publicity pressbook for the U.S. distribution of the film adaptation of Defoe’s novel, cowritten by master director Buñuel and Hugo Butler, then working in self-imposed exile in Mexico in company with his wife and , and writing under various pseudonyms as a consequence of the effects of the Blacklist. The faithful yet stylistically imaginative adaptation starred Daniel O’Herlihy as Crusoe and Jaime Fernández as Friday. It was Buñuel’s first color film, and is one of the central productions of his Mexican period. O’Herlihy was nominated for a Best Oscar for his role after United Artists took on theatrical distribution for the film in the U.S. $275.

41. Burke, John: A GENEALOGICAL AND HERALDIC HISTORY OF THE COMMONERS OF GREAT BRITAIN AND IRELAND, ENJOYING TERRITORIAL POSSESSIONS OR HIGH OFFICIAL RANK; BUT UNINVESTED WITH HERITABLE HONOURS. London: Published for Henry Colburn, 1834-5. Two volumes. xxiv,740;xii,726pp. Large, thick . Original gilt cloth, rebacked with the original backstrips laid down, new endsheets, edges untrimmed. Portraits and illustrations. Some foxing early and late, shallow discoloration in top margins of last few leaves of volume one, otherwise a very good set. Institutional bookplates on pastedowns. First editions of the first two volumes (of four published through 1838) of this component of Burke’s enterprise, in this case for the first time treating a class overlooked by the previous generations of similar works. Subsequent editions substituted ‘Landed Gentry’ for ‘Commoners’, and “Burke’s Landed Gentry, of which there were eighteen editions between 1833 and 1972, was the first printed national record of the untitled aristocracy or county families of Great Britain, whose genealogies were otherwise to be found in the county histories and heralds’ visitations of the sixteenth and seventeenth centuries” – DNB. $250.

42. [Burnett, W.R.]: Jones, Grover, et al [screenwriters]: **DARK COMMAND** CUTTING CONTINUITY. New York: Republic Pictures, [ca. 1940]. [1],99 leaves. Legal quarto. Loose sheets punched and bradbound in left margin. Upper margins curled, with some short breaks and creases, otherwise a very good copy. Post-production continuity script for the 1940 film adaptation of Burnett’s 1938 novel. The screenplay was undertaken by Grover, Lionel Houser, and F. H. Herbert, and the film starred Claire Trevor, John Wayne, Walter Pidgeon, Roy Rogers and Gabby Hayes, under the direction of Raoul Walsh. $150.

43. Busch, Niven, Oliver H.P. Garrett, and David O. Selznick [screenwriters]: An archive of scripts and related documents for DUEL IN THE SUN. [Culver City: Vanguard Films and Selznick International, 1944 – 47]. Twenty items or volumes. Quarto and folio. Mimeographed typescript, printed on rectos only. Bradbound or stapled in stencil-printed and studio wrappers, or self-wrappers. A few pieces a bit used, else very good to near fine. A substantial archive of scripts and related items for the 1947 Selznick adaptation to the screen of Busch’s 1944 novel, directed by , starring Jennifer Jones, Joseph Cotten, , Lionel Barrymore, Lillian Gish, Butterfly McQueen and Harry Carey. The film won the award for the Best Overall Production at the Film Festival. Present here are the following items: a) a 22pp treatment by Busch, undated; b) a 30pp. roster of “Physical Descriptions and Characterizations Compiled from the Novel,” 14 December 1944; c) a 7pp. inventory list of “Costumes Compiled from Novel,” 15 Dec. 1944; d) an RKO Estimating Script, co-written by Busch and Garrett, 24 July 1944 (rerun by Selznick’s studio 5 Feb. 1946), 134 leaves; e) a “Shooting Script,” credited solely to Garrett, 20 December 1944, 149 leaves plus lettered inserts, part carbon typescript, part mimeo, with revises on salmon and yellow stock dated into the following year; f) a “Final Shooting Script,” 168 leaves plus many lettered inserts and revises on a rainbow of colored stocks dated into July, attributed solely to Garrett; g) a “Final Script,” 12 January 1946, attributed solely to David O. Selznick, 208 leaves; h) a Dialogue Continuity, 18 November 1946, foliated by reel format, with ms. annotation noting changes made in April 1947, with a separate parcel of duplicate leaves laid in; i) another copy of same, in substantially different format, rerun 27 March 1962; j) a revised Cutting Continuity, foliated in reel format, 12 March 1947; k) a large format guide ca. 150 leaves, 12 May 1947, captioned “Foreign Inserts Marked”; l) a spirit duplicated typescript of a Dutch translation (a few leaves detached, torn or frayed); m) a spirit duplicated typescript of a Spanish version; n) Dialogue Cutting Continuity scripts for Trailers #2 & #3, 2pp. and 4pp., 29 May 1947; o) a 4pp. roster of “Censorship Cut,” 31 July 1947; p) two volumes of a “Footage Schedule for All Domestic Release Prints,” 1 May and 10 May, 1947; q) an 11 page roster of rights applications for Tiomkin’s score; and finally r) “Excerpts For The Musical Score ... ‘Duel In The Sun’ By Dimitri Tiomkin (Arranged by Carol Huxley),” a 48pp. reproduction of the actual annotated manuscript score, in printed studio wrappers. The film had something of a bumpy development, with doing some uncredited script doctoring, and several uncredited directors, including Josef von Sternberg, stepping in to help out. Many changes were required to accommodate the various protectors of public morality, and an analysis of the evolution of the film through the succession of these widely disparate scripts (from Busch’s treatment and collaborative script through the mammoth 200-pager attributed to Selznick) would likely be informative. Though Busch was himself a productive screenwriter for three decades, with a dozen credited screenplays and uncredited work on others, his final screen credit for this film consisted solely of “Suggested by a Novel by ....” One might assume the earliest draft here, co-written by him, might be closer to the novel than the end product. $1650.

44. Butler, Samuel: THE WAY OF ALL FLESH. London: Grant Richards, 1903. Red cloth, lettered in gilt, t.e.g. Cloth a bit darkened at edges, a few small spots to lower board, tiny bump to top edge of upper board, otherwise an unusually nice copy, very near fine, in half morocco slipcase and chemise. First edition of Butler’s posthumously published semi-autobiographical novel, and the work which will remain most frequently associated with his name in the popular mind. Edited, with a prefatory note, by R.A. Streatfeild. Although printed in a large enough edition (1500 copies), which took some four years to sell, the physical construction of the book guaranteed that fine copies would not be the norm for succeeding generations of collectors. One sees enough ordinary or rebound copies over the span of a few decades to appreciate the exception this copy represents. HOPPÉ 42. $950. Family Presentation 45. Butler, William Allen: NOTHING TO WEAR AND OTHER POEMS. New York & London: & Bros., 1899. Original decorated cloth, t.e.g., others untrimmed. Portrait. Toe of spine a bit darkened and shelfworn, otherwise a very good, bright copy. “A New [expanded] Edition from New Plates,” including, according to the preface, “...poems of more recent date.” This copy was presented by the author to his daughter with his inscription on the preliminary blank: “Mary Marshall Butler with the love of her Father Wm. Allen Butler October 1899.” With some ephemera, and two photographs, laid in. BAL 2265. $250.

46. Carpentier, Alejo: THE KINGDOM OF THIS WORLD. [New York]: The Limited Editions Club, [1987]. Small folio. Three piece gilt morocco, with rough silk side-panels. Fine in suede-lined silk over boards slipcase. First edition in this format, illustrated with original etchings by Roberto Juarez, printed chine collé on handmade and mounted on handmade paper. Translation by Harriet de Onis, with and Introduction by John Hersey. One of 750 numbered copies, printed at Wild Carrot Letterpress, and signed by the artist and by John Hersey. $400.

47. Carrington, FitzRoy [ed]: THE KINGS’ LYRIC LYRICAL POEMS OF THE REIGNS OF KING JAMES I. AND KING CHARLES I. TOGETHER WITH THE BALLAD OF AGINCOURT.... New York: Printed for R.H. Russell, 1899. 12mo. Publisher’s gilt morocco, t.e.g., with publisher’s monogram stamped in gilt on lower board. Portrait and plates. Joints and tips rubbed, spine sunned, bookplate tipped to front pastedown with small old tape tabs, but a good copy, internally about fine. First edition, designed by D.B. Updike and printed at the Merrymount Press. This copy bears a presentation inscription from the publisher, signed with initials, and the binding, which surely had the publisher’s blessing, given the monogram, may be a presentation binding. $100.

48. [Carter, Will]: Tarling, Alan: WILL CARTER, PRINTER AN ILLUSTRATED STUDY. [London]: The Galahad Press, [1968]. Quarto. Gilt cloth. Heavily illustrated with plates and facsimiles. First edition, limited issue. One of one hundred numbered copies, specially bound. Spine a bit sunned, else about fine. Cloth slipcase. $100.

49. Cather, Willa: SAPPHIRA AND THE SLAVE GIRL. New York: Knopf, 1940. Large octavo. Gilt cloth and boards, t.e.g. Some foxing to endsheets, edges and jacket panels, otherwise a nice, seemingly untouched copy in original numbered slipcase. First edition, limited issue. Copy #448 of 520 numbered copies (498 for sale), specially printed and bound, and signed by the author. $750. 50. [Catholic Church – Liturgy and Ritual – Graduale]: GRADUALE ROMANUM JUXTA MISSALE EX DECRETO SACRO-SANCTI CONCILII TRIDENTINI RESTITUTUM ET CLEMENTIS VIII .... Leiodii [ie. Liége]: Ex Officina Typographica Clementis Plomteux ..., 1772. [12],380,cxxxix,[1]pp. Folio (signed in 4s – 38 x 24cm). Contemporary calf-backed marbled boards. Printed in black and red, with staves, headlines and some initials in red, other initials historiated and in black. Pictorial title vignette, with title within ornamented border. Binding worn, with loss at toe of spine and signs of label removal, institutional bookplate and presentation bookplate on front endsheets, ms. digits in corner of title and on verso, trivial worm track in lower gutter of last dozen leaves, internally a very good, crisp copy. “Editio Novissima, Multo auctior & emendatior.” An elegant Graduale printed by Plomteux, who in addition to being a highly productive printer of religious texts, government publications, and reference works, served as librarian of the city of Liége between August 1766 and no later than September 1792 . He entered the trade in 1766, working in association with the printer and bookseller Kints Everard, before succeeding him in 1767. He was also active as printer to one or more Parisian booksellers until the 1790s. The Graduale was a staple for him, both in large format and small, and this edition is the earliest located in OCLC/Worldcat under his imprint (one copy only, at the University of Maastricht). OCLC: 69417194. $1500.

51. [Chandler, Raymond (screenwriter)]: Original studio publicity pressbook for AND NOW TOMORROW. [Los Angeles]: Inc., 1944. 18,[2]pp. Folio (38.5 x 31 cm). Pictorial self wrappers. About fine. A substantial and heavily-illustrated pressbook for the 1944 film adaptation of Rachel Field’s novel, based on a screenplay by and Frank Partos. directed, and , , , Barry Sullivan, et al starred. This was Chandler’s second credit as screenwriter, following up on released seven months earlier. As would be expected, sample press stories and adverts are included, as is a catalogue of the publicity paper. BRUCCOLI F2. $300.

52. [Chandler, Raymond]: Towne, Roger [screenwriter]: THE SPRINGS. [N.p.]: United Artists, 26 June 1987. [1],136 leaves. Quarto. Photomechanically reproduced typescript, printed on rectos only. Bradbound in studio wrappers with diecut window. Title lettered on spine, studio stamps in red on title, a bit of modest handsoiling to wrappers and fore-edge, but very good or better. Denoted a second draft, with revisions, of this unproduced adaptation/completion for the screen of Chandler’s unfinished novel. This draft predates by two years the publication of Robert B. Parker’s completion (published as ), and by twelve years the adaptation to television of that property, based on a script by Tom Stoppard. According to the contemporary press (NYT, 27 August 1986), Robert Redford was to play the role of Marlowe in this project, but it did not come to fruition. $225. 53. Cheney, Brainard: THIS IS ADAM. New York: McDowell, Obolensky, [1958]. Cloth. Top edges sunned, a bit dusty, but a good copy in shelfworn dust jacket. First edition. Warmly inscribed on publication to the daughter and son-in-law of his long-time friends and fellow Agrarians, Allen Tate and Caroline Gordon: “10 – 15 – 58 To Nancy & Percy with my love and affection, Lon.” Brainard and Francis Cheney were known to their closest friends as “Lon” and “Fanny.” Five years earlier than this novel, Gordon and Tate sponsored their entry into the Catholic Church. $150.

54. Cheney, Brainard: DEVIL’S ELBOW. New York: Crown Publishers, [1969]. Cloth. Lower board a bit faded / mottled, a bit dusty, else a good copy in rubbed and shelfworn dust jacket. First edition. Warmly inscribed on publication to the daughter and son-in-law of his long-time friends and fellow Agrarians, Allen Tate and Caroline Gordon: “x – 8-1-69 To Nancy & Percy with my love and esteem, Lon.” With the recipient’s collective ownership inscription on endsheet, in Nancy’s hand. Brainard and Francis Cheney were known to their closest friends as “Lon” and “Fanny.” Gordon and Tate sponsored their entry into the Catholic Church, Gordon made the important introduction of Cheney to Flannery O’Connor, and the families remained close. $150.

55. Chesnutt, Charles W.: THE CONJURE WOMAN. Boston: Houghton Mifflin, 1899. Medium brown cloth, lettered in gilt, with pictorial vignette on upper board. Small oval early 20th century bookseller’s label in extreme upper corner of front pastedown (slight offset on opposite free endsheet), otherwise an unusually bright copy, about fine. First edition, ordinary issue, of the author’s first book, a of interrelated short stories collected from their earlier periodical appearances in response to the success of “The Goophered Grapevine,” the first by an African American writer to see publication in The Atlantic Monthly. There was also a large-paper issue of 150 copies. WRIGHT III:1017. $750.

56. Clarke, Harry [illustrator]: FAUST. By Goethe. London: Harrap & Co. Ltd., [1925]. Quarto. Quarter gilt vellum and paper over boards, t.e.g., others untrimmed. Color frontis, head and tailpieces, plates (some color, some monochrome), pictorial endsheets. Boards a trace tanned at extreme edges, lower fore-tips bumped, minute surface scrape at top edge of one board, bookplate, otherwise a very good copy, without slipcase or dust jacket. First edition, British issue, of this illustrated edition, being one of 1000 numbered copies for the UK, signed by Harry Clarke, from a total edition of two thousand copies. The text is the translation by John Auster. One of the highlights of Clarke’s career as a book illustrator. $1250.

57. [Clemens, Samuel]: Twain, Mark [pseud]: LIFE ON THE MISSISSIPPI. Boston: James R. Osgood and Company, 1883. 624pp. Large octavo. Brown cloth, elaborately decorated in gilt and black. Frontis, plates and illustrations. One lower fore-tip a bit frayed, private personal ownership perforated stamp in each free endsheet, otherwise an uncommonly bright, tight copy. First U.S. edition, preceded by a few days by the Chatto & Windus edition. This is BAL’s second state, without the flaming device on p. 441, and with the caption on page 443 corrected. BAL 3411. HOWES C480. $750.

58. [Clemens, Samuel]: Original tinted studio lobby card for HUCKLEBERRY FINN. [Los Angeles]: Famous Players-Lasky Corporation, 1919 [released Feb. 1920]. Vintage 11 x 14” hand-tinted studio lobby card. Tiny chips at extreme lower tips of margins, faint tide mark confined to upper left corner margin, some darkening and offsetting to blank verso, otherwise a very good copy. An original hand-tinted lobby card issued to promote the release of the first

adaptation to the screen of Clemens’s novel, based on a screenplay by Julia Crawford Ivers. The film was directed by William Desmond Taylor as part of a trilogy that included Tom Sawyer in 1917, and Huck And Tom in 1918. This black and white silent film starred Lewis Sargent, Katherine Griffith, Martha Mattox, Frank Lanning, et al. Captions on the card include “A New Mark Twain- Paramount Artcraft,” and “Huck Gets a Bite.” Any form of publicity paper from these early silent adaptations is rare. $550.

The Signed Definitive Edition 59. [Clemens, Samuel]: Twain, Mark [pseud]: THE WRITINGS OF MARK TWAIN [general title]. New York: Gabriel Wells, 1922-5. Thirty-seven volumes. Contemporary (if not original) three-quarter green crushed levant, raised bands, gilt compartments, t.e.g. (unsigned). Frontispieces and plates. Very faint trace of sunning to spines, minute cracks at crown and toe of inner hinge of first volume, otherwise a fine set, evidencing very little sign of use. The “Definitive Edition,” limited to 1024 numbered sets, of which this is set #126. Signed in the first volume by Albert Bigelow Paine after his explanatory note about the signed leaves, and with the sheet signed by Clemens (and “Mark Twain”) bound in opposite. The illustrators include , Beard, Newell, A. B. Frost, Kemble and others, though many of the illustrations were earlier utilized for the 1899 “Autograph Edition.” With notes of appreciation and commentary by Hamlin Garland, E. V. Lucas, Mary E. Wilkins Freeman, Booth Tarkington, G. K. Chesterton. W. D. Howells, and many others. Paine contributed introductions, and volumes 30-33 print his biography of Clemens and volumes 34-5 his edition of the Letters. Volumes 36 and 37 print the Autobiography, and because of the span of time between the publication of the earlier volumes and these two final volumes, they are occasionally lacking from sets. Gabriel Wells, who was already something of a swashbuckling figure in the antiquarian book trade, made news again when he paid $200,000 for the rights to publish this set. The set was promoted and sold by subscription, and while the majority of sets were distributed in cloth and boards, Barbara Schmidt, in her devoted to this edition, reports that the first one hundred sets were reserved for custom bindings to order. As this set slips just over the outside limit of that reserved quantity, one can’t assert with confidence that the binding of this set fell in that category, but it was surely executed early on, probably shortly after the publication of the concluding volumes. Schmidt, A History of and Guide to Uniform Editions of Mark Twain’s Works, Chapter 29 (online text). $14,500.

60. [Clemens, Samuel L.]: Twain, Mark [pseud]: THE QUAKER CITY HOLY LAND EXCURSION AN UNFINISHED PLAY .... Omaha: The Buttonmaker Press, 1986. Large octavo. Cloth, paper label. Illustrated with wood engravings by John De Pol. Bookplate on front pastedown, pencil erasure from free endsheet, else about fine. First edition in this format. One of 150 numbered copies printed on Mohawk paper, and signed by the artist. $125.

61. Colas, René: BIBLIOGRAPHIE GÉNÉRALE DU COSTUME ET DE LA MODE.... New York: Hacker Art Books, 1969. Two volumes. Large octavo. Gilt buckram. Minor rubbing at tips, top edge dusty, else about fine. A photo-offset reprinting of the 1933 edition of this indexed bibliography of over three thousand works relating to military, religious and public dress, style and coiffure, published both in France and abroad. $125.

First Collection 62. Coleridge, Samuel Taylor, [and Charles Lamb]: POEMS ON VARIOUS SUBJECTS. London: Printed for G. G. and J. Robinsons, and J. Cottel, Bookseller, Bristol, 1796. xvi,188,[4]pp. Small octavo. Full crimson morocco by Bedford, raised bands, spine gilt extra, gilt inner dentelles, t.e.g., others largely untrimmed. Near fine, with the half-title, errata and advert leaf. First edition of Coleridge’s first published collection of , preceded by the rare verse-play, The Fall Of Robespierre, several prose tracts, and The Watchman. Although their presence is not noted on the title, four of the sonnets are by Lamb, and are signed at their , “C.L.” They constitute his first publication in book form. HAYWARD 206. WISE (COLERIDGE) 8. TINKER 678. ESTC T125613. NCBEL III:215. LIVINGSTON (LAMB), pp.3-10. $6000.

Item 62. Coleridge.

63. Coleridge, Samuel T., et al: POEMS ... SECOND EDITION. TO WHICH ARE NOW ADDED POEMS BY CHARLES LAMB, AND CHARLES LLOYD. Bristol: Printed by N. Briggs, for J Cottle .. .and Messrs. Robinsons, London, 1797. xx,[4],[5]-278pp. 16mo. Contemporary calf, neatly rebacked to style, original gilt labels preserved. With the bookplate of Maurice Baring, and one other. Early ink name in upper margin of title, a few minor spots early and late, otherwise a very good copy. Half morocco slipcase and chemise. Denoted the second edition (after the 1796 Poems On Various Subjects), but in many ways a new book, including a Preface and eleven new poems by Coleridge and revisions of others, as well as additions to and revisions of those by Lamb that appeared in the first edition, identified only by initials. The rare errata slip is not present. WISE (COLERIDGE) 11. TINKER 679. HANEY 8. ESTC N11843. $2750.

First Book 64. Collins, Mortimer: IDYLS AND RHYMES. , London & Guernsey: J. McGlashan, etc., 1855. Octavo. Late 19th or early 20th century full morocco, gilt label, t.e.g., gilt inner dentelles. Extremities a bit worn, signs of once tipped-in bookplate, bound without half-title, else a very good copy. First edition of the future novelist’s first book. “Rather raffish in his younger days and with an inflated self-esteem, given to classical puns and irritating mannerisms, Collins had genuine talent ... [and] emerges as an interesting second-rater, a figure of pathetic jauntiness” – Wolff. $185.

65. Conrad, Joseph: THE SECRET AGENT A DRAMA IN THREE ACTS. London: Privately printed for Subscribers Only by T. Werner Laurie, 1923. Large octavo. Vegetable parchment and boards, paper label. Portrait. A very good to near fine copy, in chipped and tanned dust jacket with splits at the spine folds. First edition. One of one thousand numbered copies, printed on handmade paper, and signed by the author. $600.

66. [Conrad, Joseph]: Original studio one-sheet poster for VICTORY AN ISLAND TALE. [Los Angeles]: Paramount Studios, 1940. Vintage pictorial one- sheet poster (27 x 41”), lithographed in color. Folded as issued, minute loss at apex of two folds, some small careful paper mends on verso at edges and folds, a few tiny breaks in blank margins, but generally very good, the image unusually fresh and bright. A vividly pictorial promotional poster for the third, and most faithful, English language film adaptation of Conrad’s 1915 novel, directed by John Cromwell, based on a screenplay by John Balderston, and starring Frederic March, Betty Field, Cedric Hardwicke, at al. The film was released on 21 December. Previous English language versions appeared in 1919 (silent) and 1930. $500.

67. [Cooke, John Esten]: SOUTHERN LITERARY MESSENGER. Richmond, VA: MacFarlane, Fergusson, & Co. April 1859. VII:4 (New Series). Large octavo. Original pictorial printed wrappers. Slightly dusty at edges, with small chip at toe of spine, a few small spots to lower wrapper, otherwise uncommonly fine. Edited by J. R. Thompson. Apart from the exemplary condition, this copy is distinguished by a presentation inscription from the editor on the upper wrapper: “Miss Sarah Kimball with the kind regards of Mr. R. Thompson.” Kimball does not appear as an identified contributor in this issue, nor is she specifically indexed in Jackson, but there are anonymous contributions, as usual. The first five sections of Cooke’s “Greenway Court; or, The Bloody ground” appear in this issue, along with much else. Uncommon thus. $150.

68. Covens, J. [publisher]: LE GUIDE D’AMSTERDAM, AVEC LA DESCRIPTION DE TOUT CE QU’IL Y A DE PLUS INTÉRESSANT. Amsterdam: Chès J. Cóvens & Fils, 1793. 339,[32]pp. plus 15 plates (one a folding map). Large octavo. Contemporary, and likely original, marbled wrappers, remnants of printed spine label, edges wholly untrimmed and partially unopened. Minor foxing early and late, upper joint and crown of spine a trifle chipped, ink inscription on title (see below), otherwise an exceptional copy. One of a succession of enlarged and updated editions of this popular 18th century to the city. The fifteen plates in this copy include a folding city map, and fourteen leaves with two engravings of city buildings or features per sheet. The number of plates agrees with the collation in OCLC, but there the entry of record calls for two of the plates to be folding, rather than just one as here. The bears the ownership signature (last name only) of U.S. diplomat and Congressman, Samuel Sitgreaves, with the additional note “bt. at Amsterdam Aug. 9, 1800.” $450.

69. Craig, Edward Gordon: GORDON CRAIG’S PARIS DIARY. North Hills, PA: Bird & Bull Press, 1982. Quarter morocco and decorated paper over boards. Color facsimiles. Fine, with two copies of the prospectus laid in. First edition. Edited, with a , by Colin Franklin. One of 350 numbered copies printed in Baskerville types on mouldmade Bugrabutten paper. The text was intended by Craig for publication, but it appears here for the first time. $175.

70. [Cruikshank, George]: Sealy, T.H.: THE LITTLE OLD MAN OF THE WOOD: OR, THE TALE OF A COMICAL STOCK. London & Bristol: Hugh Cunningham / George Davey, [1839]. 30pp. plus etched pictorial title. Original printed light brown wrappers. Early repair to lower forecorner of upper wrapper, wrapper a bit dusty, with a few small spots, otherwise about very good, in lightly frayed gilt cloth folding case. First edition, with the blank prior to the half-title as called for in Cohn. The pictorial title was “etched by George Cruikshank from a sketch by the author.” The imprint on the wrapper is dated, but the engraved title is not. Cohn asserts that “only one or two copies are known” of this first edition; a second edition appeared in 1841. OCLC/Worldcat locates five copies. COHN 735. $475.

71. d’Arch Smith, Timothy [intro to]: THE QUORUM. A MAGAZINE OF FRIENDSHIP. [North Pomfret]: Asphodel Editions, 2001. Small quarto. Linen and paper over boards. Facsimile broadside tipped to rear pastedown. Fine, without dust jacket, as issued. One of one hundred and fifty numbered copies. A facsimile reprint of the rare sole issue of this periodical, published by some members of the British Society for the Study of Sex Psychology, and including contributions by E. E. Bradford, Dorothy Sayers, Leonard Green, J. G. Nicholson, et al. Published at: $100.

72. d’Arch Smith, Timothy, and Michael Ayres: THE BOOK CATALOGUES OF MICHAEL DEHARTINGTON 1972-1974. [North Pomfret]: Asphodel Editions, 1998. Quarto. Linen and boards. As new copy.

One of three hundred numbered copies. A facsimile reprinting of the ten catalogues issued by the firm from 1972-74, focusing in the main on gay and Uranian literature, including the core collection d’Arch Smith assembled while writing Love In Earnest. As usual, Timothy d’Arch Smith’s introductory history of the firm is alone worth the price of admission, particularly his account of how one gained access to their premises. A trove of bibliographic information and speculation in a field then in the infancy of being delimited. New, at publication price: $95. 73. Dante Alighieri: LE TERZE RIME [DIVINIA COMMEDIA]. [Venetiis: in Aedib Aldi, August 1502]. [252] leaves. a-z8, A-G8, H4. Small octavo. Full green French morocco, raised bands, gilt inner dentelles, a.e.g. Set in Italic. Aldine anchor on colophon. One raised band nicked, careful sympathetic restoration of upper joint, light scattered foxing, faint old manuscript foliation of leaves, but a very good copy. Cloth slipcase and chemise. First Aldine edition, and the first edition of Dante in octavo format, based on a manuscript sent to Aldus by the Venetian humanist, Pietro Bembo. The edition is also notable for historians of as it marks the first utilization of the Aldine Anchor as Aldus’s signature device -- although it does not appear in all copies, among them the earliest. The edition was such a success that it was soon counterfeited in such a faithful manner that close scrutiny of the final collation is necessary to distinguish the editions. With this edition, “it was as if the poem had never been printed before: the 15th-century vulgate was swept aside. Bembo’s text was to become the basis for every subsequent edition of the Divine Comedy until the late 19th century” – Renaissance Dante in Print (1472 – 1629). Online catalogue of Notre Dame, Newberry Library, and Univ. of Chicago collaborative exhibition. RENOUARD 34:5. GOLDSMID 43. ADAMS D82-3. BMC (ITALIAN), P. 209. BRUNET II:500. $22,500.

74. Darrow, Clarence: THE STORY OF MY LIFE. New York & London: Scribner’s, 1932. Large, thick octavo. Cloth and boards, gilt label. Frontis portrait and plates. Spine darkened and a bit rubbed at corners, bookplate and trace of foxing to endleaves, one lower foretip faintly bumped, some slight rubbing to boards, internally near fine. First edition, limited issue, primary binding. Copy #284 of 294 numbered copies, specially printed and bound, and signed by the author. A significant quantity of out-of-series copies, unnumbered, but signed, appeared in a cream cloth binding. Darrow’s own account of his experiences at the center of several of the early 20th century’s most significant legal battles, as well as of his advocacy on behalf of general progressive enlightenment. $1950.

75. [Davis, John Chandler Bancroft]: ORIGIN OF THE BOOK OF COMMON PRAYER OF THE PROTESTANT EPISCOPAL CHURCH IN THE UNITED STATES OF AMERICA. Washington: Privately printed for the use of the Churchman’s League ..., 1897. [4],43,[1]pp. Printed wrappers. A few small spots to wrapper, bump to lower foretip, else very good or better, largely unopened. First edition. Inscribed on the upper wrapper by the diplomat/attorney: “Rev. George Wm. Douglas S.T.D. / with the regards of his friend / J.C. Bancroft Davis.” Davis acknowledges in his prefatory note that his comments are those of a layman, and the product of his summer reading. It was among his last separate publications. The recipient was then Rector of Grace Church, NYC. Uncommon: OCLC reports only nine locations. OCLC: 5452477. $150.

76. Dewey, John: TYPED LETTER, SIGNED. New York. 10 March 1930. One- half page, on quarto lettersheet with Columbia letterhead. Folded for mailing, accompanied by original envelope. Very good. To a “Miss Silverberg,” in response to her query about Keyserling. He politely asserts he is unable to answer her question in detail because of his insufficient study of Keyserling, and outlines why Keyserling and he are at odds about fundamentals, noting that Keyserling’s reliance on intuition is “too idiosyncratic for general philosophical adoption, although when it is used by men of ability and insight, it is undoubtedly of considerable value in literature.” Signed in ink, in full, with manuscript revision. Ca. 125 words. $100.

77. Dewey, John: AUTOGRAPH LETTER, SIGNED. Key West, FL. 9 January 1939. One page, on single panel of folded quarto lettersheet. In ink. Folded for mailing, accompanied by original envelope, addressed in his hand. Very good. Addressed “Dear Sir” (envelope addressed to one Lamar F. Bass), reading, in full: “I don’t see how I can answer the question you ask for myself as ‘God’ isn’t defined – I don’t believe for example in Zeus or Jehovah. You may find a discussion of the topic in my A Common Faith, Yale Press. Sincerely yours John Dewey.” $150.

78. Dickinson, Emily: POEMS ... EDITED BY TWO OF HER FRIENDS ... SECOND SERIES. Boston: Roberts Bros., 1891. Medium gray cloth, decorated in gilt, t.e.g. Frontis manuscript facsimile. Early ink name on free endsheet, with 1985 ink gift inscription below, minor rubbing at tips, otherwise a very near fine copy, without the plain dust jacket and box. Half morocco slipcase and chemise. First edition, first printing, Myerson’s binding B. The second collection in book form of Dickinson’s poems, edited posthumously by Mabel Loomis Todd and T. W. Higginson. The first printing consisted of only 950 copies, issued in three different bindings. Like its predecessor, this is a title which has become noticeably less easy to acquire over the last decade. MYERSON A2.1.a. $3000.

79. Douglas, Lord Alfred: SELECTED POEMS. London: Martin Secker, 1926. Gilt green cloth. Small, short crack in upper inner hinge, else bright, about fine. Half morocco slipcase. First edition in this format, as a volume in The Adelphi Library containing several hitherto uncollected poems. Inscribed by Douglas for: “Alfred Rose from his friend Alfred Douglas. London. May 1926.” “Rose was instrumental in persuading the Home Office that Douglas should be supplied with writing materials during the poet’s incarceration in 1924 for libelling Churchill; whilst imprisoned, Douglas composed the sonnet sequence ‘In Excelsis’, which he dedicated to Rose, in gratitude for his assistance. However, Douglas later discovered that Rose had abused his trust and stolen manuscripts from him, which had been sold through the booksellers W. & G. Foyle” – Christies (London) 6973:232 – a to Rose of another work. $550.

80. Duncan, Robert: AN EPITHALAMIUM. [: Privately Published 1980]. [4]pp. Oblong 12mo. Folded leaflet. Fine. First edition in this format. One of 70 copies given to the poet, signed by him, with a colophon written out in his hand. BERTHOLF A54. $100.

81. Dunham, Carroll: SHADOWS. [West Islip, NY: Universal Limited Art Editions, Inc., 1989]. Oblong folio (35.x x 58.4 cm). Ten original full sheet drypoints, enclosed in publisher’s cloth chemise, with justification, title-leaf, and tissue interleaves, the whole enclosed in titled clamshell traycase. Fine. One of two copies designated as Printer’s Proofs, in addition to fourteen numbered suites, five Artist’s Proofs, and two cancellation proofs. Each drypoint was printed from a pewter plate on Richard de Bas handmade paper, and signed, numbered (“P.P. 2/2”) and dated by the artist in the image. The artist has also signed, dated and numbered the title-leaf. Dunham (b. 1949), American painter and print maker: “... initially influenced by Post-Minimalism, process art and conceptual art, he was soon attracted to the tactility and allusions to the body in the work of Brice Marden, Robert Mangold and Robert Ryman. Spurred on by the revival of interest in Surrealism in the 1970s, Dunham began to make abstract, biomorphic paintings reminiscent of the work of Arshile Gorky and André Masson, executed with a comic twist ...” – (Falconer, Grove Art Online). His work is widely represented in public and private collections. Extra shipping. $6500.

82. Dupuis, T[homas] S[anders], and revised by John Spencer, Esq.: CATHEDRAL MUSIC IN SCORE, COMPOSED FOR THE USE OF HIS MAJESTY’S ROYAL CHAPELS, BY THE LATE T .S. DUPUIS, MUS:DOC:OXON: SELECTED FROM THE ORIGINAL MANUSCRIPTS, AND CAREFULLY REVISED BY JOHN SPENCER ESQ. London: Published for the Benefit of the New Musical Fund at Smart’s Musical Warehouse, [ca. 1797]. With: ORGAN PART TO THE CATHEDRAL MUSIC COMPOSED FOR THE USE OF HIS MAJESTY’S ROYAL CHAPELS .... London: Published for the Benefit of the New Musical Fund at Smart’s Musical Warehouse, [ca. 1797]. Three volumes. [4],130; [4],132; [8],139,[1]pp. Large folio (42.5 x 31.8 cm.). Three quarter red straight grain morocco, leather labels, marbled boards. Engraved frontis portrait by C. Turner. Engraved titles (by B. Barnes). Spines exhibit significant wear at crowns and toes, boards scuffed and worn, some foxing early and late, main textblocks generally very good and crisp. First edition. Engraved throughout, except for prefatory letterpress and subscribers list in third volume. “Thomas Sanders Dupuis (1733-1796), musician ... was elected a member of the Royal Society of Musicians. In 1773 (and probably earlier) he was organist of the Charlotte Street Chapel (now St. Peter’s Chapel), near Buckingham Palace, and on the death of Boyce he was elected (24 March 1779) organist and composer to the Chapel Royal. On 26 June 1790 Dupuis accumulated the degrees of Mus.Bac. and Mus.Doc. at Oxford. In the same year he originated a sort of musical club, known as the Graduates’ Meeting” – DNB. Spencer was his student, and undertook this posthumous publication of his works. Not in ESTC (though some of Dupuis life-time scores are listed), but Worldcat locates several sets and scattered individual volumes. Extra postage. OCLC: 16457049, etc. $1850.

83. [Dust Jacket – 19th Century]: Amicis, Edmondo de: HOLLAND AND ITS PEOPLE. New York & London: G.P. Putnam’s Sons, 1885. Quarto. Publisher’s mauve cloth, heavily decorated in gilt and blind, untrimmed. Plates and illustrations. Minor speckling to the cloth at the extreme foretips, some foxing early and late and occasionally to a few margins of plates, institutional bookplate on pastedown, otherwise about fine and bright, in faintly hand-smudged printed dust jacket with some offsetting to the lower panel from the rather battered publisher’s box. The “Zuyder-Zee Edition,” limited to 600 numbered copies, of which this is one of 250 copies on untrimmed Linen paper. However, this copy is at variance with the colophon, in that it is accompanied by the extra suite of ten mounted etchings specially printed on satin that was to accompany the first 25 copies, rather than the two sets of ordinary impressions associated with this middle issue. The corners of the mats are a bit bumped and worn, and one of the etchings is a bit foxed, otherwise the suite is in very good order, in the chipped remnants of the original printed paper wrapper (also bearing a bookplate). This deluxe edition features original etchings (some in Japon proof state) by, and photogravures after, the likes of Pennell, Gifford, Vanderhoof, Colman, et al. The jacket is not among those selected examples of 19th century jackets cited by Tanselle. $1500.

84. Edgeworth, Mrs. [Maria]: LETTERS FOR LITERARY LADIES. TO WHICH IS ADDED, AN ESSAY ON THE NOBLE SCIENCE OF SELF-JUSTIFICATION. George Town: Published by Joseph Milligan, 1810. [4],[5]-44,46,28,[2]pp. Small octavo. Extracted from pamphlet volume. Foxing and occasional discolorations, a few scattered marginal highlights and underscores; just a good copy. First U.S. edition of the author’s first obtainable book, first published anonymously in London in 1795. The “Letters of Julia and Caroline” and “Essay on the Noble Science...” each have separate titles, paginations and registers, but were issued collectively in this format. The advert leaf includes notices of publication of Adeline Mowbray, and of Malthus’s Essay.... NCBEL III:665. SHAW & SHOEMAKER 20028, 20029 & 20027. $125.

85. Edgeworth, Mrs. [Maria]: THE MODERN GRISELDA. A TALE .... George Town: Published by Joseph Milligan, 1810. 117,[1]pp. Small octavo. Extracted from pamphlet volume. Foxing, spotting and occasional stains, including a heavy discoloration in upper portions of leaves beginning at p.27 and shrinking to nothing by p.54, 1817 ownership inscription of Cordelia Ball Ewell and calligraphic exercises repeated on title-leaf; an intact but heavily used copy. First U.S. edition, following the U.K. edition by five years. NCBEL III:666. SHAW & SHOEMAKER 20030. $55. 86. Eggers, W.P. Eberhard: HUMANAE VITAE. Hildsheim: Verlag Schrift und Bild, [1969]. Folio (40.5 x 30.5 cm). Loose sheets, laid into folding cloth portfolio with pictorial label. Light offset from portfolio lining to title-leaf, otherwise fine. First edition. One of eighty numbered sets. Foreword by Bodo Hedergott. A series of ten finely detailed etchings (one in color), each individually matted, and signed and numbered by the artist in the margin. The etchings are vintage Eggers, a dark mixture of brooding eroticism and surreal imagery with a satirical thread. $750.

87. Eigner, Larry: FLAT AND ROUND. Brooklyn: Pierrepont Press, [1969]. Gilt gray cloth. Fine in slightly dust-smudged and faintly marked slipcase. First edition. One of 26 lettered copies, from a total edition 330 copies, all signed by the author. Precedes the edition published in 1980 as Tuumba 25. $125.

88. [Eliot, T. S.]: EZRA POUND HIS METRIC AND POETRY. New York: Knopf, 1917. Rose boards, stamped in gilt. Top edge dusty, spine typically sunned and a bit worn, some darkening to boards, small crack at crown of upper joint, minor soiling in corner of front free endsheet, but a good copy of an excessively fragile book. First edition of Eliot’s anonymously published second book. One of one thousand copies printed. This copy is inscribed: “To Mr. Brock From John Quinn January 25/18. I am not the author.” However, Quinn did act as intermediary in the publication of this promotional for Pound’s Lustra, and distributed copies widely, both within and without the circle of his immediate literary contacts. The identity of the recipient of this copy is not certain, but just might have been British critic and essayist, Arthur Clutton-Brock, whose book, The Ultimate Belief, Eliot reviewed in late 1916, and who, in turn, reviewed Eliot for the TLS a year or two later. GALLUP (ELIOT) A2. $1250.

First Book 89. Eliot, T. S.: PRUFROCK AND OTHER OBSERVATIONS. London: The Egoist, Ltd., 1917. Printed buff wrappers. Trace of usual tanning from wrapper to facing pages, small tasteful bookplate inside front wrapper (a bit offset opposite and shadowed slightly through upper wrapper) and ink acquisition date on half-title (see below), minute nick at crown of spine, otherwise a lovely copy, without any of the creases or attempts at restoration common to copies of this title. First edition of the author’s uncommon first book. One of a total edition of five hundred copies. With the small bookplate inside the front wrapper, and ink acquisition note (“Sept. 27th 1917”) on the half-title, of Rev. Charles C. Bubb, proprietor of The Clerk’s Press, friend, correspondent and publisher of many of the prominent Imagists and their contemporaries, including H.D., Aldington, Cournos, Flint, Storer, et al. The book was formally published in June. Few first books by poets can claim to have made only a small portion of the impact traceable to this book. “...Something quite new in English verse and far beyond the capacity of Laforgue who is given credit for influencing him” – Connolly. GALLUP A1. MODERN MOVEMENT 30. $20,000. 90. Eliot, T. S.: ARA VUS [sic] PREC. London: The Ovid Press, [1920]. Quarto. Quarter yellow-tan cloth and black cloth over boards, paper spine label. Label darkened, with diagonal chip at one corner affecting the horizontal of the terminal ‘T’, coated black endsheets very faintly dusty, soft creases to six page corners, minor rubbing at bottom edge, but a very good copy, in half morocco slipcase. First edition, second state of the binding for the ordinary issue, in black cloth rather than black boards. From an edition specified as consisting of a total of 264 copies, this is an unnumbered copy. This copy, like six others examined by Cloud, exhibits the reversal of signature ‘C’ with the consequent disruption of pagination, and is printed on a slightly lighter weight Whatman paper, with edges trimmed. Ostensibly, there were to be ten unnumbered copies for review, but “the frequency with which unnumbered copies appear would indicate that a good many more than the unscheduled ten were so issued” – Gallup. See Gerald Cloud’s informed commentary on the internal and binding variants of this, the first book publication of the Rodker Press. GALLUP A4a. Cloud, John Rodker’s Ovid Press A Bibliographical History, A5. $3750.

Editio Princeps 91. : [Title in Greek] ... EURIPIDIS TRAGŒDIÆ SEPTENDECIM, EX QUIB QUÆDAM HABENT COMMENTARIA .... Venetiis: Apvd Aldvm, February 1503. Two volumes bound in one. [268;190] leaves. Thick octavo (165 x 98 mm). Full red morocco, spine heavily gilt extra, gilt Aldine anchor device on each board, a.e.g. (unsigned). Italic (preface) and Greek letter. Aldine anchor device at end of each volume. Small shallow discoloration at extreme lower edge of 11 leaves in the second volume, occasional traces of foxing, minor rubbing at crown of spine, otherwise about fine. Cloth slipcase and chemise. First collected edition of the Greek texts of the Tragedies of Euripides, preceded only by an edition of four of the plays printed in Florence in 1496. Although the title lists seventeen plays, Aldus added an eighteenth, the Hercules Furens, and in his prefatory to Demetrius Chalcondylas, a distinguished professor of Greek at Padua, Aldus indicates the edition consisted of one thousand copies. Euripides was the last of the trio of great classic Greek tragedians, and although he is known to have written a significantly larger body of plays than are preserved here, many of the others are known only through incomplete fragments. The other titles included here include some of the masterpieces of classic drama, including Medea, Hecuba, Orestes, Iphigenia In Taurus, Aleceste, Bacchae, etc. With the bookplates of Arthur Atherley and George Warren Vernon. “... recherchée, et les beaux exemplaires se trouvent difficilement” – Brunet. A small number of copies were printed on vellum. BM (ITALIAN), P.239. RENOUARD 43:10. GOLDSMID 63. ADAMS E1030. BRUNET II:1095. $40,000.

92. Evans, Walker: UNCLASSIFIED A WALKER EVANS ANTHOLOGY SELECTIONS FROM THE WALKER EVANS ARCHIVE DEPARTMENT OF PHOTOGRAPHS THE METROPOLITAN MUSEUM OF ART. New York, Zurich & Berlin: Scalo / Metropolitan Museum of Art, [2000]. Small quarto. Boards. Black & white, and color plates. Facsimiles of letters, articles, and original manuscripts. Fine dust jacket. First edition. Edited by J. L. Rosenheim and Douglas Eklund. “This book published on the occasion of Walker Evans’s (1903-1975) first retrospective exhibition in three decades at the Metropolitan Museum of Art, New York, The San Francisco Museum of Modern Art, and the Museum of Fine Arts, Houston, presents a selection of mostly unpublished materials from the Walker Evans Archive...” (from the dust jacket). $45.

93. [Fables]: Faerno, Gabriele: PHAEDRUS ALTER, SEU GAB. FAERNI CREMONENSIS FABULAE EX AESOPO, ALIISQUE PRISCIS AUTORIBUS; PII IV. PONT. MAX. HORTATÛ SCRIPTAE, & JUSSÛ EDITAE, ANNO 1564. NUNC PRIMÙM IN GALLIA, NOVÓQUE ORDINE PRODEUNT, AD USUM SCHOLARUM ACCOMMODATO. Parisiis: Apud Viduam Claudii Thiboust ... et Augustinum Leguerrier, 1697 [bound with:] Phaedrus, Augusti Liberti: FABELLAE NOVAE DUO ET TRIGINTA EX CODICE PEROTTINO REGIAE BIBLIOTHECAE NEOPLITANAE .... Parissis: Apud Ant. Aug. Renouard, 1812. Two works bound in one volume. [22],156,[10]; ix,[3],42pp. 12mo. Half 19th century calf and boards. Some dust darkening and light discolorations to preliminary of first title, second title very good, or better. Two scholarly editions, the first of Faerno’s Fables and adaptations of those of others, including Aesop and Phaedrus, edited by Philippus Mayoulus, with a dedication by Silvio Antoniano, and the latter of Phaedrus’ Fables as recorded in the Perottino, in a carefully edited text, with a prefatory “Lectori” by Renouard. EBERT 16226. $250.

94. Faulkner, William: IDYLL IN THE DESERT. New York: , 1931. Marbled paper over boards, printed label. Very minor rubbing to tips, but a fine copy without the wrapper. First edition. One of four hundred numbered copies, signed by the author (the entire edition). PETERSEN 10a. MASSEY 611. $2750.

95. [Faulkner, William]: Original studio one-sheet poster for INTRUDER IN THE DUST. [Culver City]: Metro-Goldwyn-Mayer, 1949. Vintage pictorial one-sheet poster (27 x 41”), lithographed in color. Folded as issued, otherwise about fine. A superbly pictorial promotional poster for the 1949 film adaptation of Faulkner’s novel, based on a screenplay by Ben Maddow, directed by Clarence Brown, and starring David Brian, Claude Jarman, Jr., Will Geer, et al. The poster prominently features Faulkner’s “daring novel,” and the copy and imagery underscore the emblazoned caption, “It’s Sensational!” $400.

96. [Faulkner, William]: Group of seventeen publicity stills for THE SOUND AND THE FURY. [Century City]: 20th Century-Fox, 1959. Seventeen original 8 x 10” b&w studio publicity stills, with captions in lower margin. Slight darkening to a few margins, and to one blank verso, otherwise very good to fine. A representative group of the publicity stills issued to promote the 1959 (very loose) film adaptation of Faulkner’s novel, based on a screenplay by Irving Ravetch and Harriet Frank, Jr., directed by Martin Ritt, and starring Yul Brynner, , Ethel Waters, Margaret Leighton, Stuart Whitman, et al. The still photographer for the production was James Mitchell. $175.

97. [Faulkner, William]: Original studio insert for THE SOUND AND THE FURY. [Century City]: 20th Century-Fox, 1959. Vintage pictorial insert poster (14 x 36”), in color. Folded as issued, minor tanning at edges, 1 cm closed snag in blank margin, otherwise a very good or somewhat better copy. A pictorial promotional insert poster for the 1959 (very loose) film adaptation of Faulkner’s “blistering best-seller of love and transgression ...,” based on a screenplay by Irving Ravetch and Harriet Frank, Jr., directed by Martin Ritt, and starring Yul Brynner, Joanne Woodward, Ethel Waters, Margaret Leighton, Stuart Whitman, et al. $150.

98. Fergusson, Francis: DANTE. New York: Macmillan, [1966]. Cloth. A good, used copy in shelfworn dust jacket. First edition. Inscribed by Fergusson: “For Caroline with love from Francis.” The recipient, novelist Caroline Gordon (Tate), has signed this copy (as Caroline Tate), and has highlighted the text in a few places (with comments in one place in the text and nearly covering the rear free endsheet). $125.

99. Ferry, Jean [pseud of Jean André Levy]: MONOLOGUE DE L’EMPLOYÉ. [Paris]: Collège de ‘Pataphysique, Année ‘Pataphysique LXXXII [i.e. 1954]. 12mo. Pale green printed wrappers. Wrappers faintly sunned at edges, otherwise fine, unopened. First edition. One of 278 copies on Chiffon, from a total edition of 333 copies. An early example of the prolific film scenarist’s work after he disentangled from his surrealist associations and affiliated himself with the Collège de ‘Pataphysique. Both the wrapper and the half-title abbreviate the title to simply Monolo. $175. 100. “Field, Michael” [pseud. of Katherine H. Bradley and Edith E. Cooper]: A QUESTION OF MEMORY A PLAY IN FOUR ACTS PRODUCED AT THE INDEPENDENT THEATRE LONDON ON FRIDAY OCTOBER THE 27TH 1893 .... London: Elkin Mathews and John Lane at the Bodley Head, 1893. [8],[3]- 48,[2],14,[1]pp. Large octavo. Medium green cloth, lettered in red. Cloth a bit soiled and edgeworn, one corner bumped, otherwise a good copy, with the bookplates of William S. Argent and Herbert Boyce Satcher. First edition, public issue. One of 120 copies bound thus. The implication of both the authors’ note and the physical make-up of the book is that the sheets (less the publisher’s prelims, a substantial errata, the ‘Note’ and the adverts) are from an edition “roughly printed for our own and the ’ use.” The text of the play was considerably revised when republished in 1918. Laid-in is a printed announcement for a production of “A Question of Memory” to take place at the “Opera Comique, Strand, W.C.,” under the direction of J.T. Grein, on 27 October, 1893 (a bit stained along lower margin). COLBECK I:248. NCBEL III:626. NELSON 66. $350.

101. [Filmed novel]: Shute, Nevil: ON THE BEACH. Melbourne, London and : Heinemann, [1957]. Gilt cloth. Spine slightly cocked, fore-edge a trace foxed, faint smudge to rear endsheet, else a very good copy in a very good pictorial dust jacket with modest tanning to spine, a few small spots and light edgewear. First (U.K.) edition of the source novel for the 1959 Stanley Kramer film starring Gregory Peck, Ava Gardner, Anthony Perkins, and Fred Astaire. $225.

102. Ford, Paul Leicester: LOVE FINDS THE WAY. New York: Dodd Mead & Company, 1904. Large octavo. Gilt decorated green cloth (by Margaret Armstrong), t.e.g. Fine and bright, as usual, but (not as usual) in a good, somewhat dust dimmed example of the pictorial dust jacket with some shallow chipping along edges, a couple of closed tears and some spotting along the bottom and fore edges of the front panel. First edition. Illustrated with a frontispiece and four plates by Harrison Fisher, and embellished throughout with color decorations by Margaret Armstrong. An uncommon dust jacket. BAL 6235. SMITH F-250. $250.

103. [Forster, E. M.]: Sieveking, Lance [adaptation]: ... “A PASSAGE TO INDIA” ... DRAMATISED FOR RADIO BY .... [London: BBC Home Service], October 1955. [1],69 leaves. Legal format. Mimeographed typescript, printed on rectos only. Top leaf a bit foxed and frayed, some lower corners creased, otherwise a very good copy. An adaptation for radio by Sieveking, produced by Donald McWhinnie. This adaptation was reprised 1958 in honor of Forster’s 80th birthday. KIRKPATRICK F3c(11). $300.

104. [Fortsas Hoax]: Klinefelter, Walter: THE FORTSAS BIBLIOHOAX...WITH A REPRINT OF THE FORTSAS CATALOGUE AND BIBLIOGRAPHICAL NOTES AND COMMENT BY WEBER DE VORE. New York: Press of the Woolly Whale, 1942. Cloth and decorated boards, t.e.g. Map endsheets. Fine in glassine dust jacket. First edition of one of the most substantial treatments of this elaborate auction hoax, including bibliographical descriptions of the catalogue, its subsequent printings, and the literature on the affair. One of two hundred copies printed in Centaur types on rag paper, with a title-page decoration by Fritz Kredel. LAWSON & PANKOW 109. $75.

First Book 105. Frost, Robert: A BOY’S WILL. London: David Nutt, 1913. Printed wrappers. A couple of very faint smudges to upper wrapper, otherwise fine. Folding chemise and cloth slipcase. First edition of the author’s first published book, second issue, binding D, with the four-petaled ornament on the upper wrapper, and the rubber stamp on the verso of page [4]. One of 135 numbered copies, signed by Frost. From the total first printing of ca. 1000 copies, 716 sets of sheets were imported after Nutt’s bankruptcy by Dunster House for distribution in the U.S., of which this is an example. In 1943, Dunster House went out of business, and in its residuary inventory, 135 copies of the book in this binding remained. Herman Cohen, of Chiswick Book Shop, was handling the disposition of the stock, and arranged via Louis H. Cohen of House of Books to have Frost sign and number the copies. Considerations of having them specially bound (thus creating a fifth binding state) were discarded, and the 135 copies (of which this is #131) were distributed in their present form. CRANE A2. $3000.

106. Frost, Robert: “THE VANISHING RED,” contained in THE CRAFTSMAN. New York. July 1916. Small folio. Pictorial wrappers. Heavily illustrated with photographs. Crown and toe of spine a bit chipped, pencil note ‘staff’ and ink date “July 11 1916” stamped on upper wrapper, otherwise a very good or better copy. Cloth chemise and slipcase. An early, if not first appearance of this poem, collected in Mountain Interval later the same year. Inscribed (“Longer of my only two in free verse”) and signed by Frost below his poem on page 383, and with the poem’s location noted in his hand on the upper wrapper. Not reported in the periodical section of Crane. $275.

107. Frost, Robert: NORTH OF BOSTON ... PICTURES BY JAMES CHAPIN. New York: , [nd. but 1919]. Gilt cloth and boards, fore and bottom edges untrimmed. Portrait and plates. Lower fore-tips bumped, otherwise about fine, in a very good example of the uncommon dust jacket (several short, creased tears along the top edge and at lower fore corners,). Second, and first illustrated, American edition. Although no limitation is stated, the edition consisted of 500 unnumbered copies printed on British handmade paper. A somewhat elusive edition in dust jacket. CRANE A3.3. $1250.

108. Frost, Robert: NEW HAMPSHIRE. A POEM WITH NOTES AND GRACE NOTES ... WITH WOODCUTS BY J.J. LANKES. New York: Henry Holt & Co., 1923. Cloth and boards, gilt label. Faint rubbing at head and toe of spine, lower fore-tips slightly worn, small 1925 ownership inscription on free endsheet, else about fine. Pictorial portion of front panel of dust jacket laid in. First edition, trade issue. Signed and dated by Frost on the free endsheet, in Amherst, in March of 1924. CRANE A6. $1750.

109. Frost, Robert: SELECTED POEMS. New York: Henry Holt & Co., [1928]. Cloth and boards, lettered in gilt. Boards a bit sunned and rubbed at edges, shadow of once-tipped in bookplate on pastedown, otherwise a very good copy. First edition of this selection, published in November in an edition of 3475 copies. Signed and dated by Frost in Amherst in 1929. CRANE A9. $750.

110. Frost, Robert: WEST-RUNNING BROOK. New York: Henry Holt, [1928]. Large octavo. Cloth and floral boards, t.e.g. Frontis and three plates after woodcuts by J.J. Lankes. Very faint rubbing to tips, otherwise a fine copy, though without slipcase. Second (first limited) edition. One of one thousand numbered copies, specially printed and bound, and signed by the author, and by the artist on each of the woodcuts. CRANE A10.1. $950.

111. Frost, Robert: THE COW’S IN THE CORN A ONE-ACT IRISH PLAY IN RHYME. Gaylordsville: The Slide Mountain Press, 1929. Small octavo. Decorated paper over boards. Minute nick to lower tip of printed spine label, costing two letters, a couple small smudges to pastedowns, otherwise an uncommonly nice copy of this delicate book, which ismost often seen with spine damage. First edition in book form. One of Frost’s least common books, limited to ninety- one numbered copies, printed by James and Hilda Wells (the entire edition), and signed by the authors. The errata slip noted in at least one copy (but not by Crane) is not present in this copy. CRANE A13. $2500.

112. Frost, Robert: A WAY OUT A ONE ACT PLAY. New York: The Harbor Press, 1929. Gilt cloth and boards. About fine in slightly chipped glassine dust jacket. First separate edition in book form. One of 485 numbered copies, signed by Frost at the end of the prefatory note. The prospectus is laid in, though is slightly tanned at the edges. This play first appeared in Seven Arts I:4 (1917), and then in book form as part of an anthology (1927). CRANE A11. $450.

113. Frost, Robert: NEITHER OUT FAR NOR IN DEEP A POEM ... WOODCUT BY J. J. LANKES. [New York: Printed at the Spiral Press, 1935]. 12mo. Sewn unlettered Japanese paper wrapper. Usual offset from wrapper flaps to endsheets, one loop of sewing broken, otherwise fine in cloth slipcase with chemise. First separate edition. One of 1235 copies, of which this is one of 450 bearing the Frosts’ gift imprint. Inscribed and signed by Frost. CRANE B3. $500. 114. Frost, Robert: A WITNESS TREE. New York: Holt, 1942. Cloth and pastepaper boards. Portrait. Hint of rubbing at toe of spine, otherwise fine in intact slipcase with mild discoloration at edges of one panel.

First edition, limited issue. One of 735 numbered copies, signed by the author. CRANE A24. $750.

115. [Frost, Robert]: DARTMOUTH IN PORTRAIT 1944 [cover title] ... , NH: Dartmouth College Publications, 1943. Quarto. Stiff photographically illustrated wrappers, comb-bound at top. Photographs by various hands, reproduced via gravure. About fine in original card folder, the latter with a few creases to flaps. Cloth slipcase and chemise. First edition of this calendar, featuring a new poem, “In the Long Night,” by Frost, as well as a portrait and selections from his poems to accompany each month. This copy has been inscribed and signed by Frost below the text of “In the Long Night.” CRANE C46. $600.

116. Frost, Robert: STEEPLE BUSH. New York: Holt, 1947. Cloth backed gilt decorated boards. Fine in lightly smudged and corner worn slipcase. First edition, limited issue. One of 751 numbered copies, specially printed and bound and signed by the author. CRANE A30. $550.

117. Frost, Robert: ON A TREE FALLEN ACROSS THE ROAD (TO HEAR US TALK). [New York: The Spiral Press, 1949]. Oblong 12mo. Printed wrapper over plain wrapper. Lower panel of wrapper scarred from having been mounted in an album (or some such), otherwise fine. First separate edition, published as the Frost Christmas card for the year. From a total edition of 3060 copies, this is one of 75 bearing the imprint of Gwen & Ed Rigg. Across the title-leaf, Frost has written: “How can so many things have changed for us and we remain so nearly the same?” It is unsigned. CRANE B21. $275.

118. Frost, Robert: DOOM TO BLOOM. [New York: Printed at the Spiral Press, 1950]. Oblong 12mo. Decorated wrappers. Fine. First separate edition. Illustrated with wood-engravings by Fritz Eichenberg, and signed by him on the imprint page. One of 225 copies with the Eichenbergs’ imprint, from a total edition of 3750 copies. CRANE B22. $85.

119. Frost, Robert: AFORESAID. New York: Henry Holt and Company, [1954]. Large octavo. Green cloth, lettered in gilt. Portrait. Neat bookplate in corner of front pastedown, else about fine in lightly sunned slipcase. First edition. One of 650 numbered copies, signed by Frost, published on the occasion of his 80th birthday. There was no trade issue. CRANE A37. $750. 120. [Gabo, Naum]: Read, Herbert, et al: GABO CONSTRUCTIONS SCULPTURE PAINTINGS DRAWINGS ENGRAVINGS. London: Lund Humphries, [1957]. Quarto. Cloth. Plates, photographs, drawings, facsimiles and renderings. Slight tanning at edges, light foxing to rear pastedown, a few small spots, otherwise a very good copy in shelfworn dust jacket with a few edge tears. First U.K. edition, trade issue. Inscribed and signed by the artist in 1958 “... with Love and ... I think Love too ....” The glasses for viewing the stereo images are intact in the rear inset. $200.

121. Garnett, David: AN APPRECIATION OF VOLTAIRE’S ZADIG. New York: Rimington & Hooper, 1929. Printed wrappers, with decoration by Valenti Angelo. Fine. First separate edition. One of 100 numbered copies printed for presentation (the entire edition – although this copy is not numbered). A separate printing of Garnett’s introductory essay for the firm’s edition of the novel. There was no British counterpart to either production. Very scarce: OCLC/Worldcat locates a single copy, at Texas A&M. While hardly a black tulip in the league of Dope Darling (of which Worldcat locates eleven copies), this is surely a waist-high hurdle for Garnett completists. MUIR (GARNETT) 9. $225.

122. [Golden Cockerel Press]: Scott, Walter S. [ed]: SHELLEY AT OXFORD THE EARLY CORRESPONDENCE OF P.B. SHELLEY WITH HIS FRIEND T.J. HOGG TOGETHER WITH LETTERS OF MARY SHELLEY AND T.L. PEACOCK AND A HITHERTO UNPUBLISHED PROSE FRAGMENT BY SHELLEY. [London]: Golden Cockerel Press, 1944. Quarto. Half gilt brown niger morocco and cloth, t.e.g. Portraits. A couple bumps along lower edges, morocco turn-ins offset to free endsheets, spine a trace darkened, otherwise a very good copy. First edition. One of 450 ordinary copies (of five hundred), published as one of three Shelley titles from the press edited by Scott. An interesting association copy, inscribed by Robert Hutchins to his then wife, novelist/artist Maude Hutchins, on the free endsheet: “Love & happy birthday to Maude from Bob 4 Feb 1946.” $250.

Family Copy 123. Gordon, Caroline: THE MALEFACTORS. New York: Harcourt, [1956]. Cloth and boards. Top edge and endsheets slightly dust spotted, fore-tips slightly bruised, but a very good copy in spine-sunned, modestly nicked and edgeworn dust jacket. First edition. An inscribed presentation copy from the author to her daughter and son-in-law: “For Nancy and Percy, with love from Mama.” Nancy Tate Wood, Gordon’s only child with poet Allen Tate, was born in 1925, and married Percy H. Wood Jr. in 1944. They were the joint dedicatees of Gordon’s 1944 collection, The Forest Of The South. $600.

124. Goudy, Frederick W.: THE STORY OF THE VILLAGE TYPE BY ITS DESIGNER.... New York: The Press of the Woolly Whale, 1933. Quarter cloth and boards, printed label. Fine in slightly worn glassine dust jacket. First edition. One of two hundred numbered copies printed on Arnold handmade paper for private distribution, with an extra page of supplementary information, in addition to 450 copies printed for members of the AIGA. LAWSON & PANKOW 24. $125.

125. Grashow, James: THE KING’S COURT A SERIES OF EIGHT WOOD ENGRAVINGS. [Np (Brooklyn?): Published by the Artist], October 1965. Title plus eight sheets. Quarto (32.5 x 25.5 cm). Laid into cloth folding portfolio, with pictorial label. A few marginal finger smudges, otherwise near fine; the portfolio is a bit rubbed at the corners. First edition. One of one hundred sets, with each of the eight main woodcuts numbered and signed by the artist in the margin. The title sheet bears a ninth woodcut. A rather early work by the wood-engraver and sculptor, coinciding with the year of his completion of his MFA at Pratt Institute. Grashow’s wood engravings have been widely published, and include the album cover art for Jethro Tull’s Stand Up. $400.

126. Greene, Graham: THE THIRD MAN .... SECOND DRAFT SCRIPT [wrapper title]. [Np: London Film Productions for Selznick Releasing Organization], 19 July 1948. 118 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in typescript blue wrappers, with small script number stamp. Slight sunning at edges of wrappers, else about fine. A “second draft” of this original screenplay by Greene, with uncredited contributions by (who it is said wrote his own dialogue) and , the director. The English production premiered in the UK on 31 August 1949, and opened in the U.S. in February 1950, with distribution through Selznick Releasing Organization. This script is one of a small number of preproduction scripts prepared for use by the latter group. The cast included Joseph Cotton, Orson Welles, Trevor Howard and Allida Valli, and the film was appreciated in its own time via a number of nominations and awards, and appreciated even more considerably by posterity. Greene published an adaptation of the original treatment in 1950, and in 1968, a form of the final script, with production revisions, was published. One of a relatively small number of duplicate copies from the Selznick Archive. $2250.

127. Greene, Graham: THE FALLEN IDOL DIALOGUE CUTTING CONTINUITY [wrapper title]. [Culver City Selznick Releasing Organization], 29 June 1949. Paginated in reel format: 21,25,18,20,25,12 leaves. Quarto. Mimeographed typescript, printed on rectos only. Punched at top and bradbound in stencil- printed wrappers. A few corner creases, else about fine. A dialogue cutting continuity script corresponding to the US release of Greene’s own reconception and adaptation to the screen of “The Basement Room.” The film was released in the U.K. in September 1948, and in the US in November of 1949. It was directed by Carol Reed, and starred , Michele Morgan, Sonia Dresdel, Jack Hawkins, et al. Greene’s screenplay was nominated for an Academy Award and NBA award, and won at the Venice Film Festival. Duplicate from the Selznick Archives. WOBBE D10. $750. 128. [Greene, Graham]: Fine, Morton, and David Friedkin [adap]: ... “” STARRING MR. HERBERT MARSHALL IN “THE MAN WITHIN” ... [caption title]. [New York: CBS Radio], April 1953. [4],28 [i.e. 26] leaves plus lettered inserts, and with two leaves printing revised texts of four leaves. Quarto. Mimeographed typescript, printed on rectos only. Paper-clipped at left corner. Upper fore-tip bumped, else near fine. An adaptation to radio, based on Greene’s work, prepared for broadcast as an episode in the distinguished CBS radio series, Suspense (1942 – 1962). This episode was directed by Elliott Lewis, starred Herbert Marshall, Betty Harford, et al, and was scheduled for broadcast on 8 February 1954. Fine and Friedkin had considerable success as writers for radio, television and film, in the latter instance including the screenplay for The Pawnbroker. The script is complete, includes rehearsal schedules and the text of the Autolite advertisements. A little-known Greene adaptation, in its broadcast form running about 28 minutes. $175.

129. [Gregynog Press]: Greville, Fulke, Lord Brooke: CÆLICA. [Newton, Montgomeryshire]: The Gregynog Press, 1936. Large octavo. Half deep green morocco, with minute morocco fore-tips, and decorated boards, spine and side panels lettered and ruled in gilt, t.e.g. Some modest rubbing to spine extremities and fore-tips, narrow offset to endsheets from morocco turn-ins, otherwise near fine. Edited, with an Introduction, by Una Ellis-Fermor. One of 225 copies printed on handmade paper in Perpeuta types, with red capitals, under the direction of James Wardrop. $400.

130. Grieshaber, H[elmut] A[ndreas] P[aul]: AFFEN UND ALPHABETE. [Stuttgart: Manus Press, 1962]. Folio (45 x 33.5 cm). Accordion-fold sheets laid into pictorial stiff wrappers. Spine label a bit frayed along the edges, some slipcase rubbing along the extreme edges of the wrappers, otherwise near fine in publisher’s pictorial slipcase. First edition of this ambitious undertaking by one of the foremost German woodcut artists of the post-WWII era. This work is comprised of sixteen original woodcuts of stylized apes printed in black (and one in black and red), juxtaposed with typographical experiments. From a total edition of three hundred numbered copies, this is one of sixty deluxe copies with the woodcuts signed in pencil by the artist, and with a separate special printing on Japanese paper of the woodcut for the upper wrapper, signed by the artist in the margin. $3500.

131. [Grubb, Davis]: Original studio publicity campaign pressbook for THE NIGHT OF THE HUNTER. London: United Artists Corp. Ltd., [1955]. 7,[1]pp. Quarto (34 x 24.5cm). Pictorial self-wrappers. Heavily illustrated. 5 cm clean tear in upper wrapper from top margin mended at an early date, trace of rust from staples, horizontal folds across middle, else about very good. A studio publicity campaign pressbook for the U.K. release of James Agee’s adaptation of David Grubb’s novel for the screen, directed by Charles Laughton, and starring Robert Mitchum, Shelley Winters, Lillian Gish, et al. Includes, as usual, sample press articles, available publicity paper, a synopsis, etc. The sinister artwork, like that for the US publicity campaign, relies heavily on Mitchum’s love/hate tattoos. Scarce. $450.

132. [Gutenberg, Johann]: Fuhrmann, Otto W.: GUTENBERG AND THE STRASBOURG DOCUMENTS OF 1439 AN INTERPRETATION...TO WHICH HAS BEEN APPENDED THE TEXT OF THE DOCUMENTS IN THE ORIGINAL ALSATIAN, THE FRENCH OF LABORDE, AND MODERN GERMAN AND ENGLISH TRANSLATIONS. New York: Press of the Woolly Whale, 1940. Large octavo. Gilt cloth, gilt spine label, t.e.g. Sketches by Fritz Kredel. First edition. One of 660 copies printed. As new in glassine and slipcase. LAWSON & PANKOW 96. $150.

133. [Gutenberg, Johann]: Johnson, Henry Lewis: GUTENBERG AND THE BOOK OF BOOKS WITH BIBLIOGRAPHICAL NOTES, REPRODUCTIONS OF SPECIMEN PAGES AND A LISTING OF KNOWN COPIES. New York: William Edwin Rudge, 1932. Folio. Gilt cloth. Inserted high quality facsimiles, in color. Four small marks on pastedowns from now absent glassine wrapper, else fine in folding clamshell case. First edition. One of 750 copies. Accompanied by a separate facsimile leaf of the 23rd Psalm, in printed folder, as issued (a second copy of the facsimile is also present, with some wear and erasures to folder). $350.

134. [Hammett, Dashiell]: Original color studio lobby card for THE GLASS KEY. [Np]: Paramount Pictures, 1935. A vintage 11 x 14” color studio lobby card. Remnants of old sticker and ink doodles in upper corner of blank verso, a bit of old erased penciling across a portion of the image, small crease, a bit of slight darkening along a portion of the upper margin, but generally a good to very good copy. A superbly visual and atmospheric lobby card for the 1935 film adaptation by Kathryn Scola, Kubec Glasmon and Harry Ruskin of Hammett’s 1931 novel. The film was directed by Frank Tuttle, and starred slick Hollywood heavy George Raft as Ed Beaumont, along with Edward Arnold, Claire Dodd, Charles Richman, et al. Raft, who was then perhaps the most popular Hollywood personification of underworld characters in film, figures in the image. Paramount remade The Glass Key in 1942, starring Alan Ladd as Beaumont, and each adaptation has its proponents. $300. Item 134. Hammett. 135. [Hammett, Dashiell]: Original color studio lobby card for THE FAT MAN. [Los Angeles]: Universal International, 1951. Vintage 11 x 14” color lobby card. Small closed nick at upper left margin, else about fine. Lobby card # 4 of the series. Directed by William Castle, based on a screenplay by Harry Essex and Leonard Lee. Hammett’s portly radio detective’s film debut, starring J. Scott Smart as the detective Brad Runyan. Others in the cast include Rock Hudson, Julie London, Jayne Meadows, Emmett Kelly, and a large cast of both credited and uncredited actors. A murder mystery not of “who done it,” but why was it done. A visually striking memento of a little-known Hammett derivative. LAYMAN 3.11. $300.

Selznick’s Unrealized Tess of the D’Urbervilles 136. [Hardy, Thomas]: Scott, Allan, and Clemence Dane (i.e. Winifred Ashton) [screenwriters]: An archive of scripts for an unproduced film version of TESS OF THE D’URBERVILLES. [Culver City]: Vanguard Films, Inc. / The Selznick Studio, 14 April 1946 through [ca. 1948]. Five volumes. Quarto. Mimeographed and mechanically reproduced typescripts, printed on rectos only. Bradbound in wrappers (stencil-printed, printed, and unprinted). Minor use, but very good to fine. An interesting lot of development scripts undertaken for a film version of Hardy’s novel which never came to fruition, made up of the following: a) Gow, Ronald, “Tess of the D’Urbervilles A Play ... Based on Thomas Hardy’s Novel,” an undated playscript in term binder, foliated in act/scene format; b) A “First Treatment” by Allan Scott, [1],96 leaves, 14 Feb. 1946 (rerun 16 April 1946); c) A “Complete Script” of Scott’s full screenplay, [1],244 leaves, 12 July 1946 (somewhat worn, upper wrapper and first leaf detached from brads); d) another “Complete Script” draft as above, re-run 12 January 1947; e) an undated but revised draft of Scott’s screenplay, [1],253 leaves, in canary yellow printed Selznick Studio wrappers; and f) a different screenplay, credited to Clemence Dane, undated, [1],216 leaves. Gow’s play was quite successfully produced in 1946, but seems not to have been published at the time. Selznick’s writers may have consulted it in the process of their adaptations. Had it come to fruition, this would have been the third film version of Tess, after the now lost silent versions of 1913 and 1924. As it turned out, a third version would need to wait until the award- winning 1979/80 Polanski version, Tess. $1750.

137. Harris, Frank: THE WOMEN OF SHAKESPEARE. New York: Mitchell Kennerley, 1912. Olive cloth, stamped in gilt. Cloth lightly rubbed, but a very good, bright copy. First U.S. edition -- the UK edition is dated 1911. Inscribed by the author on the free endsheet: “To Seltsam from his friend Frank Harris. Nice 1931”. The recipient was likely William H. Seltsam (1897 – 1968), the music historian, with whom Harris corresponded. BOICE 1912.26.a. NCBEL IV:1054. $175.

138. Hassall, John: [HASSELL’S DRAWING MAGAZINE OF RURAL SCENERY]. [London: Published by Thomas Tegg, ca. 1809-10]. Seventy parts, disbound folded signatures, comprised solely of images and captions, accompanied by aquatint caption titles for volumes one and two (without wrappers). Some occasional foxing, dusting and offsetting, a few marginal smudges, but a good lot. A partial, broken run of numbers 1 – 74, lacking numbers 14, 48, and 65. The periodical is scarce; the entry in COPAC for the holding at Oxford indicates a total of 100 numbers were published, each consisting of four or more illustrations, on four panels of a folded quarto sheet. Numbers were issued in printed wrappers, which bore the title, imprint and adverts. The illustrations often present a single view replicated in outline and aquatint, and occasionally other intermediate states, suitable for instruction. Hassell produced the majority of the illustrations, but a few are after drawings by George Morland. Most of the images depict rural activities, scenery, and/or livestock; others are floral, including a couple of instances where the aquatint is colored. Some of the plates were also utilized in variant forms of the publication. Examples of the individual parts in the original printed wrappers are rare; for example, the British Art Center at Yale has only parts 1, 2, 3, 7, 8, & 10 in wrappers. OCLC: 54272639. $750.

139. [Hayter, Stanley William]: Kleist, Heinrich Von: LES MARIONNETTES. [Paris]: G.L.M., [1947]. 12mo. Printed wrappers. Illustrations by Stanley W. Hayter. A near fine copy. First edition of this translation by Flora Klee-Palyi and Fernand March. One of 960 numbered copies on Marais, from a total edition of 997. $200.

140. Hearn, Lafcadio: SOME CHINESE GHOSTS. Boston: Roberts Bros., 1887. Mustard cloth, stamped in gilt and brown, green floral endleaves. Cloth a bit handsoiled, dime-size faint splashmark to upper board, traces of removal of once tipped-in bookplate from rear pastedown, a few elongated patches of soiling to spine, but a very good, tight copy. Half morocco slipcase and chemise (spine a bit darkened). First edition of the author’s most noted early collection of supernatural tales. Copies appear in a variety of colors cloth, to which BAL assigns no precedence. BAL 7916. BLEILER (SUPERNATURAL) 787. $500.

141. Hearn, Lafcadio: KOKORO HINTS AND OF JAPANESE INNER LIFE. Boston: Houghton Mifflin, 1896. Pale green cloth, decorated in gilt, t.e.g. First edition, BAL’s binding B (no priority). Pencil ownership inscription, slight sunning to cloth, but a very good copy. BAL 7928. $150.

142. Hearn, Lafcadio: IN GHOSTLY . Boston: Little, Brown and Co., 1899. Gilt pictorial cloth, t.e.g. Frontis, illustrations and plates. First edition. Pencil ownership signature, spine and edges a trace darkened, frontis evidently reinserted, with crease and small chip to fore-edge; a good, sound copy. BAL 7934. $175.

143. Hecht, Ben [screenwriter]: JOAN OF ARC. [Culver City]: Vanguard Films, 7 October 1946 through 11 April 1947. Three volumes. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in stencil-printed wrappers. A few nicks and creases, otherwise very good or better. A small archive of material relating to this unproduced film project undertaken for Selznick, consisting of the following: a) copy # 12 of a preliminary draft of the opening sequences, 9 leaves; b) copy # 35 of a second draft screenplay, [1],150 leaves, dated 12 November 1946, and rerun 11 April 1947; and c) copy # 11 of an interesting background document, translated by Donald M. Frame, with the wrapper title: Selections From The Trial Of Joan Of Arc The Questioning ..., 10 October 1946, 135 leaves, being selections from Quicherat’s 1841-9 edition of the trial transcripts. This version of the script was abandoned in deference to the 1948 adaptation from Maxwell Anderson’s play produced by Sierra, distributed by RKO, and starring (under contract to Selznick and on loan). Duplicates from the Selznick Archive. $850.

144. [Hecht, Ben]: [Goff, Ivan, and Ben Roberts (attributed screenwriters)]: THE SHADOW SCREENPLAY [wrapper title]. [Hollywood: The Writers], 24 October 1947. 115 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in typescript wrappers. Script number stamped on upper wrapper, very good to fine. An unproduced screenplay adaptation of Ben Hecht’s short story, “The Shadow,” in which the magician Sarastro seeks vengeance against his brother for the alienation of his wife. The script is uncredited, but at least one reference (i.e. Wikipedia) attributes this script to Australian-born screenwriter and Ivan Goff and his frequent collaborator Ben Roberts. While it generated interest, particularly on the part of Warner Bros., it didn’t see production. This example, copy #10, is a duplicate from the Selznick archives. Both Goff and Roberts enjoyed long, prolific careers as screen and television writers. $350.

145. [Heller, Joseph]: Henry, Buck [screenwriter]: CATCH-22. [Hollywood]: Paramount Pictures Corporation, 29 July 1968. [1],186 leaves. Quarto. Studio generated mimeograph typescript, printed on rectos only. Bradbound in studio wrappers with die-cut window. Script number stamped in corner of upper wrapper. Area of title-leaf exposed through die cut a bit dustmarked, some ink production notes inside rear wrapper and on one page, small nick to fore-edge of upper wrapper; a very good copy. A “Final Revised” draft of ’s adaptation to the screen of Heller’s novel. Even in this moderately late form, there are significant differences between this script and the 1970 release, directed by , and starring Alan Arkin, Martin Balsam, Jon Voight, Martin Sheen, Orson Welles, Richard Benjamin, Art Garfunkel, and many others. The script earned Henry a WGA nomination. $450.

146. [Hemingway, Ernest]: Hecht, Ben [screenwriter]: “A FAREWELL TO ARMS” SCREENPLAY BY .... [Culver City]: The Selznick Studio, 1957. [4],173 leaves. Quarto. Mimeographed typescript, printed on rectos. Bradbound in white production company wrappers. About fine. An unspecified but very close to final draft of Hecht’s adaptation of Hemingway’s novel. It was the novel’s second screen adaptation to reach production. This draft notes Charles Vidor as director, after John Huston left over budget disagreements, and also includes prefatory material not included in earlier drafts. Rock Hudson and Jennifer Jones starred. $450. 147. [Hemingway, Ernest]: [A Gathering of 18 Publicity or Press Photos]. Various places. ca. 1940s – 1970s. Original publicity prints, 8 x 10 and smaller. Many with crop marks or with airbrush retouching. A few with attached cutlines or captions on verso. Signs of normal use, a few creases, but good. A varied collection of photographs of Hemingway, or of Hemingway with others, spanning the years between For Whom The Bell Tolls and his marriage to Martha Gellhorn (1942), and the posthumously published biographies. All but one are associated with book promotions, the exception being an AP photo of Hemingway with Martha Gellhorn on the occasion of their marriage (heavily retouched for publication). With an additional photo of Leicester Hemingway, not included in the count. $200.

148. [Hemingway, Ernest, and Max Eastman]: [Original UPI Press Photograph]. New York: UPI, 13 August 1937. Original silver print, 8 x 10, printing two images and cutline. Accompanied by press cutting of related article. Faint paper clip mark, else very good. A photograph issued to accompany the UPI account of the Hemingway-Eastman altercation at the Scribners’ offices the preceding Friday, featuring stock photos of both, with a clipping of the associated wire story, headlined “It Takes a Tussle, But Author Proves His Chest is Hairy.” $125.

Who(actually)dunit? 149. [Hichens, Robert]: Hitchcock, Alfred, Alma Reville, and others [screenwriters]: THE PARADINE CASE. [Culver City]: Vanguard Films, Inc. / Selznick International, 25 March 1946 through 30 April 1961. Fourteen volumes / items. Quarto and folio. Mimeographed and spirit-duplicated typescripts, printed on rectos only. Bradbound or stapled in stencil printed wrappers, or stapled in self-wrappers. A few items a bit used (as noted below), but generally very good to fine. A substantial archive of scripts and technical documents tracing the long and troubled history of this film adaptation of Hichens’s 1933 novel. According to one source, Selznick had acquired the film rights to the novel prior to its publication, but submission of a preliminary script in 1934 to the Breen Office resulted in assurances that it would not pass muster according to the PCA. So the project was shelved for over a decade. This archive records much of that evolution, and consists of the following: a) Unspecified draft of a October 1934 screenplay by Lewis Waller, 124 leaves (rerun by Vanguard 25 March 1946); b) an unspecified draft of a February 1942 screenplay prepared for MGM, written by Salka Viertel and Polly James, 124 leaves plus lettered inserts (rerun by Vanguard 1 April 1946), creased bruise at middle brad to early leaves; c) a wholly new script, denoted a “First Rough Draft (With Dialogue from Novel)” by and Alma Reville, April 1946, 195 leaves (rerun by Vanguard 12 August 1946); d) a roster of “Costumes Compiled from the Novel,” 10 leaves, 17 April 1946; e) a “Description of Settings and Props Compiled from the Novel,” [2],7 leaves, 17 April 1946; f) a “Gay Comparison” compiled by Alice Hartman, 23 Sept. 1946 – a comparison of the script and the novel of the scenes involving the character Gay Keane; g) a “Third Draft Script,” credited to James Birdie, based on an adaptation by Alma Reville, 205 leaves, 10 August 1946; h) the “Final Shooting Script,” credited to David O. Selznick, based on Reville’s adaptation, [3],154 leaves, dated December 1946, small snag in fore-edge of upper wrapper; i) a preliminary Dialogue Continuity, foliated in reel format, 12 June 1947; j) a Dialogue Cutting Continuity, foliated in reel format, dated 19 February 1948; k) a Dialogue Cutting Continuity for the Trailer, 5 leaves, 27 February 1948; l) a large folio Trailer Spotting List, 5 leaves, somewhat ragged; m) a large folio, minutely detailed complete continuity, with corrections, dated March 1948, compiled by S. G. Samuels, outer leaves a bit ragged; and finally, n) a late, 30 April 1961 Combined 16mm Continuity script. Final screen credit for the screenplay fell to Selznick, and neither Hecht’s nor Birdie’s contributions were credited. Hitchcock directed, and Gregory Peck, Ann Todd, Charles Laughton, Ethel Barrymore (in a role that earned an Oscar nomination) and Louis Jourdan starred, among others, and a 29 December 1947 premiere brought to a conclusion the long and tangled series of attempts to bring Hichens’ novel to the screen. $4250.

150. Hitchcock, Alfred [director], and Ben Hecht [screenwriter]: Four post- production scripts for SPELLBOUND. [Culver City]: Selznick International Studios, 1945, 1949 & 1961. Four volumes, each foliated in reel format, three quarto, one legal format. Mimeograph typescript, printed on rectos only. First three bradbound in mimeographed wrappers, the latter stapled at top margin. Slight tanning and foxing to a couple wrappers, a few small spots to fore-edge of one item, otherwise very good to fine. A group of post-production scripts for this key Hitchcock film, based on a screenplay by Ben Hecht, which was in turn based on Angus MacPhail’s adaptation of a novel, The House Of Dr. Edwardes, by Hilary Saunders and John (“Francis Beeding”) Palmer. Present here are a Cutting Continuity script (dated 1 November 1945); a Dialogue Continuity script (rerun 31 May 1949); another Cutting Continuity script (rerun 10 June 1949), and a Combined 16mm Continuity script (15 May 1961). Ingrid Bergman and Gregory Peck starred, and Salvador Dali contributed designs to the dream sequences. The film was nominated for six , and won one, for Miklós Rózsa’s musical score. While not on the level of preproduction or production scripts, these scripts record in detail (often quite technical detail) the final form of the film. $1500.

151. Hitchcock, Alfred [director], and Ben Hecht [screenwriter]: DIALOGUE AND CUTTING CONTINUITY ON “NOTORIOUS” PROD. #522 [cover title]. [Culver City]: RKO / Selznick, 18 July 1946. [1],8,7,7,7,8,10,9,6,12,12 leaves, foliated in reel format. Large quarto, legal format. Mimeographed typescript, printed on rectos only. Punched and bradbound in upper margin. Some soft corner creases, otherwise near fine. A combined continuity script for Hitchcock’s 1946 film, based on a screenplay by Ben Hecht, based on a story by John Taintor Foote, with uncredited contributions by Clifford Odets and Hitchcock. The cast included Cary Grant, Ingrid Bergman and Claude Rains. Hecht’s script was nominated for an Oscar. This post-production script, which is a quite literal record of the film as released, predates the film’s premiere by nearly a month. Duplicate from the Selznick archive. $550.

152. [Hogarth, William]: [Nichols, John]: BIOGRAPHICAL ANECDOTES OF WILLIAM HOGARTH: AND A CATALOGUE OF HIS WORKS CHRONOLOGICALLY ARRANGED; WITH OCCASIONAL REMARKS. London: Printed by and for John Nichols, 1781. 157,[1]pp., with pp. 67 and 68 repeated. Octavo. Contemporary paper boards, edges untrimmed. A fine copy.

First edition. Leaves B4, H2, and N2 are cancels, with the original, and substantial, stubs still present and attached along the top edge to their neighboring conjugate.

The same duplication noted in Rothschild as a consequence of *I and *I2 is present. The principal source for the biography of Hogarth, including the first attempt at a catalogue of his works. ROTHSCHILD 1472. $500.

153. Holinshed, Raphael: THE FIRSTE VOLUME OF THE CHRONICLES OF ENGLAND, SCOTLANDE, AND IRELANDE. CONTEYNING, THE DESCRIPTION AND CHRONICLES OF ENGLAND, FROM THE FIRST INHABITING VNTO THE CONQUEST. THE DESCRIPTION AND CHRONICLES OF SCOTLAND, FROM THE FIRST ORIGINALL OF THE SCOTTES NATION, TILL THE YEARE OF OUR LORDE. 1571. THE DESCRIPTION AND CHRONICLES OF YRELANDE, LIKEWISE FROM THE FIRSTE ORIGINALL OF THAT NATION, VNTILL THE YEARE. 1547. London: Imprinted for Lucas Harrison, 1577. Three parts in one volume (of two). [8],124 [i.e. 126] leaves (lacking R1-errata); 289, [1]pp.; [8], 22

(lacking blank *b*6); 518, [26] pp (lacking errata leaf); [2], 28 leaves; 115, [6] pp. (lacking final errata leaf). With numerous errors in pagination throughout. Folio (signed in 8s). Old calf, spine gilt extra. Text in double columns. Printed in black letter. Woodcut title leaves to each part, and numerous woodcut illustrations and portraits in text throughout. Binding worn and cracked, with surface loss, but cords sound. Title and last leaf (I2) mounted, the former with cutaway in mount to show crest on verso of title; a4-5 inserted in reverse order from smaller, and rather frayed, copy; eight leaves with significant tears or imperfect, with old mends and/or small restorations of text in manuscript; upper margins of E6-F8 imperfect, with old mends and occasional loss of headlines; a few small burnholes; some tanning and foxing, the final section more so; intermittent tidemarks, most noticeably in the prelims, and in the upper and lower margins from 2C1 to end; occasional soiling, with a couple small instances of grease or wax stains; a few sidenotes touched in trimming, but in general, equipped with ample margins; just a fair, but serviceable copy, of a book prone to imperfections. With a 17th century ownership inscription repeated and with annotations in the same hand in various places in the text, as well as a later gift inscription on the verso of the title dated in New Orleans in 1869, and a few annotations in a 19th century hand. Bookplate of antiquary Richard Gough (1735–1809). First edition of the first volume, featuring one of four known variations of the imprint. The present work was planned by printer Reginald Wolfe nearly three decades earlier to be an element in a larger compendious history of the world; however, his death in 1573 delimited the unfinished project, confining it to England, Scotland and Ireland up to the time of William the Conqueror, and in the second volume, from that time to the approximate time of publication. The second edition of Holinshed’s Chronicle... (1587) is of considerable significance as a source-text for Shakespeare; however, that edition does not include the rather impressive array of woodcut illustrations that distinguish this edition. In this copy, leaves E6-8 of the last series, which were intended to be canceled, are still present (with ink comments and F1 crossed through by an early owner), and the cancel F7 is present in the “Belweathers” state. ESTC S93012. STC 13568.5. LANGLAND TO WITHER 146. PFORZHEIMER 494. $5750.

154. “Hope, Laurence” [pseud. of Violet Nicolson]: STARS OF THE DESERT. London: William Heinemann, 1903. Large octavo. Original drab stiff wrappers, manuscript spine label, untrimmed. Some minor isolated foxing, otherwise a very good copy. Enclosed in a full crimson morocco pull-off case, lettered in gilt. of the first edition of the author’s second book, published a year short of her death by suicide. Nicolson’s 1901 collection, The Garden Of Káma, was represented 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 their “tropical luxuriance and Sapphic fervour” (Thos. Hardy). 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. 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 interpretations), Nicolson has an interesting place in literary history. PURDY, p.309. $850.

155. Houghton, Claude: I AM JONATHAN SCRIVENER. London: Butterworth, [1930]. Black cloth, lettered in red and blind. A couple white smudges to upper board, narrow surface split at crown of upper joint, but a good, sound copy. Half morocco slipcase (sunned and scuffed). First edition of one of Houghton’s most widely read novels, inscribed by him in either 1930 or 1936 to British bookseller/bibliographer, Gilbert Fabes. With the signed bookplate of Jean Hersholt. $225. 156. [Housman, Laurence]: Shelley, Percy B.: THE SENSITIVE PLANT. New York & London: Dutton / Dent, 1899. Full black morocco of recent vintage and continued considerable fragrance (most likely by Copley binder C or D), a.e.g., raised bands, spine gilt extra. Frontis and eleven plates. Tipped-in bookplate, binding style rather clunky and uninspired, a few minor marginal smudges, but a good copy in cloth slipcase. First Housman edition, U.S. issue, bound up from British sheets with a cancel title-leaf. Housman’s twelve drawings are reproduced via photogravure. RAY 283 (British issue). sold

Association Copy 157. Hudson, W. H., and Keith Henderson [illus]: THE PURPLE LAND: BEING THE NARRATIVE OF ONE RICHARD LAMB’S ADVENTURES IN THE BANDA ORIENTÁL IN SOUTH AMERICA, AS TOLD BY HIMSELF. London: Duckworth, 1929. Large octavo. Cloth and decorated boards. Frontis, plates and illustrations. Spine sunned, as often, otherwise a very good copy in near fine (obviously supplied) dust jacket. First illustrated edition, British issue, of the author’s first book. The edition consisted of 3000 copies, which may or may not have included those shipped to the U.S. for publication with a cancel title-leaf. Illustrated with fifty-two woodblocks by Keith Henderson. This copy is inscribed by Henderson on the front pastedown: “To Her from Him with all his love.” The form of the inscription mirrors that by Henderson to his wife in her copy of the limited issue of his illustrated edition of Green Mansions. A duplicate or proof of the jacket illustration is pasted to the front free endsheet. PAYNE A1i. $375.

158. [Hughes, Langston]: KARAMU THEATRE ... PRESENTS “SIMPLY HEAVENLY” BY LANGSTON HUGHES [cover title]. Cleveland. May 1959. [4]pp. Folded leaflet (21.5 x 14cm), printed pictorial upper panel, mimeographed text on three other panels. Staple perforation at top margin of lower sheet, else fine. A program for one of the road-show engagements of Hughes’s 1957 musical comedy. Boldly signed by Hughes on the upper panel in characteristic green ink. $175.

159. Hughes, Langston, et al.: LE PROBLÈME NOIR AUX ETATS-UNIS [caption title]. [Paris]: Les Langues Modernes, [ca. 1965?]. 108-116pp. Printed wrappers. Very near fine. A participant’s separate of this Table Ronde featuring Langston Hughes, Paule Marshall, William Melvin Kelley, and Sim Copans, held at the Centre Culturel Amèricain in May, 1965. The remarks were edited and translated by Michel Fabre. $125.

160. Hughes, Richard: A HIGH WIND IN JAMAICA. London: Chatto & Windus, 1929. Green cloth. Cloth faintly hand-smudged, otherwise about fine, in very good, faintly tanned pictorial dust jacket with shallow loss at crown of spine panel and a few small nicks. First complete British edition, ordinary issue, of the author’s most popular work. Signed by Hughes on the half-title. The source novel for the 1965 film adaptation. NCBEL IV:607. $375.

161. Hugo, Ian [pseud. of Hugh Parker Guiler]: TEN ENGRAVINGS ... FOREWORD BY ANAIS NIN. New York: Associated American Artists, 1979. Folio (42 x 31.5 cm). Loose signatures, laid into cloth folding case. Fine. First edition. Ten original engravings by Hugo, printed on Arches by M.-C. Jobrack, each signed and numbered in pencil in the margin by the artist. This is one of ten sets, denoted as “artist’s proofs” and numbered in Roman, from a total printing of the engravings of sixty-one impressions, after which the plates were cancelled. Although Hugo originally made the etchings in the 1940s, this is their first printing other than in proof state. $1250.

162. Humara y Salamanca, Don Rafael: RAMIRO, CONDE DE LUCENA. OBRA ORIGINAL EN SEIS LIBROS. Paris & Nueva Yorck: Rossange Padre / Lanuza, Mendia y Cia, 1828. xxi,[3],[23]-286pp. 12mo. Contemporary calf. Fine mezzotint frontis (trimmed at fore-edge during binding). Scattered foxing, ink name and date (1932), a few pencil notes, else very good. The first, and until the 1998 printing, only edition of this work cited in OCLC (four copies), published under the multinational imprint. Lanuza, et al, published a number of works in Spanish in New York during the years 1827-31, either solely or as part of a co-imprint, none of which are particularly common. AMERICAN IMPRINTS 33609. $125.

163. Humphries, Rolfe: [ed]: NEW POEMS BY AMERICAN POETS. New York: Ballantine Books, 1953. Gilt lettered boards. Boards a bit sunned otherwise a nice copy in slightly spine-sunned dust jacket. First edition, boardbound issue. One of 3000 copies in this format, published simultaneously with the issue in wrappers. Auden, Moore, Stevens, Williams, Roethke, Sarton, Wilber, Merrill, et al. EDELSTEIN B48. WALLACE B64, etc. $65.

Rare Issue in Parts 164. [Hunter, Henry]: THE HISTORY OF LONDON AND ITS ENVIRONS PART I [through:] PART VI. London: Printed for John Stockdale, 1796-9. Six parts. Collations below. Quarto. Original paper-backed plain drab blue wrappers, printed labels on upper wrappers. Some foxing associated with plates, a few marginal tears, some chipping at edges, modest scattered soiling and occasional discolorations, part VI lacking upper wrapper; spine coverings perished and sewing loose; still, for the format, a remarkable survival, preserved in folding cloth box with spine label. Each number with the ownership signature (last name only) of American diplomat Samuel Sitgreaves. The very rare parts issue of the first edition of Hunter’s History ..., of which the sixth part is of sufficient rarity that ESTC’s entry questions whether it was ever published. In addition to his clerical duties, Hunter (1741-1802) was a prolific compiler and translator (his translation of Lavater’s Essai ... was published in five illustrated volumes 1789-98). Family tragedies, illness and Hunter’s death in 1802 derailed this project, and it was finally published in book form in 1811 after Stockdale engaged some hack writers to finish the work. Consequently, authorship is occasionally attributed to Stockdale rather than to Hunter (Halkett & Lang). While this set in hand has its share of imperfections, its rarity underscores its import as an example of 18th century serial publication. The collation of each part follows: a) Part One. [8],64pp. plus three views, and a “Plan of the Canals”, a “Large Map of the Thames,” and “Large four-sheet map of the Country from Twenty to Thirty Miles around London,” outlined in color. Included is an “Advertisement,” a subscription proposal, and an inserted slip offering the large map as a separate. b) Part II. 4,72pp., plus one view, and a “Plan of the City of London before the Great Fire in 1666,” and a “Survey of London after the Fire in the Same Year.” However, the “Four-Sheet Plan of London in its Present State” is not present. c) Part III (rear wrapper and terminal blank a bit rumpled and damp spotted), 4,73-224pp. plus five views, and a large folding “Map of the County of Essex,” and a large folding “Map of Kent.” d) Part IV. [4],65-216pp. plus five views (frontis has tidemark in upper fore-corner), and folding maps of Surrey and Middlesex. e) Part V. [4],217-424 (lacking pages 257/8, 297-304 and 337/8), plus large folding “ to the View of London,” three views, and a large folding map of Hertfordshire. And finally, f) Part VI. Wanting upper wrapper. [2],225-440pp. plus two of four views called for on the verso of the title, plus a massive folding view executed in aquatint by John Swertner of the “Cities of London and Westminster with the Suburbs and Circumjacent County” from the “Gallery of the steeple of Islington ....” The latter is not called for in the list of plates for this part, but corresponds to the “Index ...” issued in Part V. While the 1811 edition in book form is certainly common enough, there is no record of this issue in parts in ABPC from 1975 to the present. ESTC locates two sets, five parts only: House of Lords Library and Boston Athenaeum. COPAC’s entries for both the main work and the prospectus (present here in Part I) are wholly dependent on the ESTC entries. OCLC/Worldcat’s three locations of a two volume set simply dated 1796 include the Athenaeum copy, and two in London (with the entry noting “Vol. ends at p. 680 – no more published”). Lowndes notes the issue in parts, but incorrectly asserts it started in “1776 [sic].” ESTC T202273 & T113388. OCLC: 23748818. LOWNDES IV:1144. $5000.

165. [Hutchinson, John]: THE USE OF REASON RECOVERED, BY THE DATA IN CHRISTIANITY. WHEREBY WE KNOW, THE STATE WE ARE IN; THAT THERE ARE ELAHIM; WHAT THEY HAVE DONE FOR US; THE STATE THEY OFFER US; THE TERMS UPON WHICH THEY OFFER IT. SO HAVE EVIDENCE TO REASON UPON, AND MAY MAKE A REASONABLE CHOICE. “By J. H.” London: Printed by H. Woodfall ..., 1736. viii,9-396pp. Octavo. Extracted from nonce pamphlet volume. Some light foxing in upper portion of last few leaves, otherwise a near fine copy. First edition of this characteristic work by Hutchinson (1674 – 1737), whose polemical writings on natural science and theology – particularly those relating to his controversial stand on modern interpretation of the Hebrew language – attracted some enthusiasts, sufficient to give rise to what has been labeled ‘Hutchinsonianism’. Though not divorced from the theological aspect of his thought, he also took on Newton and made use of the work of his early, but then estranged, mentor, John Woodward. His collected works appeared in 12 volumes (1748-9), edited by R. Spearman and J. Bate. ESTC locates five copies in North America. ESTC T59340. $450.

166. [Huxley, Aldous]: [Script for radio adaptation of] “ANTIC HAY.” [London?]. [nd. but possibly 1940s- 1950s]. 69,[1] pp. Legal format. Mimeographed typescript, printed recto and verso. stapled at top left. Corner creases, terminal leaf a bit ragged at margins, with foxing to verso, a handful of manuscript corrections/ revisions; a good copy. A substantial attempt to adapt Huxley’s 1923 comic novel for radio presentation, writer and sponsoring organization unknown. Internal evidence confirms the immediate presumption that it’s a product of the U.K. (BBC perhaps?). Scanning of the immediate references, as well COPAC, OCLC, has so far been uninformative. $150. 167. Ionesco, Eugene: JOURNEYS AMONG THE DEAD A PLAY WITH LITHOGRAPHS BY.... [New York]: The Limited Editions Club, [1987]. Large quarto. Printed wrappers. Four original color lithographs by the author. Fine in lightly smudged white slipcase (with tiny pencil-eraser-tip sized spot at top edge), with crimson morocco head and foot panels. First edition in this format. Translation by Barbara Wright. Prefatory “Conversation with Ionesco” joined by Verena Hayden-Rynsch. One of one thousand numbered copies, signed by Ionesco. $350.

168. [Irving, Washington]: Two original studio lobby cards for RIP VAN WINKLE. [Np]: W.W. Hodkinson Corporation / Pathé Exchange, Inc., [1921]. Two vintage 11 x 14” tinted monochrome lobby cards. One card has tan offsetting around the lower portions of the blank margin and a chip from the upper left blank margin, otherwise very good or better. Two rare lobby cards from Edward Ludwig’s 1921 film adaptation of Dion Boucicalt and Joseph Jefferson’s play, based on a scenario by Agnes Parsons, starring Thomas and Daisy Jefferson, Milla Davenport, et al. Irving’s story was a popular property for pioneering film studios – IMDB cites thirteen different versions prior to this, beginning in 1903, but needless to say, promotional paper relating to any of the silent versions is rare. $400.

169. [James, Henry]: Stevenson, Robert [screenwriter]: “THE WINGS OF THE DOVE” SCREENPLAY BY .... [Culver City: Selznick Studios], 3 February 1949. [4],123 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in stencil-printed wrappers. Upper wrapper snagged at top brad, otherwise very near fine. A “First Rough” draft of this unproduced film adaptation of James’s 1902 novel. Selznick brought writer/director Robert Edward Stevenson (1905-1986) to the U.S. from England in the 1930s, and Stevenson’s early successes (often made while on loan to other studios than Selznick’s) included King Solomon’s Mimes, Jane Eyre, Tom Brown’s School Days, etc. This script represents what would have likely been one of his last projects associated with Selznick, as it coincides with his departure for RKO. His increasing prominence as a director resulted in a long string of successes for Disney. If this project had reached fruition, it would have been among the earliest adaptations of James to the large screen -- ten years later, it was adapted for television by other hands. Duplicate from the Selznick archives. $250.

170. [Janus Press]: Siegl, Helen [illus]: A FELICITY OF CAROLS. [West Burke, VT: The Janus Press for] Barre Publishers, 1970. Octavo. Gathered signatures, laid into paper chemise and slipcased. Slight offsetting from the slipcase to the chemise, otherwise near fine. Illustrated with twenty-two original woodcuts by Helen Siegl printed from the blocks. One of nine hundred numbered copies, printed in Bembo types on Japanese paper at the Janus Press, and signed by the artist. $100.

171. [Janus Press]: Johnson, W. R.: LILAC WIND. Newark, VT: Janus Press, 1983. Quarto. Accordion foldout (eight panels) with sculpted top edges (ca. 5’ when extended). Very fine in cloth clamshell box, with spine label. First edition. Johnson’s poems are superimposed on a background “ painting” by Claire Van Vliet and Kathryn Clark executed at the Twinrocker Handmade , with letterpress executed at the Janus Press. In addition to 150 numbered copies signed by the artist, this is one of an unknown number of copies marked as “proof A.C.” and signed by Van Vliet. The painting depicts a snowy winter landscape, at moonrise, executed in soft blues, green and lilac. A beautiful and characteristic work by “one of the most important book designers and artists of the last half of the twentieth century” – . $750.

172. [Japanese Watercolors – 19th century]: [ALBUM OF 22 ORIGINAL WATERCOLORS, ON SILK, OF BIRDS AND LEPIDOPTERA]. [Japan. early 1800s]. Folio (33 x 27.5 cm). Late 19th or early 20th century marbled calf, raised bands, spine gilt extra, gilt label, a.e.g., with watercolor river scenes on paper onlaid as doublures. Binding extremities rubbed, images offset a bit to interleaves, occasional patches of darkening to backgrounds of a few images, but otherwise very good to near fine. A lovely collection of watercolor images on silk of birds, moths and butterflies, the artist unknown, but the paintings executed with great skill. The twenty- two individual panels vary somewhat in size, but

approximate 24 x 20 cm to 20 x 16cm, and each includes several specimens: in the case of the birds, 2-4, in the case of the Lepidoptera, 5-10. The individual panels are mounted to heavy stock via blue silk bordering. The birds are identified via manuscript captions next to each bird; the Lepidoptera are not captioned. A pencil note on the free endsheet in an early hand dates the paintings somewhat earlier (1700- 1750 Shijo School) than do those later in its most recent provenance: tipped in unidentified mid-20th century auction description (dating the paintings to early 19th century) – private collection. $9000.

173. Jeffers, Robinson: BE ANGRY AT THE SUN. New York: Random House, [1941]. Large octavo. Gilt cloth. Spine stamping a bit dull, but a very good copy, without dust jacket. First edition, trade issue. Inscribed by the author on the front free endsheet: “ ... for Roland Young, with so much pleasure in seeing him here again. Cordially, Robinson Jeffers. Tor House, Carmel, , November 1, 1941.” Roland Young (1887-1953), the English stage and screen actor, appeared in over 100 films, including a memorable portrayal of Uriah Heep in the 1934 film adaptation of David Copperfield, and is most widely known for his role as “Cosmo Topper” in Thorne Smith’s popular “Topper” series. A decent association copy. $650.

174. Johnson, Merle: HIGH SPOTS OF AMERICAN LITERATURE ... A PRACTICAL BIBLIOGRAPHY AND BRIEF LITERARY ESTIMATE OF OUTSTANDING AMERICAN BOOKS. New York: Bennett Book Studios, 1929. Large octavo. Publisher’s three quarter blue morocco, t.e.g, gilt extra. Tips rubbed, very good. First edition of this reading and collecting list for a generation or two of collectors. One of 700 ordinary copies bound thus, from a total edition of 750 numbered copies. $125.

175. Johnson, Ronald: SPORTS AND DIVERTISSEMENTS ... POEMS MADE FROM ERIK SATIE’S NOTES, IN FRENCH, TO THE PIANO PIECES.... Urbana, IL: The Finial Press, 1969. Orange-yellow cloth, stamped in gilt and blind. Illustrated with drawings by Tom Kovacs. Fine.

First U.S. edition, following the Wild Hawthorn Press edition of 1965. Copy #171 of 171 numbered copies (like all copies), printed in Spectrum types on Shinsetsu papers, signed by the author and artist. $100.

First Book 176. [Johnson, Samuel (translator)]: A VOYAGE TO ABYSSINIA. BY FATHER JEROME LOBO, A PORTUGUESE JESUIT ... WITH A CONTINUATION OF THE HISTORY OF ABYSSINIA ... BY MR. LEGRAND. London [i.e. Birmingham]: Printed for A. Bettesworth, and C. Hitch, 1735. xii,396,[8]pp. Octavo. Contemporary mottled calf, raised bands, spine gilt extra, gilt red label. Very minimal foxing (unusual for this title), handsome contemporary engraved armorial bookplate on pastedown, upper joint cracking slightly, but quite sound, bit of wear to crown and toe of spine, otherwise an uncommonly nice copy. Folding chemise and cloth slipcase. First edition, first issue, of Samuel Johnson’s first book publication, a translation commission he undertook for Thomas Warren, the Birmingham bookseller with whom he was staying at the time. Johnson worked from LeGrand’s French translation of Lobo’s work, producing more of an epitome than literal translation, but was more faithful to LeGrand’s “Dissertations” which comprise a major portion of the text. Although hackwork, this project did provide Johnson with the background for his novel. A second issue exists, with a cancel title-leaf in black, but it is very uncommon. The edition was printed on rather mediocre paper, subject to foxing and darkening, and while ordinary copies are not uncommon, copies in the condition represented by this copy are unusual indeed. CHAPMAN & HAZEN, p.123. FLEEMAN 35.2LV/1a. COURTNEY & SMITH, pp. 2-4. ROTHSCHILD 1215. ESTC T88596. $2250.

177. [Johnson, Samuel]: THE PRINCE OF ABISSINIA. A TALE. London: Printed for R. and J. Dodsley ..., 1759. Two volumes. viii,159,[1];viii,165,[1]pp. Small octavo. Original calf, raised bands, gilt title labels. Ink ownership inscriptions

(see below), bound without terminal blank M4 in the second volume, otherwise a very pretty set. Cloth slipcase and chemise. First edition of Samuel Johnson’s only novel, written in the evenings of one week in an effort to raise funds for his mother’s care, and eventually, to pay for her funeral. The first edition consisted of 1500 copies. A2 in the second volume is in the second, corrected state; p.106 is signed D4, and the reading ‘indiscerpible’ appears at II:161:2. Nonetheless, this is a relatively early copy: formal publication took place on 19 April, and each volume bears on the free endsheet the inscription: “John Auld Goodford July 19. 1759.” In each case, the inscription has been neatly lined through on an early occasion, and ownership transferred to “Maria Goodford Junr.” FLEEMAN 59.4R/1. COURTNEY & SMITH, p.87. ROTHSCHILD 1242-4. ESTC T139510. $5850.

Item 177. Johnson. 178. [Johnson, Samuel]: A JOURNEY TO THE ISLANDS OF SCOTLAND. London: Printed for W. Strahan; and T. Cadell, 1775. [4],384pp. (errata bound after title). Octavo. Contemporary calf, rebacked with original backstrip laid down, gilt red label. Occasional foxing and a few minor spots, armorial bookplate on pastedown, offsetting from calf to margins of endsheets, but a very good copy. First edition, with the twelve-line errata. Copies with the six-line errata are properly the second edition (rather than “issue”), as much (but not all) of the text was reset for corrections and final revisions. Laid into this copy is the lower portion of a t.l.s. from the Drake firm assuring a former owner that it is the “correct first issue with the twelve line errata.” COURTNEY & SMITH, p.122-3. FLEEMAN 75.1J/1a. CHAPMAN & HAZEN, p.151. ESTC T84319. $1500. 179. [Johnson, Samuel]: Webster, Noah: A LETTER TO DR. DAVID RAMSAY, OF CHARLESTON, (S.C.) RESPECTING THE ERRORS IN JOHNSON’S , AND OTHER LEXICONS. New-Haven: Printed by Oliver Steele & Co., 1807. 28p. Small octavo. Extracted from a nonce pamphlet volume. Tan offsetting at corners of title leaf from earlier binding, otherwise a very good copy. First edition. In reply to Ramsay’s report that “prejudices against any attempts to improve Dr. Johnson are very strong in [Charleston],” Webster takes the opportunity to summarize the criticisms levied against Johnson’s Dictionary in Britain, as well as to discuss the present state of philology in general: it “is, at this moment, in a condition somewhat similar to that of astronomy under Tycho Brahe, with the solar system revolving around this terrestrial world.” While well-represented in institutional collections, this pamphlet is now uncommon in commerce. COURTNEY & SMITH, p.71. SHAW & SHOEMAKER 14191. SKEEL 705. SABIN 102360. $450.

180. Joyce, James: POMES PENYEACH. Paris: Shakespeare and Company, 1927. 16mo. Printed pale green boards. Errata slip. An unusually nice copy, near fine, with the fragile backstrip intact and only modest sunning at the edges. First edition, trade issue. There were also thirteen copies on handmade paper. The still common suggestion that the printer, Herbert Clarke, was, in fact, Harry Crosby, is demonstrably false. SLOCUM & CAHOON A24. $950.

181. [Joyce, James]: Original German promotional poster for . [Np]: Columbia Films, [ca. 1967-8]. Folio (23 x 33”). Multi-color silkscreen. Folded, as issued, signs of use along folds and at corners as a consequence of display (with resultant minor edge mends on verso) but a very good example. A visually striking poster, printed via silkscreen, promoting the German release of ’s 1967 film adaptation of Joyce’s novel, directed by Strick, based on a screenplay by Strick and Fred Haines, starring Milo O’Shea, Barbara Jefford, Maurice Roeves, et al. The actual date of the German release is not readily accessible via IMDB Pro, but after US and UK releases in 1967, the film entered distribution in Western European countries at intervals into 1968. That there was some delay in the German release is implied by the text: “Die Bombe von Cannes – jetzt endlich auch in Deutschland freigegeben.” The poster features a female nude profile occupying the major portion of the left half, with text in the right and lower sections, the whole, apart from the text, printed in red, blue, black and purple. Scarce. $225.

182. Kaldewey, Gunnar: CALIFORNIA TIME. [New York: Kaldewey Press, 1987]. Large folio (51 x 40 cm). Open sewn and bound in Plexiglas boards. Illustrated with sixteen linocut monoprints. Vertical soft crease to one leaf, otherwise fine in cloth clamshell portfolio (small split at one corner). First edition. One of forty-five numbered copies printed on English handmade paper, from a total edition of sixty-seven copies, all signed by the author/artist. Impressions of the California landscape and life-style, printed in various colors with satisfying effect by one of the contemporary masters of bookmaking. $1250. 183. [Katzman, Allen]: MONDAY DECEMBER 13, 1965 THE FOLKLORE CENTER PRESENTS AL KATZMAN IN A READING ...[caption title]. New York: The Folklore Society, 1965. [2] leaves. Legal format. Mimeographed typescript, printed on rectos only. Stapled at corner. Slight marginal tanning to top leaf, a few small marginal nicks, but very good. A program, printing biographical and bibliographical information, as well as a selection from Katzman’s “Elegies and Odes,” noted as having been written the previous spring. $65.

184. [Kemble] Butler, Frances Anne: TREMONT THEATRE ... MR. KEMBLE AND MISS F. KEMBLE WILL APPEAR THIS EVENING IN THE CELEBRATED TRAGEDY OF FAZIO ...! [Boston]: E.G. House, Printer, No. 2, Merchant Hall, April 1833. Quarto broadside (29 x 15.5 cm). Light foxing, old creases, but a good copy. A broadside promoting the Kembles’ appearances at Boston’s Tremont Theatre in Milman’s play, Fazio, Or The Italian Wife on Friday, 2 April 1833, and their appearance the following Monday in an as yet unnamed “Favorite Tragedy.” The performance corresponds to Fanny Kemble’s celebrated American tour of August 1832 to July 1833. $150.

185. [Kent, Rockwell]: Thayer, Gerland H.: CONCEALING-COLORATION IN THE ANIMAL KINGDOM AN EXPOSITION OF THE LAWS OF DISGUISE THROUGH COLOR AND PATTERN: BEING A SUMMARY OF ABBOTT H. THAYER’S DISCOVERIES.... New York: Macmillan, 1909. xix,[1],260pp. Large, thick quarto. Gilt cloth, a.e.g. Profusely illustrated with photographs, and with sixteen lithographed color plates. Spine ends a bit frayed, spine somewhat dull, with small nick, margins of lithographs tanned (as is, it would appear, inevitable), Russian bookplate on pastedown, modestly shaken, otherwise about very good. First edition. The color plate of the copperhead snake on dead leaves facing page 172 is credited to and A.H. Thayer, and is generally acknowledged as Kent’s first . $300.

186. [Kent, Rockwell]: DIRECTION ... ALL AMERICAN NUMBER. [Darien, CT]. February 1941. IV:2. Quarto. Pictorial wrapper. Illustrations. A couple light smudges to blank area of upper wrapper, else unusually nice. The upper wrapper features an illustration by Kent, while the lower wrapper is a full-page advert for This Is My Own. Other contributors include Dreiser, Burke, Caldwell, Seaver, et al. $75.

Death Loses Her Head 187. Khlebnikov, Velemir: [Title in Russian:] OSHIBKA SMERTI [Death’s Mistake]. Moscow: “Liren,” 1917. 16pp. Octavo. Printed drab wrappers. Wrappers a bit dust-smudged with a few very faint splashmarks, small ink inscription in corner of first leaf, wrappers slightly rubbed and used at edges, but a near very good copy. First edition of this burlesque drama by one of the central figures of Russian Futuristy, supplemented by 4pp of his poems. The play pursues the theme of the defiance of Death, with Miss Death presiding over a gathering at a tavern and dying as a consequence of the arrival of a thirteenth guest. OCLC/Worldcat locates 6 copies (two of which appear to be photocopies). MARKOV, RUSSIAN FUTURISM: A HISTORY, pp.300-1. $1750.

188. Khlebnikov, Velemir: [Title in Russian:] NOCH’ V OKOPE [Night in a Trench]. Moscow: Imazhinisty, 1922. [16]pp. Octavo. Printed drab wrappers. Pale splashmark around one staple at spine, lower fore-corners curled, minute ink name and date on first blank, uniform tanning, but a very good copy of a fragile book. First edition of this single poem. Although the printer’s imprint implies a substantial edition, it was published in perishable format. OCLC/Worldcat records ten copies. GETTY 310. $750.

189. Kincaid, Alexander: THE HISTORY OF EDINBURGH, FROM THE EARLIEST ACCOUNTS TO THE PRESENT TIME; BY WAY OF GUIDE TO THE CITY AND SUBURBS. TO WHICH IS ANNEXED A GAZETTEER OF THE COUNTY .... Edinburgh: Printed for the Author; and sold by N.R. Cheyne, 1787. vi,[2],336,59,[1] pp. 12mo. Modern half calf and marbled boards, raised bands, gilt label. Two folding maps. Bit of offsetting to margins of prelims and terminal leaves from former binding, maps a bit foxed and offset to facing leaves; but a very good copy. First edition. A relatively early work by the soon to be significant Scottish printer/ publisher/bookseller, published two years after his assuming a partnership role in the publication of the Edinburgh Evening Courant. The two folding maps are of a) “A Plan of the Town & Suburbs of Edinburgh,” and b) “The Environs of Edinburgh,” the latter with colored outlines. The separately signed and paginated sequence at the end is the “Gazetteer of the County,” which was issued as a separate, with its own title page, the same year. GOLDSMITHS 13318. ESTC T36367. $500.

190. King, Stephen: THE EYES OF THE . Bangor, ME: The Philtrum Press, 1984. Large quarto. Cloth backed batik paper over boards. Illustrations by Kenneth R. Linkhaüser. Fine in near fine slipcase, the latter marred only by four small scrapes to the paper along one edge. First edition. One of one thousand numbered copies for sale, from a total edition of 1250 copies, printed at the Stinehour Press after a design by Michael Alpert, all signed by the author. $1000.

191. Kinross, Albert: THE FEARSOME ISLAND, BEING A MODERN RENDERING OF THE NARRATIVE OF ONE SILAS FORDRED, MASTER MARINER OF HYTHE, WHOSE SHIPWRECK AND SUBSEQUENT ADVENTURES ARE HEREIN SET FORTH .... Chicago: Printed for Herbert S. Stone & Co., 1896. Small octavo. Medium green cloth, decorated in darker green, t.e.g., others untrimmed. Ink name on endsheet, some foxing early and late, spine and edges a bit darkened, with mild flecking along edges of cloth; a good, sound copy. First U.S. edition of this , published in the same year as the British edition. The narrative involves a found manuscript account of a shipwreck on an island where apparent supernatural phenomena are actually technical marvels conjured up by a cruel genius. BLEILER (SF) 1230. KRAMER 111. $100. 192. Klemm, Walther: [UNTITLED BESTIARY]. [Weimar?]. ca. 1927. Twenty original signed woodcuts, plus a smaller woodcut on the upper wrapper. Folio (37 x 33.5 cm). Printed on folded Japanese paper, open sewn in paper over limp wrappers. Upper wrapper neatly detached, with chipping to wrapper covering and a small burn mark, internally fine.

An impressive sequence of woodcuts of wild and domestic animals and birds (one with an additional color), each signed below the image in pencil by Klemm (1883-1957). The front blank bears Klemm’s 1927 gift inscription to his friend, fellow artist, woodcut master and illustrator, Emil Orlik, who he had met in . 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. This series bears no explicit limitation, though a pencil shelf-number (?) appears in the corner of the first blank (‘692/LXXV’). $1500.

193. [Koch, Peter (printer)]: Sparks, Drew, and Sally Kellman: A SALON AT LARKMEAD. Oakland, CA: , Mills College, 1999. Small quarto. Linen and boards, paper spine label. Illustrated with photographs and tipped-in facsimiles. Bookplate on front pastedown, otherwise about fine in slipcase with small label scar in corner of one panel. First edition. One of 250 copies designed and printed by Peter Koch in Quadraat and Libra types. The text is based on the diaries (1872-97) of Martha Hitchcock and the photographs and material reproduced in facsimile come from the Hitchcock Coit papers at Mills College. A colorful view of late 19th century life in the vineyards of Napa Valley. $225.

194. Koch, Vivienne: W. B. YEATS THE TRAGIC PHASE A STUDY OF THE LAST POEMS. London: Routledge & Kegan Paul, [1951]. Cloth a bit marked, endsheets a bit foxed, very good, without dust jacket. First British edition. A decent association copy, inscribed by the author to two literary friends, Allen Tate and Caroline Gordon: “June 10, 1951 For Allen & Caroline, More impediments! With love and melancholy, Vivienne.” Critic and novelist Koch published an essay, “The Poetry of Allen Tate,” in The Kenyon Review II:3 (Summer 1949), pp.355-78, and some of her subsequent correspondence with Gordon and Tate is preserved. $100. 195. Kokoschka, Oskar: JERUSALEM FACES. [London: Published for the Benefit of the Jerusalem Foundation by Marlborough Graphics Ltd and G. Weidenfeld & Nicolson Ltd.], 1973. [4]pp. plus six lithographs and interleaves. Large folio (65 x 50 cm; 25.5 x 19.75 inches). Laid into publisher’s folding white cloth clamshell portfolio, lettered in blue. Fine in publisher’s shipping box (with label). From a total edition of 160 sets (plus twenty a.ps.), this is one of 150 numbered sets. The lithographs were printed from the stone on Japanese handmade paper by Graphische Anstalt J.E. Wolfensberger AG, of Zurich, and each is numbered and signed by the artist. The portraits include Golda Meir, Shimon Agranat, Benedictos I, Moyshe Dayan, Sheik Mustafa Khalil El-Ansari, and Teddy Kollek, and were created by the artist while on a visit to Jerusalem in April 1973. Extra postage. $3500.

196. Komárek, Vladimír: OD KOLÉBKY KE KREMATORIU. [Prague]: Bonaventura, [ca. 1990]. 59,[3]pp. Small quarto. Pictorial stiff handmade paper wrappers. Fine, in pastepaper over boards chemise with gilt label (a few rubs to lower board). First edition in this format. Illustrated with four original etchings by the author/ artist (208 x 120mm, plus margins), each signed in pencil in the lower margin. With a postscript by Karel Samsinák. Komárek (1928 – 2002) holds a prominent place in the rank of post-WWII Czech artists; this is his best known prosework, accompanied by his own illustrations. OCLC: 39597299. $250.

197. Kruchenykh, Aleksei: [Title in Russian:] GOLODNIAK [Hunger]. Moscow: [Tip. TSIT], 1922. [24]pp. Small octavo. Stiff printed wrappers. Text uniformly tanned, some spotting to wrappers, but a good copy. First edition of this small collection of verse. One of 1000 copies printed. OCLC/ Worldcat locates six copies. GETTY 361. $600.

198. Kruchenykh, Aleksei: [Title in Russian:] FONETIKA TEATRA [Phonetics of the Theatre]. Moscow: 41°, 1923. 42,[6]pp. Small octavo. Typographically decorated wrappers. Illustrations. Pulp paper uniformly slightly tanned, a few nicks at overlap wrapper edges, otherwise about fine, and uncommon thus. First edition. Introduction by Boris Kushner. Issued in an edition of 2000 copies. The wrapper design is attributed to N. Nagorskaia (upper) and M. Plaksin (lower). A collection of five essays on transitional language in theatre and film drawing on examples from the works of Mayakovasky, Illiazd, Olenin, and others, and from Kruchenykh’s own work. A few internal illustrations are unsigned, but are also attributed to Nagorskaia. A second edition was published in 1925. GETTY 358. $950.

199. Kruchenykh, Aleksei: [Title in Russian:] APOKALIPSIS V RUSSKOI LITERATURE [Apocalypse in Russian Literature]. Moscow: MAF, 1923 [i.e. 1922]. 46,[2]pp. Small octavo. Drab wrappers, printed in red and black. Illustration. Lower blank forecorner of one leaf clipped, manuscript footnote added to page 19, paper uniformly tanned, with small nicks at wrapper edges; a good, sound copy. First collective edition of four essays published earlier in separate form. Published by the Moscow Association of Futurists as MAF Seriia Teorii #3. With an illustration by Natalia Nagorskaia. GETTY 351. $450.

200. Kruchenykh, Aleksei: [Title in Russian:] LEF AGITKI MAYAKOVSKOGO, ASEEVA, TRETYAKOVA [LEF Propaganda By Mayakovsky, Aseev And Tretyakov]. Moscow: Vseros. soiuz poetov, 1925. 61,[3]pp. Small octavo. Printed wrappers, utilizing a woodcut in red and black by Valentina Kulagina-Klutsis. Wrappers a bit frayed and creased at overlap edges, small spot to verso of last leaf mirrored to inner rear wrapper, author’s name inked on spine in minute hand, but a very good, partially unopened copy. First edition. One of 3000 copies printed. A selection of the poets’ works from the pages of LEF, with notes and commentary by Kruchenykh. The terminal leaves print a short-title bibliography of his works and adverts GETTY 366. $750.

201. Kruchenykh, Aleksei: [Title in Russian:] ZAUMNYI IAZYK U: SEIFULLINOI, VS. IVANOVA, LEONOVA, BABELIA, I. SEL’VINSKOGO, A. VESELOGO, I DR. [Transrational Language in Seifullina, Vs. Ivanov, Leonov, Babel, I. Selvinsky, A. Vesyoly and others]. Moscow: Vseros. soiuz poetov, 1925. 59,[5] pp. Small octavo. Printed wrappers, against a woodcut design in red and black by Valentina Kulagina-Klutsis. Wrappers a bit frayed and creased at overlap edges, faint Russian stamp and ink note on title, lower wrapper spotted and a bit dust soiled; internally a very good, partially unopened copy. First edition. One of 3000 copies printed. A consideration of the works of several poets in light of Kruchenykh’s advocacy of transrational language in poetics. Concluding the text is his “Declaration No. 5” on transrational language in contemporary literature, as well as a short-title bibliography of his works. GETTY 392. COMPTON, p.80. $600.

202. Kruchenykh, Aleksei: [Title in Russian:] DUN’KA-RUBIKHA [Dun’ka the Chopper]. Moscow: Izd. Avtora, 1926. 12pp. Small octavo. Pictorial wrappers with designs by Gustav Klutsis. Text in double columns. Usual slight tanning, minor spine splits at crown of spine and at staples, else about fine. First separate edition. One of 500 copies. A “crime novel” in verse, originally published as the final item in company with four critical essays the same year as Na Bor’bu S Khuliganstvom V Literature [To War with Literary Hooliganism]. GETTY 355. $1250. Item 202. Kruchenykh.

“Por Primera Vez En España ...” 203. [Kubrick, Stanley]: Original window card and lobby cards for SENDEROS DE GLORIA (). []: CB Films / United Artists, [1986]. Eleven pictorial lobby-style cards (225 x 335 mm), and a window-style card (335 x 225 mm). About fine. An attractive group of publicity items for the 1986 Spanish release of Kubrick’s masterful film adaptation of Cobb’s anti-war novel, based on a collaborative script written with Calder Willingham and , starring , Ralph Meeker, , and George Macready. Theatrical distribution of the film was officially prohibited in Spain by the Franco government for its anti-military content, and its late release there – “Por Primera Vez En España La Obra Maestra de ” – postdated Franco’s death by 11 years. $125.

204. “Lady, A”: CROSS PARTNERS, A COMEDY IN FIVE ACTS AS PERFORMED AT THE THEATRE ROYAL IN THE HAY-MARKET. Dublin: Printed for P. Wogan [et al], 1792. [4],65,[3]pp. 12mo. Extracted from nonce pamphlet volume. Rather foxed and tanned, but sound. First Dublin edition of this play attributed variously, but not definitively, to either Elizabeth Inchbald or Elizabeth Griffith. It is not in Inchbald’s entry in NCBEL. Published the same years as the London edition, and though a piracy, possibly preceding it, according to the catalogue entry at MH-H. ESTC suggests it is based on a work by Destouches and a novel entitled The Kentish Maid. ESTC locates six copies in North America. ESTC N3760. $125.

205. [Lamb, Charles]: ELIA. ESSAYS WHICH HAVE APPEARED UNDER THAT SIGNATURE IN THE LONDON MAGAZINE. London: Printed for Taylor and Hessey, 1823. [4],341,[1]pp. Small octavo. Full dark blue smooth morocco, raised bands, gilt, t.e.g. Author attribution and other notes in early hand on title, some scattered spotting and soiling; internally just a good copy, externally in bright early 20th century fancy dress. First edition, with the earliest state of the imprint (Fleet-Street only), and without a half-title, as issued. ROFF / LIVINGSTON, p.149. GROLIER ENGLISH HUNDRED 74. Tinker 1457. $450.

206. Landacre, Paul: CALIFORNIA HILLS AND OTHER WOOD ENGRAVINGS ... FROM THE ORIGINAL BLOCKS. Los Angeles: Bruce McCallister, 1931. Large quarto. Folded, gathered signatures, never bound, laid into decorated boards, neatly rebacked, with new pastedowns to boards and original backstrip laid down. Illustrated with fourteen large woodcuts, and a small woodcut on the colophon. Slight tanning to leaves, with characteristic offset to blank versos from woodcuts, blank endleaves tanned, upper fore-tips slightly bumped, else a nice copy, in custom-made half morocco slipcase and chemise by R. Patrone. First edition. Foreword by Arthur Millier. One of five hundred numbered copies, signed by Landacre. The woodcuts were printed on Navarre rag paper from Landacre’s original blocks by Harold Young. The present copy was never bound, is not numbered, and the publisher’s decorated boards appear not to have ever been graced by the publisher’s printed label. A perhaps overly optimistic pencil note on the front pastedown declares this “Never sewn! ...one of a few released in sheets.” It is far more likely that it is simply overage – a copy left unbound and unnumbered in the normal course of things. Nonetheless, in light of the stern admonition against breaking up copies (to frame the woodcuts) incorporated in the colophon, the present example allows for their easier display without invoking the wrath of St. Nicholas of Arrinstine. $3500. 207. Landon, Charles Paul: PAYSAGES ET TABLEAUX DE GENRE DU MUSÉE NAPOLÉON. Paris: Chez C.P. Landon, An XIII – 1805. Two volumes. 97,[1],iv pp. plus 72 plates; 88,v pp plus 72 plates. Octavo. Contemporary tree calf, spines gilt extra, gilt labels. Edges a bit rubbed, a few tissue guards frayed, but a very good set. First edition of this independent element in the series, Annales Du Musée Et De L’Ecole Moderne Des Beaux-Arts (17 vols,1801-10). A well-appointed survey of some of the portraits and paintings held in the collection, with quality engravings executed by various hands after the originals. An additional two volumes appeared in 1808 surveying the museum’s “cabinet particuliers.” The series underwent revision and expansion, with a new edition appearing in 25 volumes beginning in 1824. BRUNET III:813. $250.

208. Laughlin, James: THE HOUSE OF LIGHT. New York: The Grenfell Press, [1986]. Quarto. Stiff wrappers, printed label. Fine. First edition. Illustrated with woodcuts by Vanessa Jackson. One of two hundred numbered copies set and printed by hand in Poliphilus types on Rives paper, bound by Claudia Cohen, signed by the author and the artist. $125.

209. Lawrence, D.H.: SUN. Paris: Black Sun Press / Editions Narcisse, 1928. Large octavo. Printed wrappers. Color frontis and decorations. A couple minor marginal finger smudges, isolated bit of foxing to front free endsheet, else about fine in lightly worn glassine, accompanied by the side panels of the foil- covered case. First unexpurgated edition. One of 150 copies, from a total edition of 165. MINKOFF A15. ROBERTS A35b. $1250.

210. Lawrence, D. H.: THE ESCAPED COCK...WITH DECORATIONS IN COLOR BY THE AUTHOR. Paris: The Black Sun Press, 1929. Quarto. Printed wrappers. Frontis. Vignettes. Fine in slightly darkened glassine wrapper with small chips at extremities. Wanting the slipcase. First edition of the unexpurgated text. One of 450 numbered copies on Hollande van Gelder Zonen, from a total of 500. ROBERTS A50a. $500.

211. Lawrence, D. H.: PANSIES. [London: Privately Printed], June 1929. Original limp gray-blue leather over boards, lettered in gilt, ruled in blue, with gilt on lower board, t.e.g., others untrimmed. Portrait frontis. Bookplate on front pastedown, binding somewhat dust marked, verso of terminal blank a bit dust smudged, otherwise a very good copy in custom cloth slipcase and chemise. Deluxe issue of the definitive edition, limited to fifty copies printed on vellum finish paper, and signed by Lawrence, in addition to 500 ordinary copies. Lawrence arranged for the publication of this edition, published by subscription, with a colophon attributing the printing to P.R. Stephensen. ROBERTS A47d. $3000. 212. [Lee, Harper]: Original color studio lobby card for TO KILL A MOCKINGBIRD. [Los Angeles]: Universal Pictures Co., Inc., 1963. Original 11 x 14” color lobby card (#1 the title card). Ink date on verso, along with a couple of strips of old paper from display use, light use along top blank margin, otherwise a very good, or better, example.

A fine representative scene from Robert Mulligan’s film, based on ’s adaptation of Lee’s novel, showing Gregory Peck standing with Scout, Jem and Dill. As the title card in the sequence, credits are included in a sidebar, as well as noting the novel’s receipt of the Pulitzer Prize. $225.

213. [Lee, Harper]: Original studio promotional campaign pressbook for TO KILL A MOCKINGBIRD. [Los Angeles]: Universal Pictures Co., Inc., 1963. 13,[1] pp. including gatefolds. Folio. (46 x 31 cm). Pictorial self-wrappers. Heavily illustrated. Faint pencil circle around Peck’s name on upper wrapper, otherwise very good or better. An extensive promotional pressbook for Robert Mulligan’s film, based on Horton Foote’s adaptation of Lee’s novel, starring Gregory Peck, Mary Badham, Philip Alford, et al. A portion of the material relates to the novel, Harper Lee, the Pulitzer, etc. $175.

214. Leland, Charles G., and John D. Prince [trans]: KULOSKAP THE MASTER AND OTHER ALGONKIN POEMS TRANSLATED METRICALLY .... New York & London: Funk & Wagnalls, 1902. Gilt decorated pictorial cloth. Frontis, plates and illustrations. Engraved bookplate of the Authors Club and small gilt leather bookplate of a noted collector on front pastedown, binding a bit rubbed and lightly dust soiled, toe of spine a bit frayed, a couple of signatures starting; still, a reasonably good copy of a book not often seen in really fine condition. First edition of this later companion work to Leland’s Algonquin Legends Of New England (1885). The frontis is by Deming, and the ten plates are tracings made by Leland after Algonquin designs. This was the last work published in Leland’s lifetime; his essay, The Alternate Sex, was published posthumously. BAL 11696. $100.

215. Lenin, N. [Vladimir Ilyich] [pseud. of V.I. Ulyanov]: [Title in Russian:] ZAYAVLENIE I DOKUMENTY. O RAZRYVIE TSENTRAL’NYKH UCHRESHDENII S PARTIE [Statements and Documents. On Split Between Central Establishment and the Party]. Geneva: Koop. Tipographia, 1905. 13,[1]pp. 16mo. Pale green printed self-wrappers. About fine. First edition, published in association with Vpered, the Bolshevik paper founded by Lenin and associates in Geneva at the turn of the year after the Mensheviks took control of ISKRA. ZALESKI 1917. $1250.

216. Levy, Melvin, and Sidney Harmon [screenwriters]: “THE DUEL” [story and treatment]. [Culver City]: Vanguard Films, Inc., 24 January 1944. [2],29,[1],10 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in stencil-printed wrappers. Wrappers chipped at brads, internally about fine. An unproduced (and unpublished) story and treatment for a film set in a camp for German prisoners of war in Missouri, based “on authentic research made available to the authors.” This would have been a relatively early film undertaking by the authors. Levy (1902-1980) was an accomplished novelist (most notably the radical novel, The Last Pioneers, 1934), dramatist and activist, and though a victim of the Blacklist, he enjoyed an extended and relatively prolific career in film and television. Harmon (1907 – 1988) had been nominated for a screenwriting Oscar for his story for Talk Of The Town, his first screen credit. $250.

217. Lewis, Wilmarth S.: TUTOR’S LANE. New York: Knopf, 1922. Blue cloth, stamped in orange (primary binding). A bit dusty, with light foxing to endleaves, else a very good or better copy in the uncommon pictorial dust jacket, which has a few short tears and a small chip at the top of one joint. First edition of the sole novel by the budding Walpole collector and scholar, his first formal book. Very warmly inscribed by “Lefty” Lewis on the occasion of publication to J. M. Berdan. HANNA 2182. SMITH L-269. $125.

218. Lindbergh, Charles: THE SPIRIT OF ST. LOUIS. New York: Charles Scribner’s Sons, 1953. Plum cloth, lettered in silver. Pictorial endsheets. About fine, in faintly rubbed acetate wrapper. The special “Presentation Edition,” consisting of an unspecified quantity of numbered copies (but likely 1000), specially bound, and signed by Lindbergh on a special colophon leaf inserted in front. $3000. Parodies of Poe 219. [Linton, William J.]: POT-POURRI. [New York: S.W. Green, Printer, 1875]. 24pp. Original printed wrappers. Wrappers slightly dusty, else near fine. First edition of this collection of eleven parodies of some of Poe’s better known poems, composed and published nine years after Linton left the UK to settle in Connecticut as overseer of his Appledore Farm printing and crafts shop. The copyright is taken in the name of ‘Abel Reid,’ one of Linton’s regular pseudonyms. NCBEL III:533. $125.

220. [Linton, William J.]: THE AMERICAN ODYSSEY ADVENTURES OF ULYSSES (SO MUCH AS MAY INTEREST THE PRESENT TIME) EXPOSED, IN MODEST HUDIBRASTIC MEASURE...TO WHICH IS APPENDED AN ALLEGORY OF KING AUGEAS [wrapper title]. By “Abel Reid” and “A.N. Broome” [pseuds]. Washington: In Our Centennial year, 1876. 24pp. Sewn, printed self-wrappers. Slightly dusty, otherwise very good or better. First edition of this extended exercise in political verse satire by the British radical poet/engraver, by then resident in the U.S. for almost a decade. NCBEL III:533. $100.

One of Fifty 221. [Linton, William J.]: THE POOR-HOUSE FUGITIVE BEING THE LIFE AND ADVENTURE OF BOB THIN 1840.... [Hamden, CT: The Appledore Press, nd. but ca. 1897]. 176pp. Octavo. Folded, untrimmed sheets. Occasional decorations by the author. Near fine. First edition thus, reprinting the text of the 1845 edition, supplemented by a generous selection of poems from later years, including many on political and economic themes. Printed by Linton on his own press in an edition of fifty copies only, but not bound and published due to his death on New Year’s Day, 1898. Not in NCBEL or . $150.

222. THE LITTLE REVIEW. New York. January – March 1921. VII:4. Large octavo, extended fore-edge of text block untrimmed. Illustrations. Light use along the spine, with a couple faint spots to upper wrapper, otherwise unusually nice. Contributors to this number include Mary Butts, Djuna Barnes, Sherwood Anderson, Aragon, Soupault, Rodker (“To Mina Loy”), the 12 January Dada manifesto, and Margaret Anderson on their loss in the Ulysses Case. This is one of the exceptions printed on decent paper. $225.

223. [Logan Elm Press]: Citino, David: A LETTER OF COLUMBUS ... WITH MONOPRINTS BY ANTHONY RICE. [Columbus, OH]: The Logan Elm Press at The Ohio State University, 1990. Quarto (31.5 x 24 cm). Open sewn raw flax paper stiff wrappers with morocco spine. Shadow of bookplate on front pastedown, otherwise fine in pastepaper slipcase with inlaid cast paper bas-relief. The slipcase is a trace rubbed at edges and bears residue of two small labels. First edition of this, one of the most ambitious productions of the press. One of 130 numbered copies, printed from hand-set Janson types on specially watermarked Spanish flax paper. With calligraphic title-page and initials by Ann Alaia Woods, and color monoprints by Anthony Rice printed from hand-painted zinc plates. Signed by the poet, the artist and the designer, Robert Tauber. The folded prospectus is laid in, though it bears an ink and pencil annotation. $2200.

224. Longfellow, Henry W.: COPLAS DE DON JORGE MANRIQUE, TRANSLATED FROM THE SPANISH; WITH AN INTRODUCTORY ESSAY ON THE MORAL AND DEVOTIONAL POETRY OF SPAIN. Boston: Allen and Ticknor, 1833. viii,89pp. Cloth, printed spine label. Spine ends chipped, light foxing and occasional spotting, label darkened. A good, sound copy. Cloth slipcase and chemise. First edition, BAL’s variant A of the terminal blanks and pastedown. This book precedes Longfellow’s first book of original poetry. BAL 12054. $250.

225. [Longfellow, Henry W.]: HYPERION, A ROMANCE. By the Author of “Outre-Mer.” New York: Published by Samuel Colman, 1839. Two volumes. [6],[3]-213;[6],[5]-226pp. Octavo. Original tan paper boards, printed spine labels, brown endsheets, edges untrimmed. The Barton Currie set, with his gilt leather bookplate in each volume (offset a bit to the front free endsheets). Scattered foxing, boards and labels a bit rubbed and lightly soiled, spine ends a bit worn, but a very good set. Half morocco slipcase and chemises. First edition, BAL’s setting A of the title leaves in both volumes. BAL suggests that copies with white endsheets are the earliest, based on dated inscriptions. BAL 12064. WRIGHT I:1707. $850.

226. Longfellow, Henry W.: THE BELFRY OF BRUGES AND OTHER POEMS. Cambridge: Published by John Owen, 1846. vii,[1],151pp. Original gilt lithographed cream-white wrappers, untrimmed. Surface loss (1”) from toe of spine, lower fore-corner of upper wrapper chipped away, rear joint neatly split toward top, a few other nicks at fore-edge of upper wrapper; still, a reasonably sound copy, from the library of Frank Hogan, with gilt morocco bookplate inside the chemise and half morocco slipcase. First edition. Includes the first book publication of nine poems, among which appears “The Arrow and the Song” (“I shot an arrow into the air...”). The upper wrapper is, as usual, dated 1845, and although the edition was reprinted in fairly short order, the first printing approximated 1000 copies according to the publication contract. BAL 12083. WILSON I:222. $600.

227. Longfellow, Henry W.: AUTOGRAPH LETTER, SIGNED WITH INITIALS, TO HIS PUBLISHER. Cambridge. 30 September 1875. One page, on upper panel of folded quarto lettersheet. In ink. Folded for mailing, otherwise about fine. To James Osgood, his publisher, concerning, most likely, The Masque Of Pandora And Other Poems. He writes: “Dear Mr. Osgood – I will take Mr. Routledge’s sixty pounds. That is better than nothing. I am sorry you are printing so small an edition of the new book. I thought it was to be twelve thousand...” Signed with initials. The Masque Of Pandora was published in October, with a first printing of 3030 copies. Routledge’s edition appeared roughly simultaneously. $450. 228. Loos, Anita: [Typed manuscript, with revisions, of a prepublication draft of] A GIRL LIKE I. [New York]. [ca. 1963 or 1964]. 390 leaves (excluding inserts and cut and taped revisions). Quarto. Largely carbon (but very occasionally original) typescript, typed on rectos only. Many instances of taped rejoining or insertions in the course of revision, occasional creases and corner use, but very good. An interim draft of Loos’s memoir of her early years, eventually published in 1966 by Viking Press. The typescript is accompanied by a small card, inscribed “To Jack [/] Anita Loos.” The typescript bears emendations and revisions in type, ink and pencil, some of the latter being in the author’s hand. A general comparison of the published text with the typescript reveals differences in form and content, most readily noticed, for example, in the final chapter, wherein a diffuse many-page sequence of reminiscences of old friends and colleagues has been modified in favor of a tighter narration of the events surrounding the publication of Gentlemen Prefer Blondes, and a reference to her acquaintance with Mussolini dropped. No doubt a closer collation of the two texts would reveal other variations. Loos evidently circulated several such typescripts for by friends; we’ve had another, bearing some revisions dated 28 August 1963, though memory suggests it was likely somewhat earlier than this draft. Accompanied by a signed copy of the first edition, fine in lightly rubbed, price- clipped dust jacket. $1250.

229. Lummis, Charles: THE GOLD FISH OF GRAN CHIMÚ. Boston & New York: Lamson, Wolffe & Co., 1896. Small octavo. Gilt decorated cloth, t.e.g. Plates and illustrations by Henry Sandham. First edition. Endsheets foxed, early ink name and bookplate, light rubbing at tips, otherwise a very good copy. WRIGHT III:3433. $100.

230. [Lynes, George Platt]: AMERICAN BALLET PRIMERA JIRA INTERAMERICANA JUNIO – DICIEMBRE DE 1941. [New York]. 1941. [32]pp. Small quarto. Pictorial self-wrappers. Extensively illustrated with photographs. Near fine. A program for this Latin American tour under the auspices of the “Sociedad Musical Daniel,” illustrated throughout with photographs by Lynes. With a dedicatory note by Franklin Roosevelt. Portraits and biographical sketches of those involved, as well as composers, scene designers, etc, are included, among whom are Kirstein, Balanchine, Paul Bowles, Copland, Thomson, Wilder, Cadmus, Tchelitchew, et al. $25.

231. [Machine Art]: Hultén, K. G. Pontus: THE MACHINE AS SEEN AT THE END OF THE MECHANICAL AGE. New York: MOMA, [1968]. Small quarto. Publisher’s embossed metal binding, printed in colors. Illustrations and photographs throughout. Unprinted back panel a bit rubbed and scratched, spine a bit flecked, upper panel bright and fresh, internally about fine. First edition. The heavily annotated catalogue for this exceptional exhibition, notable as well for the out of the ordinary binding, designed by Anders Osterlin. Includes work by Calder, Duchamp, Ernst, Feininger, El Lissitzky, Man Ray, Moholy-Nagy, Picabia, Schwitters, Tatlin, and many others. $85. 232. Malcolm X, and Alex Haley: THE AUTOBIOGRAPHY OF MALCOLM X. New York: Grove Press, Inc., [1965]. Large octavo. Gilt cloth. Photographs. Cloth a bit dust smudged and musty, bit of foxing to endsheets, still a very good copy in dust jacket with several creased edge tears and a small nick on one fold internally mended, and mild soiling to the white portions. First edition of what is, by any reasonable measure, one of the great autobiographical narratives of the 20th century. Introduction by M.S. Handler. This was critic/ reviewer Peter S. Prescott’s copy, with publisher’s review slip laid in (a few ink notes on verso), his ownership stamp in the corner of the front free endsheet, and the publication date in felt-tip on the spine panel of the dust jacket. BRIGNANO 243. BLOCKSON 95. $850.

233. Man Ray, et al: THE LITTLE REVIEW. New York. Autumn / Winter 1923 – 1924. IX:4. Quarto. Typographically decorated wrappers. Plates. Lower wrapper slightly dust smudged, some offset from the original adhesive along the inner gutter of the first leaf, else very good or better. The special French number, including contributions by Tzara, Eluard, Aragon, Soupault, Reverdy, Crevel, Mina Loy, Leger, Ernst, Arp and others, and with 4 rayographs by Man Ray. $350.

234. Mason, Mr. [William]: ELFRIDA, A DRAMATIC POEM. WRITTEN ON THE MODEL OF THE ANTIENT GREEK TRAGEDY. London: Printed for J. and P. Knapton, 1752. [2],xix,[1],80pp. Octavo. 19th century calf and boards, bound without the half-title. Title printed in red and black. Spine rubbed, with narrow mend at crown, early ink ownership inscription and signatures, light foxing, but a good copy. Second edition. One of 1500 copies printed, according to Bowyer’s ledger. Mason’s breakthrough work: three London editions, as well as a Dublin printing, appeared the first year, with reprints and translations into French and Italian following on thereafter. ESTC T32614. NCBEL II:669. $150.

235. McLuhan, Marshall, and Harley Parker: THROUGH THE VANISHING POINT SPACE IN POETRY AND PAINTING. New York: Harper & Row, [c. 1968 (but 1971)]. Cloth. One lower corner worn, modest offset to endsheets, otherwise a good copy in shelfworn dust jacket. Later printing, but a very good association copy, inscribed on the free endsheet: “With high regard for Caroline Gordon from Marshall McLuhan May 1975.” The inscription dates from a period when both McLuhan and Gordon were distinguished visiting faculty at the University of . $300.

236. Merrill, James: NIGHTS AND DAYS. New York: Atheneum, 1966. Cloth. Fine in very near fine dust jacket with a trace of negligible tanning to top edge of rear panel. First edition, clothbound issue (600 copies thus). Inscribed and signed by the author: “All best to... (especially those nights at the opera) James Merrill.” Laid in is an a.pc.s. from Merrill to the recipient arranging a meeting time, thanking him for some books, and indicating that he’d love a tape of Callas’s Medea. Merrill was recipient of the NBA for this collection. HAGSTROM & MORGAN A20.a1. $750. 237. Merrill, James: THINK TANK. Amherst, MA.: Friends of the Amherst College Library, 1983. Oblong 16mo. French folded self-wrappers. Fine, with envelope. First separate printing of this poem, first published in The Georgia Review. One of 450 copies printed. Inscribed and signed by Merrill. Laid in is a t.l.s. from Bob Wilson, forwarding it as a gift. HAGSTROM & MORGAN A47. $75.

238. Merrill, James: OCCASIONS & INSCRIPTIONS. [New York: Jordan Davies, 1984]. Sewn plain wrappers. Fine, with errata slip laid in. First edition. Copy #2 of 7 out-of-series copies, in addition to 58 numbered copies printed for the poet on the occasion of his birthday. This copy is inscribed, signed and dated by the printer. HAGSTROM & MORGAN A51. $750.

239. Meyer, Conrad Ferdinand: DER SCHUSS VON DER KANZEL. Zurch: Verlag der Buchdruckerei Berichthaus, [1923]. Small folio. Full vellum over boards, t.e.g., others untrimmed, rough silk endsheets. Eight original full-plate etchings, printed in sepia. Vellum slightly mottled and faintly smudged, internally about fine. First edition with these illustrations by Fritz Gilsi. Copy #40 of fifty deluxe copies printed on handmade paper, with each of the etchings signed in the margin by the artist in pencil. There were two hundred ordinary copies. $250.

240. Middleton, Bernard C.: RECOLLECTIONS MY LIFE IN . Newtown, PA: Bird & Bull Press, 1995. Large octavo. Quarter morocco and decorated boards. Photographs. Fine in cloth slipcase. First edition. Foreword by Marianne Tidcombe. Bibliography. One of two hundred numbered copies printed in Dante types on Arches mouldmade paper. This copy is not accompanied by the promotional lapel button. $325.

241. Miller, Arthur [screenwriter]: DIALOGUE CONTINUITY ON THE MISFITS [with:] CUTTING CONTINUITY ON THE MISFITS. [Hollywood: Rosser’s Film Continuity Service for:] Seven Arts / United Arts, 10 January 1961. Two volumes. [1],54;[1],61 leaves. Legal format. Mimeographed typescript, printed on rectos only. Two quite long tears from top margin of cover-leaf of first item have early tape repairs, with lower blank corner of terminal leaf clipped away, blank corner of cover leaf of second item torn away, otherwise very good. Two post-production/pre-release scripts for John Huston’s film based on Miller’s screenplay. The film premiered the month following the preparation of these scripts and starred Clark Gable, Marilyn Monroe (both in their final films) and Montgomery Clift. While not of interest like preproduction scripts are for tracking revisions, these are literal records of the film as released. $275.

242. Miller, Arthur, and Inge Morath: IN RUSSIA. New York: Viking/Studio, [1969]. Small quarto. Gilt cloth. First edition. Heavily illustrated with Morath’s photographs, preceded by Miller’s text. Signed by Miller and Morath, as often. Slight toning to edges, but a very good copy in shelfworn dust jacket with short, creased tear in top edge of rear panel. $185. 243. [Miniature Book]: Utley, Robert M.: FORT UNION IN MINIATURE. [Santa Fe: Stagecoach Press, 1953]. Miniature (2.5 x 3cm). Bound in full -skin, lettered in red, marbled endsheets. Fine, in plastic box with printed label (the latter a bit rubbed). First edition. One of ninety-nine numbered copies, signed by the author, specially bound in Pueblo deerskin. Printed and bound by hand by Jack Rittenhouse, with illustrations by Stephi. $175.

244. [Missal, Latin – Paris Use]: EPISTOLÆ ET EVANGELIA TAM DE TEMPORE QUÀM DE SANCTIS, ET COMMUNI SANCTORUM, CUM COLLECTIS IISDEM PROPRIIS, ET QUATUOR PASSIONIBUS CUM CANTU, È MISSALI PARISIENSE EXCERPTA; ADDITIS ORATIONIBUS QUÆ PER ANNI CURRICULUM AD PROCESSIONEM DICUNTUR.... Paris: Sumptibus Bibliopolarum Usuum Parisiensium [apud Le Mercier, et al], 1762. [4],404,lxiv,lxxviii,viii pp. Small folio (35 x 22 cm). Lavishly bound in full contemporary red French morocco, elaborately gilt extra, gilt concentric side panels of intricate curl, and leaf devices, with gilt religious devices in each corner of the center panel and spine panels, with large mirrored ‘W’ device, crown and leaf spray in center panel of upper cover, and elaborate cross in center of lower board, gilt inner dentelles, pastepaper endsheets, a.e.g. Two fore-corners bruised, some other minor rubbing and marking to the binding, but a very good copy, in a lovely binding. A handsome Missal, with text printed in double columns, and appended sections of musical settings etc. The final eight pages, devoted to the Stations of the Cross, are separately printed. Le Mercier’s imprint appears at the base of the preceding page, and a joint imprint for Le Mercier and five other booksellers appears at the base of the last page of the terminal section. The binding is quite beautiful, and is similar (if not identical) to the binding on another copy, at the Morgan Library. OCLC locates another copy at Univ. South Carolina, binding unknown. $1250.

245. Montaigne, Michel de: ESSAYS OF ... IN THREE BOOKS. WITH MARGINAL NOTES AND QUOTATIONS OF THE CITED AUTHORS. AND AN ACCOUNT OF THE AUTHOR’S LIFE. NEWLY RENDERED INTO ENGLISH .... London: Printed for T. Basset [et al], 1685-6-5. Three volumes. [20],638; [4],725,[1]; [4],573,[3(blank)]pp. (with numerous errors in pagination in volume II). Octavo. Contemporary calf, neatly rebacked to style, raised bands, panels decorated in blind, gilt labels. Portrait frontis in each volume. Old ink blot in one spine compartment, short marginal tear in II:Z3 (no loss), offset from calf turn-ins to endleaves, a very good, handsome set. First edition of Charles Cotton’s translation of the Essays, generally regarded as a more accurate, but somewhat less spirited translation than Florio’s of 1603. The error in the date of the second volume is characteristic; the multitude of errors in the pagination of volume two include some variations from those in the ESTC entry, chiefly in cases of repetitive use of page numbers within the general spans noted there. ESTC R2740. WING M2479. PMM 95 (ref). $1750. 246. [Moore, Thomas]: THE POETICAL WORKS OF THE LATE THOMAS LITTLE, ESQ. London: Printed for J. and T. Carpenter, 1802. xxiii,[1],175,[1],[4] pp. Octavo. Contemporary, perhaps original unlettered calf and boards, wholly untrimmed. Extremities rubbed, else very good. Second edition of Moore’s first original collection of poetry. His preface maintains the subterfuge of the late Little’s authorship. First published in 1801, this collection was preceded only by Moore’s translations from Anacreon. HAYWARD 213. $125.

247. Morris, William [trans]: THE ÆNEIDS OF VIRGIL DONE INTO ENGLISH VERSE. London: Ellis and White, 1876. [4],382pp. Octavo. Contemporary stiff vellum over boards, ruled in gilt, gilt morocco labels. Vellum a bit hand-soiled, but a good copy. First edition, issue on ordinary paper. There were also twenty-five copies on large paper. With a January 1876 gift inscription from W.O. Hughes-Hughes to J.M. Gould on the first binder’s blank. SCOTT, p.32. $125.

248. [Moving Parts Press]: Peyré, Yves: AN INTIMATE COSMOGONY COSMOGONIE INTIME. [Santa Cruz]: Moving Parts Press, [2005]. Folio (37.5 x 25.5 cm). Pictorial stiff wrappers. Illustrated. Fine in card slipcase, and linen covered clamshell box with paper spine label. First edition of these translations by Elizabeth R. Jackson, printed parallel with the French text in an 18 foot long accordion-fold, illustrated with pen and ink drawings by Ray Rice. From a total edition of 96 numbered copies printed in Janson types on Fabriano Artistico paper by Felicia Rice, this is one of 84 copies with the illustrations colored via pochoir, signed by the poet, the translator and the printer. The elaborate prospectus is laid in. Publisher’s price: $2400.

249. Musset, Alfred de: LA CONFESSION D’UN ENFANT DU SIÈCLE. Paris: Félix Bonnaire, Éditeur, 1836. Two volumes. [4],321;[4],330pp. Octavo. Quarter 19th century smooth calf and marbled boards, spines elaborately gilt extra, without wrappers, but with half-titles bound in. Manuscript annotation on I:97, light scattered foxing, faint tidemark and rippling to textblock of first volume, otherwise an attractive, tall set (218 mm). First edition of the author’s autobiographical early prose masterpiece, through which is intimately woven the thread of his relationship with George Sand. “Ouvrage d’une grande rareté” – Carteret. In recent years, this work has been celebrated for its role as the source work for the film adaptation of 1999, Les Enfants Du Siècle. CARTERET II:192. VICAIRE V:1241. ASSELINEAU, p.294. $1450.

250. [Nabokov, Vladimir]: Original color studio lobby card for . [Culver City]: Metro-Goldwyn-Mayer/7 Arts, [1962]. Original 11 x 14” color lobby card (#7 from the set). Light use along edges from display, else a very good or better example. A highly characteristic scene from Stanley Kubrick and James B. Harris’s adaptation to the screen of Nabokov’s novel. In this particular image, Sue Lyons casually plays with a hula-hoop, while a seated James Mason, in lounge robe, stares longingly over the top edge of a book he feigns reading. $300. 251. [Nabokov, Vladimir]: Original color studio lobby card for LOLITA. [Culver City]: Metro-Goldwyn-Mayer/7 Arts, [1962]. Original 11 x 14” color lobby card (#2 from the set). Light use and tack marks along edges from display, “Not suitable for Children” label affixed to caption, else a very good example. A highly characteristic scene from Stanley Kubrick and James B. Harris’s adaptation to the screen of Nabokov’s novel. In this particular image, Sue Lyons, clad in two-piece swimming suit, reclines on a beach towel and casually looks over the rim of her glasses at the camera. $300.

252. [Nabokov, Vladimir]: Original Italian promotional poster for LOLITA. : Dear Films [1962]. Oblong folio (approx. 27.5 x 37”). Black and white image, within pink border and with overlaid pink title. Folded as issued, light use and slight toning at folds, a couple captions on blank verso; very good or better. A vintage Italian half-sheet style promotional poster for the Italian release of Stanley Kubrick and James B. Harris’s adaptation to the screen of Nabokov’s novel. The image is of the iconic scene with Sue Lyons reclining and James Mason painting her toe nails. $250. 253. Nadel, Arno, and Hans Steiner [illus & calligrapher]: HYMNE AUF BEETHOVEN ZUM 17. DEZ. 1920 [wrapper title]. [Berlin]: Privatdruck [by A. Rogall], 1920, [8]pp. Folio. (35 x 26.5 cm). Sewn self wrappers. Sewing a bit slack, wrappers dusty, with a few faint spots. A good copy. First edition. Frontis and text calligraphy by Hans Steiner. Copy #32 of an unknown number of copies, signed by the author and the artist. Nadel (1878 – 1943) was born in Lithuania. He was appointed Kapellmeister to the Berlin Jewish Community in 1916, and died at Auschwitz. $225.

254. Nadel, Arno [illus], and [Peter von Bohlen]: KALIDASA: DER WINTER... [wrapper title]. Berlin: Drei-Welten-Verlag G.M.B.H., 1923. [8]pp. Folio. (41 x 33 cm). Sewn self wrappers. A few faint marks of foxing, 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 Nadel below his etching. Nadel (1878 – 1943) was born in Lithuania. He was appointed Kapellmeister to the Berlin Jewish Community in 1916, and died at Auschwitz. $175.

255. Nash, Ogden, et al [screenwriters]: ‘THE FIRE FLY’ SCREENPLAY BY ALBERT HACKETT AND FRANCES GOODRICH FROM AN ADAPTATION BY OGDEN NASH .... [Los Angeles]: Metro-Goldwyn-Mayer, 20 – 29 March 1937. 109 leaves. Quarto. Mimeographed typescript, printed on rectos only, bradbound in somewhat creased and soiled stencil-printed wrappers (wanting the paper label). Internally very good or better. An unspecified draft of this screenplay, based on Nash’s adaptation of a play by Otto A. Harbach. The music was composed by Rudolf Friml. The script is noted as “Okayed by Mr. Stromberg” (i.e. the co-producer). The 1937 release was directed by Robert Z. Leonard and starred Jeanette MacDonald, Allan Jones and Warren William. Nash went to Hollywood in 1936 and worked as a writer for MGM, and this is one of his earliest credits. There he befriended S.J. Perelman, and after no great success at MGM, he returned East in 1942. Perelman and Nash then collaborated on the 1943 Broadway success, One Touch of Venus. This script is stamped “Incomplete” on the upper wrapper, but pencil notes indicate the addition of text on the 22nd and 29th and the script reaches a logical conclusion (although the musical numbers are not included). Uncommon. $750.

256. [Nathan, Robert]: Berneis, Peter, and Paul Osborn [screenwriters]: . Culver City: Selznick International Studio, 1947. Four items, as described below. Quarto and large quarto. Mimeographed typescripts, printed on rectos only, two items bradbound in studio stencil-printed wrappers, three items stapled, as issued. One wrapper detached from top brad, otherwise fine. A group of items relating to the 1948 Selznick film adaptation of Nathan’s novel, directed by William Dieterle, starring Jennifer Jones, Joseph Cotton, Lillian Gish, Ethel Barrymore, Henry Hull, et al. Final credits for the screenplay included Leonardo Bercovici (adaptation), Paul Osborn, and Peter Berneis, with uncredited contributions by Selznick and Ben Hecht. Present here are: a draft of the screenplay attributed to solely to Berneis, [1],152 leaves, dated 24 January 1947 (denoted “Final Shooting Script”); a draft of the screenplay credited solely to Osborn, [1],120 leaves, dated 16 June 1947 (rerun 24 June 1947); a 2pp. synopsis from the Director of Publicity (undated, two copies); and finally, a Combined 16mm Continuity script of much later vintage, dated 16 May 1961 and a Dialogue Cutting Continuity for the trailer (5 leaves, 11 Jan. 1949). A cursory comparison of the two drafts of the screenplay reveals substantial differences, even apart from the considerable variation in length. $1750.

257. [New Orleans Imprint]: Fox[e], John: A HISTORY OF THE LIVES, SUFFERINGS, AND TRIUMPHANT DEATHS, OF THE PRIMITIVE AS WELL AS THE PROTESTANT MARTYRS FROM THE COMMENCEMENT OF CHRISTIANITY TO THE LATEST PERIODS OF PAGAN AND POPISH PERSECUTION. TO WHICH IS ADDED AN ACCOUNT OF THE INQUISITION; THE BARTHOLOMEW MASSACRE; THE MASSACRE IN FRANCE, AND GENERAL PERSECUTION UNDER LOUIS XIV.; THE MASSACRES OF THE IRISH REBELLION IN THE YEAR 1641; AND RECENT PERSECUTIONS OF PROTESTANTS IN THE SOUTH OF FRANCE. New Orleans: Burnett & Bostwick, 1854 515,4,[2]pp. Octavo. Slate blue cloth, decorated in blind, stamped pictorially in gilt. Pictorial extra-title and illustrations. A few small spots to fore-edge, title and pictorial title foxed, modest scattered foxing elsewhere, a few leaves trimmed irregularly at bottom edge, otherwise a very good, or better, bright copy. Of some interest due to the imprint, although it is clearly close kin to the edition published the same year in Auburn and New York by Alden, Beardlsey & Derby. Not in Jumonville (and perhaps excluded because of its relationship to the NY edition); OCLC locates two copies (HRH & MCM). $85.

258. Nordau, Max: DEGENERATION. New York: D. Appleton & Co., 1895. xii,[1],566,[1]pp. Large octavo. Gilt decorated cloth. Erasure from front pastedown, relevant but later clipping affixed to half-title (with offsetting), slight cracking at gutter between half-title and preceding blank leaf (the latter neatly detached), otherwise a very good copy, with the small booklabel of Herbert Boyce Satcher. Denoted the “seventh” U.S. edition in English, translated from the second German edition, of one of the iconoclastic novelist and social critic’s most widely reprinted works, his analysis and critique of perceived degeneration in the arts, literature and social structure. Attached to the verso of the half-title is a one page a.l.s. from Nordau, Paris, 20 Nov. 1904, politely declining the offer of an American lecture tour due to work on his new book. Nordau was a close friend of Herzl and an ardent Zionist. $250.

259. O’Neill, Eugene: DYNAMO. New York: Horace Liveright, 1929. Quarto. Stiff blue vellum, gilt spine label, untrimmed. The vulnerable blue spine is faded, as often, and there is general mottling to the vellum, again as often, otherwise a very good copy in edgeworn and partially cracked batik over boards slipcase with gilt label. First limited edition, published in the month following the trade edition. One of 775 numbered copies (750 for sale), specially printed and bound and signed by the author. ATKINSON A31-II-I. $350. 260. [O’Neill, Eugene]: One-sheet poster for a rerelease of ANNA CHRISTIE. [Culver City]: Metro-Goldwyn-Mayer, 1962. Large folio one sheet (27 x 41”) poster. Folded as issued, otherwise fine. A striking poster for this revival of the 1931 film adaptation by Clarence Brown of O’Neill’s play, featuring , with Charles Bickford, George F. Marion and Charles Dressler. This poster emphasizes Garbo in a montage of images from the film as well as in its headline, and mimics the typographic style of its original era. $100.

261. Oakley, Violet: LAW TRIUMPHANT CONTAINING THE OPENING OF THE BOOK OF LAW AND THE OF GENEVA. [: Privately Printed by , 1932]. Three volumes laid into folding portfolio. Folio (39 x 28.5 cm). Two volumes (one consisting of text, one of plates) in printed boards, plus supplement in loose signatures. Text set in double columns. Laid into full red soft calf portfolio (45 x 32.5 cm), ruled in blind, lettered in gilt, by Alfred Smith & Company of Philadelphia, copper-gilt metal clasps, foil-finish endleaves. Accompanied by the supplement (Conclusion, subscribers list, biographical notices, list of exhibitions). Bookplates of an institutional library affixed to portfolio front pastedown and those of the three internal volumes (with some tan offset surrounding them) and neat accession numbers in mss, upper joint of plate volume shows surface cracking, otherwise a very nice set, near fine. The original shipping box is present, but defective. First edition. Limited to three hundred copies, each numbered and signed by the author/artist, of which this is #23. A copy of the original prospectus (folded and a bit used), is laid in. Text printed in Garamond types on San Marco paper by Joseph W. Tatum, after a design by Oakley and H.H. Dunn. Violet Oakley (June 10, 1874 – February 25, 1961) was a transformative force in the field of American mural painting and a principal affiliate of the Brandywine school of painting and illustration. After studying abroad and a term as a student of Howard Pyle at the Drexel Institute, she was commissioned to undertake the murals and stained glass for the Church of All Angels in New York, earning her distinction as America’s first professional female artist. Her political beliefs were shaped by the Quaker William Penn whose ideals she represented in her murals at the Pennsylvania State Capitol. She was committed to the principles of pacifism, equality of the races and sexes, economic and social justice, and international government. She lived with two other women artists, and the three were known professionally as the “Red Rose Girls.” They were joined by a fourth woman, Henrietta Cozzens, with whom Oakley had a long-term committed relationship, and they collectively adopted a common surname: the ‘Cogs’ family. When the United States refused to join the League of Nations after the Great War, Oakley went to Geneva, Switzerland, as an informal self- appointed Ambassador and spent three years drawing portraits of the League’s delegates, some of which are included here, in company with reproductions of her murals at the Pennsylvania Supreme Court building. After World War II, Oakley was an early advocate of nuclear disarmament. A special calligraphic presentation leaf appears in the first part, recording the donation of this copy to the institution from whence it was recently deaccessioned. $2000. 262. [One Heart Press]: Olmsted, Frederick Law: YOSEMITE AND THE MARIPOSA GROVE: A PRELIMINARY REPORT, 1865. Yosemite National Park: Yosemite Association, [1993]. Cloth and Fabriano paper over boards, paper spine label. Frontis and illustrations by . Bookplate on front pastedown, otherwise fine. First edition in this format. Introduction by Victoria Post Ranney. One of one hundred numbered copies, signed by the artist and by Ranney, from a total edition of 450 copies printed on Rives Heavyweight at One Heart Press, Berkeley, as their first book production. $300.

263. [Oppenheimer, Joel]: MONDAY DECEMBER 6, 1965 THE FOLKLORE CENTER PRESENTS JOEL OPPENHEIMER IN A READING ...[caption title]. New York: The Folklore Society, 1965. [3] leaves. Legal format. Mimeographed typescript, printed on rectos only. Stapled at corner. Slight marginal tanning, to top leaf, a few small marginal nicks, but very good. A program, printing biographical and bibliographical information, as well as Oppenheimer’s poem, “Poem for Viet Nam I,” noted as having been written the previous month. $65.

264. [Oriole Press]: Sleigh, Bernard: WITCHCRAFT. Berkeley Heights, NJ: Published & Printed Privately by The Oriole Press, 1934. Cloth and decorated boards, paper labels. Frontis and two woodcuts. Trace of rubbing to crown and toe of spine, spine label nicked, but a very good copy, with the original prospectus laid in. First edition. Woodcuts by the author. One of 106 numbered copies (53 for the author in the UK), designed and printed by Joseph Ishill. This is the first publication of the text. An unspecified number of the 106 copies were printed on brown bond; this copy is on standard . ISHILL 48. $275.

265. [Oriole Press]: Curtis, Olga: “EAST OF THIRD” [MEMORIES OF OLD MANHATTAN]. Berkeley Heights, NJ: Published and Printed Privately at the Oriole Press, 1955. Linen and decorated boards, paper label. A very good or better copy. First “limited edition.” Wood engraving by Lucienne Block. Handset and printed by Joseph Ishill in Kennerley and Hadriano types. There is no explicit limitation, and this publication postdates Ishill’s checklist of his publications. $125.

266. [Ornitz, Samuel]: Original color studio lobby card for CHINATOWN NIGHTS. [Hollywood]: Paramount Pictures / Famous Lasky Corp., [1929]. A vintage 11 x 14” color studio lobby card. Slightly darkened at left and lower margins, else a nice bright copy. A brilliant color lobby card issued to promote the 1929 Paramount Famous Lasky Corp film based on Ornitz’s story, “Tong War.” Originally a silent film, it was dubbed with talking sequences, synchronized music and sound effects after production. The scenario was adapted from Ornitz’s story by Ben Kohn, Oliver Garrett, and William Jute. The film was directed by William Wellman, and produced by David O. Selznick, starring Wallace Beery, Florence Vidor (wife of director King Vidor), Warner Oland, and Jack Oakie. This was novelist Samuel Ornitz’s second screen credit in what would be a substantial body of film work over a career that was eventually derailed by the HUAC and the Black List. A close associate of Dreiser, Dos Passos, John Howard Lawson and Lester Cole, he helped cofound the Screen Writers Guild. As an uncooperative witness, he stood as member of the Hollywood Ten and was sentenced to a year in prison. $350.

“...the luxurious book at its most magnificent...” – Cave 267. [Overbrook Press]: Prevost, Abbe: HISTOIRE DU CHEVALIER DES GRIEUX ET DE MANON LESCAUT SUIVANT L’EDITION DE 1753. Stamford: The Overbrook Press, 1958. Large quarto. Folded and gathered sheets, untrimmed and never bound. Illustrated in color by T.M. Cleland. Fine. One of two hundred copies printed in hand-set Calson Old Face on Hammer and Anvil Paper. The thirty or so illustrations in each copy were colored by the artist via a silk-screen process. “As an example of the luxurious book at its most magnificent, at its further remove from commercial printing, the Overbrook Manon Lescaut is unequaled among modern books, and has few peers among the books of earlier presses” – Cave. This is one of a handful of complete, colored copies retained in sheets by the printer/publisher, perhaps in anticipation of requests for copies for custom bindings. CAHOON, p.82. $450. 268. [Paradise Press]: King, Susan E., and Jean Gabriel Adloff: SEE, SAY, SEE BON, LESSONSFROMFRENCH. [Los Angeles: Paradise Press, January 1988]. Oblong octavo. Open sewn pastepaper boards, label. Fine. First edition. One of 125 copies printed on Kozo and St. Arman paper at the Paradise Press, and bound by Shelley Hoyt. An exploration, in the form of a dialogue (of sorts -- an instructor’s annotations juxtaposed with the student’s translations and notes) on the learning of a language. $175.

269. Parker, Matthew (Archbishop of Canterbury): ...DE ANTIQUITATE BRITANNICAE ECCLESIAE ET PRIVILEGIIS ECCLESIAE CANTUARIENSIS CUM ARCHIEPISCOPIS EJUSDEM LXX. E XXI EXEMPLARIUM 1572 EXCUSORUM, SIBIQUE MUTUO FORTE PLANE SINGULARI DISCREPANTIUM, COLLATIONE, INTEGRA NUNC PRIMUM NUMERISQUE ABSOLUTA OMNIBUS HISTORIA .... Londini [i.e. London]: typis Gulielmi Bowyer, 1729. [20],592,[92];[2],xliv,[2],xlv- lxiv pp. Thick folio. Old calf, neatly rebacked and recornered in sympathetic unlettered brown morocco. Engraved portrait (by Vertue), plates and vignettes. Decorative head and tail pieces and initials. Binding rubbed but sound, some occasional dusting to upper margins, bookplate and small stamps of the Bibliotheca Bayswater, otherwise a very good copy. Edited by Samuel Drake, from the original text of 1572, including ’Academiae historia Cantebrigiensis’ with a sectional title and separate pagination and register. Bowyer’s records show 500 copies were printed in this format, 100 on royal paper, and 3 on imperial paper, and numerous sheets required reprinting because of damage. Parker (1504-1575) assembled a significant collection of books and manuscripts to further his research into possible early forms of the Christian Church in England independent of Rome. His persistent enquiries (earning him the epithet ‘Nosey Parker’) resulted in the preservation of some of the material that was scattered as a consequence of the closing of the monasteries that might otherwise have perished. Such materials provided sources for the present work, which was originally privately printed in a small edition in 1572. ESTC T145634. LOWNDES VII:1776-7. BRUNET IV:376. $750.

270. Parks, Gordon [writer and director]: Complete set of original color studio lobby cards for THE LEARNING TREE. [Burbank]: Warner Bros. – Seven Arts, 1969. Eight vintage 11 x 14” color pictorial lobby cards. Modest signs of intended use, tiny tape shadow at edge of verso of one card, but very good. A complete set of the studio lobby cards issued to promote Gordon Parks’s film adaptation of his own 1963 award-winning novel. The first film from a major studio directed by an African American, it starred Kyle Johnson, Alex Clarke, Estelle Evans and Dana Elcar. Parks also composed the music for the soundtrack. $150.

271. Pearson, John: NO NECESSITY OF REFORMATION OF THE PUBLICK DOCTRINE OF THE CHURCH OF ENGLAND. London: Printed by J.G. for Nathaniel Brook ..., 1660. [2],27,[1]pp. Small quarto. Extracted from pamphlet volume. Old ink foliation in upper fore-corner, title-leaf dust-soiled at fore-margin, with short creased edge-tear, early ink bibliographic annotation on title-page, otherwise a good, partially untrimmed copy. Second edition, with the added terminal paragraph on p.27, and with slightly more than half of the text reset. A reply to Burgess’s Reasons Shewing The Necessity Of Reformation, and a relatively early publication by the future Master of Trinity College and Bishop of Chester. “Pearson, though primarily known as a theologian, was perhaps England’s greatest classical scholar before Bentley ... in range of learning and critical power he is probably inferior to no English scholar save Bentley” – DNB. ESTC R202280. WING P1001. McALPIN III:381-2. $375.

272. Pelham, Camden: THE CHRONICLES OF CRIME; OR, THE NEW NEWGATE CALENDAR. BEING A SERIES OF MEMOIRS AND ANECDOTES OF NOTORIOUS CHARACTERS WHO HAVE OUTRAGED THE LAWS OF GREAT BRITAIN FROM THE EARLIEST PERIOD TO 1841. London: T. Miles & Co., 1887. Two volumes. xii,592;viii,636pp. Somewhat later three quarter gilt brown morocco, raised bands, t.e.g., by Bayntun. Frontis in each volume, engraved title in first. Illustrated with fifty-two engravings by “Phiz.” Trace of uniform tanning to text blocks, minor rubbing to bottom edges, otherwise a very good set, handsomely bound. A later, standard edition of this popular work, first published in 1841, notable for the spirited engravings by H.K. Browne, and attractively bound. Regarded as “the best of the later collections of biographies. His 500 rogues embrace coiners, extortioners, forgers, fraudulent bankrupts, footpads, housebreakers, murderers, mutineers, pirates, smugglers, money-droppers, sharpers and traitors” – Chandler (The Literature Of Roguery). $250.

273. PERSPECTA THE YALE ARCHITECTURAL JOURNAL. [New Haven: Yale University School of Art and Architecture, 1967]. Whole number 11. Quarto. Metallic finish vinyl wrappers. Profusely illustrated. Inevitable light rubbing and some pinhead size bubbling to the metallic surface of the wrapper, otherwise fine. Edited by Peter de Bretteville and Arthur Golding. Includes a section devoted to Archigram, and contributions by Fuller, Venturi, McLuhan, Cage, et al. $150.

274. Phillips, Jayne Anne: HOW MICKEY MADE IT. St. Paul, MN: Bookslinger, 1981. Large octavo. Cloth and decorative paper over boards. Illustrated by Gaylord Schanilac. Fine. First edition, deluxe issue. One of twenty-six lettered copies, specially bound, with an additional paragraph omitted from the printed text written out in pencil and signed by the author. There were also 150 ordinary signed copies, and one thousand copies in wrappers. $375.

275. Phillips, Jayne Anne: FAST LANES. [New York]: Vehicle Editions, [1984]. Pictorial wrapper over limp boards. Illustrations by Yvonne Jacquette. Fine. However, the perishable publisher’s translucent plastic sleeve is darkened (as seems to be inevitable) and has a couple of small surface scrapes along one edge. Uncommon. First edition, limited issue. One of twenty-six lettered copies, specially bound, and signed by the author and artist. $525. 276. Phillips, Walter S.: JUST ABOUT A BOY. Chicago: Herbert S. Stone Company, 1899. Small octavo. Pictorial gray-green cloth, stamped in black and gray. Pencil name on front pastedown, a few finger smudges to cloth, but a very good copy. First edition. A.k.a. “El Comancho,” the author was a “well-known hunter, sportsman, and editor of the Pacific Coast; the lettering and border of the binding were done by him” – Kramer. KRAMER 222. $100.

277. [Pickering, William (publisher)]: THE BOOKE OF COMMON PRAYER KING JAMES ANNO 1604 COMMONLY CALLED THE HAMPTON COURT BOOK. London: William Pickering, 1844. [32,109] leaves. Folio. Original full vellum, decorated in gilt, gilt labels, fore and bottom edges rough trimmed. Vellum dust- soiled and a bit spotted, some foxing to endleaves and occasional dusting to edges, endsheets a bit rippled along fore-edges, otherwise a very good copy. One of the six monumental editions of the various forms of the Book of Common Prayer published by Pickering in 1844, with text printed in red and black on Pouncy’s handmade paper by D. Whittingham. “Upon these six folio volumes, printed in gothic letter on thick handmade paper and bound in vellum, Whittingham lavished the best work of his press, and they are nearly perfect of their kind” – Keynes. Griffiths notes the edition consisted of 350 copies on paper and two on vellum. KELLY 1844.4. KEYNES, p.85. GRIFFITHS 1844:29. $750.

278. Pocci, Franz Graf von: KASPERLKOMÖDIEN. Berlin: Hans Heinrich Tillgner Verlag, 1922. Small quarto. Contemporary faun pebbled morocco, decorated in gilt, t.e.g., others untrimmed, marbled endsheets. Extremities rubbed, modest tanning to margins, very good. First edition in this format, illustrated with fifteen original monochrome lithographs by Alphons Woelfle (six full-page). Copy #7 of one hundred deluxe copies, with each of the six full-page lithographs signed by the artist in the margin. A collection of Pocci’s marionette plays, with commentary, including several on the Punch and Judy theme. $250.

Poe in Elegant French Dress 279. Poe, Edgar Allan: TALES OF THE GROTESQUE AND ARABESQUE. Philadelphia: Lea and Blanchard, 1840. Two volumes. 243,[1];[2],iv,[2],[5]-228pp. 12mo. Beautifully bound in full very dark brown crushed levant, raised bands, ornately gilt and ornamented side panels, raised bands, gilt compartments, heavily gilt inner dentelles with crimson morocco doublures, t.e.g., watered silk and brocaded satin endleaves, by Lortic, Fils. Minute and inconspicuous nick in one raised band, otherwise a fine set, in morocco faced slipcases. The Edwin B. Holden set, with his tipped-in engraved bookplate. First edition. Poe’s first collection of short-stories, published in an edition recorded as having consisted of 750 sets only. In this set, II:213 is properly numbered; on p. II:219, the ‘i’ in ‘ing’ is below the line somewhat, and the hyphen is still in its proper alignment (variations of these features are a consequence of type loosening and have no relevance in terms of priority of issue). The four pages of “opinions” are present in the second volume, bound after the title. Among the stories here collected are some of Poe’s earliest triumphs, including “Ms. Found in a Bottle,” “The Fall of the House of Usher,” “William Wilson,” “Ligeia,” and others. Edwin B. Holden (1861-1906), was co-founder, with Robert Hoe, and first President of the Club Bindery; he was elected President of the Grolier Club in the year of his death. In the catalogue for the sale of his library (American Art Assoc., Spring 1920), this set appeared as lot 1263, and the binding was incorrectly attributed to the Club Bindery. Whether Holden commissioned the binding, or it was undertaken prior to his acquisition of the set is not ascertainable at this point, but its elegant dress by one of the prominent French binders of the time is not inappropriate, given the French appreciation of Poe’s works. BAL 16133. BLEILER (SUPERNATURAL) 1313. WRIGHT I:2056. HEARTMAN AND CANNY pp. 49-54. $28,500.

280. Poe, Edgar Allan: THE COMPLETE WORKS OF EDGAR ALLAN POE ... ARRANGED ON THE BASIS OF THE STANDARD TEXT, WITH CERTAIN ADDITIONAL MATERIAL. New York & London: G. P. Putnam’s Sons, [1902]. Ten volumes. Large octavos. Contemporary three quarter green morocco and marbled boards, raised bands, spines elaborately gilt with floral devices with minute red morocco onlays, t.e.g., by L. Broca. Frontispieces and gravure plates (the latter on Japan vellum), pictorial head and tail-pieces and decorations. Spines uniformly sunned to olive-tan, otherwise a fine set. Edited, with critical introductions, by Charles F. Richardson, with illustrations and plates by Frederic Simpson Coburn. The “Book-Lover’s Arnheim Edition,” limited to five hundred numbered sets. This edition includes two essays by Poe appearing for the first time in book form, and the first U.S. book publication of another. BAL speculates that the “Collector’s Arnheim Edition” and the “Book- Lover’s Eldorado Edition” were possibly later iterations of this edition. Extra shipping. BAL 16171. $5500. 281. Poe, Edgar Allan: EUREKA A PROSE POEM AN ESSAY ON THE MATERIAL AND SPIRITUAL UNIVERSE. San Francisco: The , 1991. Large quarto. Printed cloth. Fine, with prospectus laid in. First edition in this format, illustrated with photo-engravings after drawings against typographic backgrounds by Arakawa. Introduction by Glenn Ray Todd. One of 250 numbered copies, from a total edition of 276 copies printed by Hoyem and associates. $450.

282. Polonsky, Abraham: [screenwriter]: “MONSIGNORE” SCREENPLAY BY.... [Np]. 4 December 1979. [1],124 leaves. Quarto. Mimeographed typescript, printed on rectos only. Boltbound into plain stiff wrappers. Scattered and occasionally detailed revisions, deletions, comments and annotations in an unknown hand, in pencil and ink, otherwise very good or better. Denoted a “Final Draft” of Abraham Polonsky’s adaptation to the screen of Jack- Alain Léger’s novel. However, many subsequent revised drafts followed, and the script for the 1982 film release directed by Frank Perry was credited on screen to Wendell Mayes, who wrote at least one early draft in February 1979. In spite of that, drafts as late as October 1981 bore only Polonsky’s name. This was the last film with which Polonsky was associated as screenwriter, though to what degree it was a collaborative effort is unclear. As screenwriter for Body And Soul (1947) and writer/director of Force Of Evil (1948), Polonsky was well on his way toward a distinguished career in film when he was blacklisted and fired by Fox for refusing to cooperate with the HUAC. He continued to work during the Blacklist, either uncredited or pseudonymously, and in 1996 the Writers Guild restored his real name and credits. While the author(s) of the annotations may not be identifiable at this point, the notes/revisions were surely made by someone intimately involved in the process. $250.

283. Porter, Katherine Anne [trans]: THE ITCHING PARROT EL PERIQUILLO SARNIENTO. By José Joaquín Fernández de Lizardi.... Garden City: Doubleday & Company, 1942. Large octavo. Decorated cloth. Slight darkening along joints, else fine in very good, bright dust jacket with two tiny chips at tips and a short, closed edge tear. First edition of this extensive reworking by Porter of Eugene Pressly’s translation, with an Introduction. Monroe Wheeler’s copy, with his small bookplate on the half-title, and Porter’s presentation inscription on the free endsheet: “To my dear Monroe This little monument to a conversation in the Murray Hill Bar, not so very long ago – with my same old love Katherine Anne March 27 1943 New York.” An excellent association copy, Porter’s and Wheeler’s friendship having extended back over a decade to their meeting in Paris and the appearance of Hacienda and French Song-Book under the Harrison of Paris imprint. $850.

284. Pound, Ezra: REDONDILLAS, OR SOMETHING OF THAT SORT. [New York]: New Directions, [1967]. Quarto. Linen and boards, printed spine label. Errata slip. Tiny bump to one tip, else fine in faintly soiled plain paper wrapper (the latter with a few small chips at edges). First edition. Introductory note by Noel Stock. One of 110 copies printed by Robert Grabhorn and , all signed by the author, of which one hundred were for sale. There was no contemporary trade printing in book form of this work. GALLUP A90. $1750.

285. Price, Francis: A SERIES OF PARTICULAR AND USEFUL OBSERVATIONS, MADE WITH GREAT DILIGENCE AND CARE, UPON THAT ADMIRABLE STRUCTURE, THE CATHEDRAL-CHURCH OF SALISBURY. CALCULATED FOR THE USE AND AMUSEMENT OF GENTLEMEN. BY ALL WHICH THEY WILL BE ENABLED TO FORM A RIGHT JUDGMENT UPON THIS, OR ANY ANCIENT STRUCTURE, EITHER IN THE GOTHICK OR OTHER STILES OF BUILDING. London: Printed for C. and J. Ackers ... And Sold by R. Baldwin...., 1753. [14],v,[1],78pp. Quarto. Recent half-calf and marble boards, gilt label. Illustrated with fourteen plates (1 folding). Title and terminal leaf a bit dust smudged, bound without terminal advert leaf, occasional foxing, three plates trimmed close at fore-margin; still, a good copy. First edition. 9 page subscribers list. Price (1704?-1753) was “surveyor and clerk of the fabric of Salisbury Cathedral – his gravestone records that he had held this position for seventeen years but, although he seems to have acted in this capacity from around 1737, he was not officially appointed until 1745. As clerk of works he carried out an extensive survey of the cathedral and supervised a number of important repairs and rebuildings of the roof and fabric ... [this work] published just three months after his death, is one of the first serious architectural studies of a Gothic building.” – DNB. An expanded edition was published in 1774 and reprinted thereafter. ESTC T93633. $500.

286. Ragg, Thomas: SKETCHES FROM LIFE, LYRICS FROM THE PENTATEUCH, AND OTHER POEMS. London: Longman [et al], 1837. [8],238,ii,8pp. Small octavo. Publisher’s cloth, stamped in gilt and blind. Two institutional bookplates on front pastedown, short snag at crown of lower joint, cloth a bit sunned and dust marked at edges, one leaf carelessly opened at fore-edge, else a good, sound copy, largely unopened. First edition. “Most of Ragg’s literary work was produced while he was ‘a self-educated mechanic,’ and is remarkable, considering the circumstances of production. Southey thought well of him and gave him advice” – DNB. Ragg was, at the time, an employee of the Nottingham printer of this volume. CBEL IV:424. $100.

287. [Rand, Ayn]: Original studio publicity campaign pressbook for THE . [Los Angeles]: Paramount Pictures, 1941. 18,[2] pp. Folio (33 x 31 cm). Pictorial self wrappers. Heavily illustrated. Horizontal fold across middle, light use at edges, a few smudges and a creased edge tear to lower wrapper, otherwise a good copy, if not somewhat better. A vintage highly pictorial studio pressbook for this adaptation of Rand’s play to the screen by and Robert Pirosh. Robert Preston, Nils Asther and Ellen Drew starred, under the direction of William Clemens. Though she sold earlier scenarios to Universal and MGM, this was first Rand property to actually reach production as a film, though adapted by other writers. The visually presentations range from the dramatically atmospheric to “who-dunit hijinks.” $250. 288. Ratcliffe, Dorothy Una: NATHANIEL BADDELEY, BOOKMAN A PLAY FOR THE FIRESIDE IN ONE ACT. Leeds: At the Swan Press, 1924. Quarto. Publisher’s gilt soft greenish-blue calf, t.e.g. Illustrations by Fred Lawson. Lower tips slightly bumped, otherwise fine in chipped plain shipping wrapper. First edition. One of one hundred numbered copies, printed for private circulation. An entertainment predicated, in part, on the issues associated with the flow of antiquarian books from the UK to the U.S. At least a portion of the edition appeared in stiff wrappers. $150.

289. Rattigan, Terence: TWO DOZEN RED ROSES BY ALDO DI BENEDETTI ADAPTED BY .... Hollywood: Paul Kohner, Inc., [nd but 1939 or later]. [2],46,[1],40,[1],32 leaves. Quarto. Carbon typescript on , on rectos only. Bradbound in Kohner Agency binder. Some creasing and use, fore-edge of wrappers a bit soiled, else very good. An evidently unpublished adaptation to stage by Rattigan of Benedetti’s radio play, undertaken in 1939. We find no record of a published version in OCLC/ Worldcat, and a descriptive note attached to the autograph manuscript in the catalogue of the Rattigan papers at the BL supplies the 1939 date and suggests it was “probably never performed.” Kenneth Horne’s adaptation ca. 1950 was widely published and produced. $150.

290. [Red Scare Television – Herbert A. Philbrick]: Libbott, Robert Yale, and others [screenwriters]: I LED 3 LIVES ... Hollywood: ZIV Television Programs, 12 August 1953 through 6 February 1956. Eight volumes (plus two duplicates). . Mimeographed typescripts, printed on rectos only. Bradbound in stencil-printed wrappers. One script signed (last name only) and annotated, with interleaves, by a crew member, otherwise very good to fine. A gathering of eight different scripts for this television series (three seasons 1953-6), based loosely on the activities of Herbert A. Philbrick, who infiltrated leftist and progressive groups on behalf of the FBI and acted as an informant. These are denoted “Final Master” drafts, but some include dated revises on variously colored papers. As a side note, a young Gene Roddenberry wrote two episodes of the last season (not present here). The scripts and writers present here are 6b (R.L. Libbot), 9b (Stuart Jerome), 11b (Frank Burt), 14b (Gene Levitt), 107b (Jack Rock), 111b (Lee Berg), 112b (Jerome), and 113b (Robert Wesley). Duplicates of 9b and 14b are included. $650.

291. Richard, Rene, and Judy Rifka: OPERA OF THE WORMS. [New York: Joe Fawbush Editions and Solo Press, 1984]. Small folio (30.5 x 23 cm; 12 x 9”). Loose folded sheets, laid into pictorial wrapper, inserted into cloth folding chemise and slipcase. Light hand smudging to white cloth slipcase, short crack in one slipcase joint neatly mended, internally very fine. First edition of this collaboration, illustrated with original color lithographs by Rifka. The letterpress was set and printed by hand by Carol Bundy on Dieu Donne paper, and the lithographs were printed by Judith Solodkin. From a total edition of one hundred copies signed by the poet and the artist, this is one of twenty copies numbered in Roman, and bears the artist’s affectionate Passover 1986 presentation inscription “To My Brother....” $1200. 292. Riggs, Lynn: GREEN GROW THE LILACS. Norman: Printed for Members of the Limited Editions Club by Univ. of Press, 1954. Quarto. Cloth, decorated in blind. Plates and illustrations. Bookplate on pastedown, else about fine in glassine and slipcase. First illustrated edition of Riggs’s best-known play, the basis for the musical Oklahoma!. Illustrated with original lithographs by Thomas Hart Benton, printed from the stone, and with an introduction by Brooks Atkinson. One of fifteen hundred numbered copies, signed by Benton, printed after a design by Will Ransom. $400.

293. Ritchie, Ward: THE POET AND THE PRINTERS. [Los Angeles: Laguna Verde Imprenta, 1980]. Quarto. Quarter morocco and marbled boards. Decorated three color title-page. Illustrated. Minor nick at toe of spine, otherwise fine, with several pieces of relevant ephemera laid in. First edition. One of “nearly fifty” copies designed and printed by hand by the author. A fine essay on the interrelations of Robinson Jeffers with his trade publishers and the several small presses that ventured editions of his works, both during his life-time, and posthumously. $600.

294. Roberts, Charles G. D.: NEW YORK NOCTURNES AND OTHER POEMS. Boston, New York & London: Lamson, Wolffe and Company, 1898. Small octavo. Gilt forest green cloth, edges untrimmed. First (U.S.) edition. Inscribed and signed in the year of publication by the author. Upper fore-corner bruised, otherwise a fine, bright copy. WATTERS, p.122. $125.

295. [Robeson, Paul]: Complete set of color studio lobby cards for EMPEROR JONES. [New York]: Screencraft Pictures, [post-1933, likely 1940s]. A complete set of vintage 11 x 14” color studio lobby cards. Title card and one other show early tape mends to edge tear and crease in right margin (the creases extend across the upper forecorners), lower blank corners of title card show chip loss and repair, three other cards show small old paper restoration at chips to extreme blank tips, some small mends on verso to exhibition thumb tack holes in margins; still, a quite good set, the imagery and colors exceptionally bright. A complete collection of the eight brilliantly visual lobby cards for this undated rerelease of the 1933 United Artists adaptation of the Eugene O’Neill stage play, based on a script by DuBose Heyward, starring Paul Robeson reprising his role as the lead. Dudley Diggs, Frank Wilson, Fredi Washington, and Jackie “Moms” Mabley also starred, under the direction of Dudley Murphy and supervision of William C. DeMille. The date of this rerelease is unclear: Screencraft served as both original distributor and rerelease distributor for a wide variety of films, chiefly genre films and imports, through the 1940 and early 1950s. Early publicity paper, for either the original release or this early rerelease, has become very scarce. $1850. Item 295. Robeson.

296. [Robinson, Alan James (illustrator)]: Carol, Mark Philip: ANCIENT NEEDS. [Milford, NY]: ABCedary Letterpress, 1989. Folio (38 x 28.5 cm). Full limp bleached vellum, with diecut window exposing a pictorial vignette. Illustrated. Fine, accompanied by a separate suite in cloth folder, the whole enclosed in publisher’s folding clamshell box (bookplate shadow on box pastedown, small label mark in corner of upper panel, tiny mark on spine label). Prospectus laid in. First edition. Foreword by Brian Davies. Illustrated with eleven etchings and four wood engravings by Alan James Robinson. From a total edition of 79 copies, this is one of twenty-six lettered copies bound thus, accompanied by a separate suite of the etchings and engravings, each lettered and signed by the artist, as well as an original ink and watercolor drawing, executed on a sheet of fine vellum, and signed by the artist. A magnificent undertaking, partaking of the manner and spirit of Robinson’s Cheloniidae Press, printing Carol’s narrative of the birthing of Harp pups on the Magdalen Islands in company with Robinson’s depictions of same. The text was set in Centaur and Arrighi types, and with the wood engravings, printed by Harold McGrath on T.H. Saunders paper. The etchings were editioned by Sara Krohn on BFK Rives, with blue Japanese Moriki paper as guards, with printed captions. The binding was executed by Claudia Cohen. $3750.

297. Roche, Denis, and Bernard Dufour [illustrator]: ÉLOGE DE LA VÉHÉMENCE. Paris: Sébastian de la Selle, 1970. [8] leaves. Large octavo. Loose sheets, punched at left and secured with rings. Fine, in modestly used clear plastic zippered bag with pictorial sticker. First edition. Illustrated with color serigraphs by Dufour. One of one hundred numbered copies, signed by the author and artist. Laid in is a sheet in facsimile of the manuscript directions for the work’s assembly. $175.

298. [Rogers, Bruce]: Aldrich, Thomas B.: FRIAR JEROME’S BEAUTIFUL BOOK A.D. 1200. [Boston: Houghton Mifflin, 1896]. Narrow octavo. Full publisher’s medium brown calf, stamped pictorially in darker brown, ribbon ties. Printed in black and red. Endsheets darkened, otherwise an unusually nice copy in pictorial dust jacket with shallow loss around the crown of the spine and adjacent top edge. First trade edition in this format, featuring illustrations and decorations by W.D. Hadaway. This copy has been quite attractively illuminated in color, with gold highlighting, and signed on the colophon: “Illuminated by Anna M. Lessman.” There were also 275 copies on large paper. A popular example of certain tendencies in 1890s American book arts. This work has been tentatively recognized as one of the first books designed by Bruce Rogers after his arrival at the Riverside Press. The identity of the illuminator remains unsure, though her name does turn up on the passenger list of the Cunard Carpathian on the cruise coincident with the loss of the Titanic. FINLAY 31. TANSELLE 96.50 $300.

299. Rolfe, Frederick “Baron Corvo”: THE CARDINAL PREFECT OF PROPAGANDA AND OTHER STORIES ... WITH AN INTRODUCTION BY CECIL WOOLF. London: Nicholas Vane, 1957. Cloth and marbled paper boards, t.e.g. Fine, without printed dust jacket, as issued, but in slightly ragged glassine wrapper. First edition. Edited by Cecil Woolf. One of 250 numbered copies, from a total edition of 310 copies. Publisher’s announcement card laid in. WOOLF A14. $225.

300. [Romulus Editions]: Walker, David, and Thomas Cornell [illustrator]: VOICEPRINTS. [Portland, ME]: Romulus Editions, 1989. Thin quarto. Quarter morocco and decorated paper over boards. Illustrated with five full-page color etchings. Fine. Enclosed, with separate suite in cloth folder, within a folding cloth clamshell box. Bookplate on pastedown of box. First edition, the “Livres Deluxe” issue. One of 24 lettered copies, printed on Barcham Green handmade paper in Bembo type by George Benington, in addition to 75 ordinary copies. Accompanied by a separate suite of the etchings by Thomas Cornell, each numbered and signed by the artist in the margin. The etchings were printed by James Cambronne. A suite of poems on themes suggested by Kafka, Charles Ives, Henry James, Bruegel, Mandelstam and others. The decorative boards exhibit a print based on an oscilloscope trace generated from the poet reading the title. $3500.

First Book – Presented to His Son 301. Roosevelt, Franklin D.: WHITHER BOUND? Boston & New York: Houghton Mifflin, 1926. vii,34pp. Large octavo. Blue cloth, stamped in gilt and blind. Gilt morocco bookplate of Hannah D. Rabinowitz, light offset to endsheet gutters, as usual, otherwise a fine copy, in quite substantially chipped printed dust jacket. Half morocco slipcase and chemise. First edition of the future President’s first book, printing the text of a lecture given for the benefit of the Alumni War Memorial Foundation at Milton Academy. Inscribed by Roosevelt on the occasion of publication (and within a month of the delivery of the lecture): “For my son Elliott Roosevelt [/] This copy of his Dad’s [/] first book [/] Franklin D. Roosevelt [/] June 1926,” and signed again by him on the title-page. Elliott (1910-1990) was the fourth of six Roosevelt children, and was acknowledged as Eleanor’s favorite among them. His future career included military service, involvement in aircraft procurement (including a difficult issue involving his association with Hughes Aircraft), and roles as author, rancher, radio station owner and Mayor of Miami Beach. Although this book was published in a modest edition of only a thousand copies, it took a number of years for the edition to be exhausted. Laid in is a small clipping from the NYTBR about Elliott’s sale of books from the Hyde Park library to Rosenbach, mentioning this book in particular. A highly desirable copy with a very personal association. $12,500.

302. Rosenbach, A. S. W.: THE ALL-EMBRACING DOCTOR FRANKLIN. Philadelphia: Privately Printed, 1932. 45,[3]pp. Large octavo. Half morocco and cloth over boards, t.e.g.. Portrait. Crown and toe of spine rubbed, otherwise fine. First edition. One of 198 numbered copies for private distribution. An essay in large part dealing with Franklin’s relationships with women, including extracts from his correspondence. Inscribed as a holiday gift by Rosenbach to one of his regular customers, Adrian Van Sinderen, dated January 5, 1933. $750.

303. Rossetti, Christina G.: COMMONPLACE AND OTHER SHORT STORIES. London: F. S. Ellis, 1870. Forest green cloth, ruled in gilt and blind, lettered in blind. Modest rubbing to spine extremities, two short snags at toe of spine, cloth slightly bubbled in a few places, otherwise a very good copy. Bookplates of Beverly Chew and Richard Purdy. First edition of this collection of eight short stories, the earliest having been written in 1852. In our experience, not one of the author’s more common titles. $450. Werewolves, Saxons and the Pied Piper 304. [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. Contemporary calf, ornate gilt lozenge and crest device on upper and lower covers, recently rebacked to style. Engraved title vignette and illustrations in text. Some tanning, light foxing and occasional ink smudges and minor discolorations, early ink gift inscription on title, tiny burn hole in 2O4 affecting a couple letters, but a good copy. First edition of this fascinating assemblage of antiquarian anecdote, history and lore, ranging 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. $1250.

Adapted for American Audiences 305. [Rowson, Susana, and William]: Inchibald, Mrs. [Elizabeth]: EVERY ONE HAS HIS FAULT: A COMEDY IN FIVE ACTS ... AS IT IS PERFORMED AT THE NEW THEATRE, PHILADELPHIA. MAR’D WITH ALTERATIONS (BY PERMISSION OF THE MANAGERS) BY WILLIAM ROWSON, PROMPTER. Philadelphia: Printed for H. & P. Rice, and Mathew Carey, 1794. 75,[1]pp. 12mo. Extracted from nonce pamphlet volume. Some minor tanning and a few small spots, otherwise a very good, crisp copy. First American edition, modified for the Philadelphia stage by William Rowson, husband of Anglo-American novelist, playwright and poet Susana Rowson. After the success of Charlotte Temple, and the failure of William’s hardware business in Britain, the couple turned to the theatre and came to America, traveling to Philadelphia in 1793 with the Thomas Wignell Company. She continued her literary pursuits and was active on the stage, playing in over fifty roles (including a role in this play). The Rowsons moved to Boston in 1796, where she continued acting for another year. She then opened her boarding school, and concentrated on writing in order to support her husband and adoptive family. Uncommon: ESTC locates seven copies, none outside North America. NCBEL II:843. EVANS 27154. ESTC W32150. $450. 306. Sackville-West, Vita: SEDUCERS IN ECUADOR. London: Published by Leonard & at the Hogarth Press, 1924. 12mo. Decorated cloth, paper spine label. Slightly cocked, label a bit rubbed, pencil note on pastedown by Herbert Boyce Satcher, clipped review by Edwin Muir affixed to endsheet, just a good copy. First edition (1500 copies printed). A charming association copy, inscribed by the author’s mother on the front free endsheet: “To Diana Cooper from Victoria Sackville Xmas 1924. With the best of good wishes.” WOOLMER 52. CROSS & RAVENSCROFT-HULME A12. $1250.

307. Saltus, Edgar: THE IMPERIAL ORGY AN ACCOUNT OF THE TSARS FROM THE FIRST TO THE LAST. New York: Boni & Liveright, 1920. Blue cloth, lettered in gilt. Frontis and plates. Cloth faded and dusty, bookplate of Dr. Noel J. Cortes on pastedown, a few nicks to fore-edges, else a good copy, in chipped, torn and rubbed dust jacket. First edition. Inscribed by the author on the half-title: “For my very dear and very beautiful friend Mrs. Arthur Marvin from her devoted servant Edgar Saltus nearly Christmas 1920.” BAL 17179. $250.

308. [Sandburg Carl]: Stevens, George, and James Lee Barrett [screenwriters]: THE GREATEST STORY EVER TOLD [screenplay]. [Beverly Hills]: The Stevens Company, 12 January 1962. [2],257 leaves. Quarto. Mechanically reproduced typescript, printed on rectos only. Bradbound in production company wrappers. Wrappers creased and a bit soiled, heavily used at the extended overlap edges, internally very good or better. Copy #133 of this unspecified (but pre-production) draft of Stevens’ and Barrett’s screenplay, based on source material by Fulton Oursler and Henry Denker. Somewhat incongruously, Carl Sandburg also contributed to the screenplay at some point, and received screen credit in the form of: “Produced in Creative Association with Carl Sandburg.” This draft does contain a prefatory comment by Sandburg on the first leaf: “How to cast these characters for a screenplay is a task. expects, and others of us join him in that expectation, that the coming screenplay will be around for a long time – maybe fifty years, maybe a hundred. Those who are cast for roles in this play will have names that will be long remembered. Their faces and names will be kept in a peculiar little Hall of Fame titled ‘The Greatest Story Ever Told.’” In addition to Max von Sydow in his first English-language film, and Claude Rains in his last screen appearance, half the name Hollywood actors with two legs had roles in this massive Biblical epic, perhaps the most expensive and polished of such Hollywood undertakings (it was nominated for several technical Oscars). Upon its release in 1965, the reception by critics was, at best, mixed, as was its attraction for the viewing public. By 1969, it had recouped some 12 million of its 20 million dollar budget. Sandburg’s association with the production, and determination of his degree of participation in the final product, is of some interest. $400.

309. [Sappho]: Gorsse, L. [Jean-Louis-Charles-Antoine-Raimond]: SAPHO, POËME EN DIX CHANTS. Paris: Chez Giguet et Michaud, 1805 – An XIII. Two volumes bound in one. xxx,82;84pp. Octavo. Contemporary quarter calf and pastepaper boards. Frontis in each volume (though that for the first bound out of place). Boards edgeworn, some spotting and soiling, with mild discoloration to one frontis; just a good copy. A curious printing of Gorsse’s sequence of poems -- just the poems, sans the notes and critical apparatus, published in the same year as the usual edition which extends to 258;272,[2] pp. Gorsse’s attempts to sanitize Sappho in his notes and commentary is looked upon critically in most circles. GAY-LEMMONYER III:1067. $125.

310. Sayles, John [screenwriter]: A PERFECT MATCH TELEPLAY BY .... Culver City: Lorimar Productions, 29 February 1980. [3],111,[1] leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in stencil printed wrappers. Title hand lettered on spine, with remnants of paper label across spine, else very good or better. Denoted a “Rev. Final Draft” of this teleplay by novelist/filmmaker Sayles, based on a story by Andre Guttefreund and Mel Damski. Damski also directed the 1980 release, which starred Linda Kelsey, Michael Brandon, et al. A relatively early script in Sayles’ filmography, his sixth produced writing credit (three of which saw release the same year). $200.

311. Schulberg, Budd [screenwriter]: THE MERRY, MERRY MAIDENS ... TREATMENT [wrapper title]. [Culver City: Selznick International Pictures], 20 June 1938. 10 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in typescript studio wrappers. Upper forecorner creased, otherwise near fine. A film treatment by Schulberg, dating from quite early in his career as a screenwriter (IMDB shows only three earlier projects, and his contribution to only one of those was credited). Schulberg’s treatment is a wholly new rewrite -- an earlier treatment credited to Mary C. McCall, Jr., dated 1 February 1938, accompanies Schulberg’s, and differs from it radically. This project, a depiction of the lives of several women in the context of the home front during WWI, and their lives during the post-war period, appears not to have seen production (at least under this title). It precedes Schulberg’s first novel, and is part of the world that contributed to the thematic backbone of that novel. This is copy #1 of Schulberg’s treatment (and notes “several conferences with Michael Blankfort”) and #2 of McCall’s. $375.

312. Shapiro, Norman: DARING DUREA. [Brightwaters, NY: Euphemisms, 1985]. Oblong octavo. Accordion fold panels, in stiff wrapper with pictorial onlay to upper wrapper. Very slight dust smudging to white wrapper, otherwise near fine. First edition. Copy #7 of an edition of two hundred numbered copies, printed letterpress by Dikko Faust on Lana paper. With the upper wrapper and three of the panels of illustrations handcolored by the author/artist, the whole signed and dated by the artist on the colophon, and bearing his additional signed inscription, dated in 1986. Sexually explicit. $175.

313. Shattuck, Roger: AU SEUIL DE LA ‘PATAPHSYIQUE ... TEXTE DOCTRINAL PRÉSENTÉ EN NEUF LANGUES .... [Charleville]: Collège de ‘Pataphysique, XC [i.e. 1963]. Stiff printed wrappers. Illustrations by Ph. Dunarcay. Photograph. First edition, unnumbered issue. Like the exemplaires de tête, this issue is printed on bible paper. Light dust spotting to upper wrapper along fore-edge, otherwise near fine. $100.

314. Shaw, George Bernard: THE APPLE CART: A POLITICAL EXTRAVAGANZA. London: Constable, 1930. Gilt cloth. Gift inscription on endsheet, otherwise about fine, in imperfect dust jacket with split up one fold and a short split across spine panel. First separate edition in English. Inscribed by Shaw on the half-title: “To Annabel Lewis Father Leonard’s friend G. Bernard Shaw 17th Oct. 1936.” inscription on the free endsheet reads: “For ‘Griselda’ with every good wish from F. Leonard. Christmas 1936.” LAURENCE A195b. $650.

A Good Run of Shelley 315. Shelley, Percy B.: QUEEN MAB; A PHILOSOPHICAL POEM: WITH NOTES. London: Printed by P.B. Shelley, 1813. [4],240pp. Octavo. Handsome full medium brown crushed levant, with decorative side panels ruled in gilt, blind and black with enclosed ornaments, five raised bands with similar decoration to compartments, a.e.g., by Bumpus. Light but persistent foxing and some old corner creases, a few very small blind impressions to lower cover, but a very good copy. Half morocco slipcase and chemise. First edition of Shelley’s first poem of considerable length, composed between the years 1809 and 1813, attended by copious prose explanatory notes. Because of its reflection of many of Shelley’s more progressive views, the publication of Queen Mab was private, and it is thought the edition consisted of 250 copies hors commerce. To diminish the prospect of prosecution, Shelley elected to extract the dedication, and cut away the title imprint and the printer’s imprint on the final leaf in those copies he distributed. While earlier generations of collectors and dealers heralded the unmutilated copies as the exception, it is now clear that in fact only a minority portion of the edition was subjected to that action, perhaps 70 of the 250 copies. It was not reprinted until 1821, when a piracy landed its perpetrator in jail, and prompted the great displeasure of the author. HAYWARD 225. GRANNIS 15. TINKER 1887. WISE, pp.39-40. $17,500.

Lamb’s Copy 316. Shelley, Percy B.: HISTORY OF A SIX WEEKS’ TOUR THROUGH A PART OF FRANCE, SWITZERLAND, , AND HOLLAND: WITH LETTERS DESCRIPTIVE OF A SAIL ROUND THE LAKE OF GENEVA, AND OF THE GLACIERS OF CHAMOUNI. London: Published by T. Hookham, Jun., ... and C. and J. Ollier, 1817. [2],vi,183,[1]pp. Small octavo. Original boards, paper spine label, untrimmed. Spine a bit chipped, with surface loss at crown, tidemark along lower edge and occasionally at fore-edge; still, a good copy, in half morocco slipcase. First edition, and an association copy of some merit, with the ownership signature “C Lamb” on the front free endsheet. The half-title bears another signature: “Marianne 1834” (NB: not ‘Mary Anne’). The text was based on the journal kept by Mary Wollstonecraft Godwin during her travels with Shelley in 1814, with the addition of later letters, two by Mary and two from Shelley to Peacock, and the poem “Mount Blanc.” An evocative association copy, Lamb having been prominent in the intellectual circle that included Shelley, Coleridge, Hazlitt and Mary’s father. With some pencil booksellers’ notations, and the pencil ownership signature, dated 1895, of collector A. T. White. In his Reminiscences, Henry Crabb Robinson, wrote: “I looked over Lamb’s library in part. He has the finest collection of shabby books I ever saw; such a number of first-rate works in very bad condition is, I think, nowhere to be found.” GRANNISS, pp. 44-5. TINKER 1893. WISE, pp. 46-7. $4250.

317. Shelley, Percy B.: THE REVOLT OF ISLAM; A POEM IN TWELVE CANTOS. London: Printed for C. and J. Ollier, 1817 [i.e.1818]. [2],[v]-xxxii,[2],270pp. plus errata (bound after the dedicatory poem) and terminal blank. Large octavo. Contemporary linen and boards, printed paper spine label. Wanting the half- title. Occasional foxing, spine extremities worn, with cracking to joints (cords sound), small bookplates of Dorothy Sturges and Mary E.B. Hudson First edition under this title, first issue, comprised of sheets from Laon And Cythna, equipped with a cancel title, and considerably revised via some 26 cancel leaves. This is one of the very scarce copies with the title imprint misdated 1817. The status of this early if not contemporary binding is somewhat puzzling: the printed spine label conforms to Wise’s description/transcription, but the edges are trimmed (20 x 13 cm) and the errata ([b2]) was misbound before the fly-title for the main poem rather than in its normal place after the title-leaf. TINKER 1895. GRANNISS, p.50. WISE (SHELLEY LIBRARY), p.50. $5500. 318. Shelley, Percy B.: ROSALIND AND HELEN, A MODERN ECLOGUE; WITH OTHER POEMS: .... London: Printed for C. and J. Ollier, 1819. vi,[2],92pp. Large octavo. Full blue crushed levant, gilt extra, t.e.g., others untrimmed, by Riviere. Occasional very minor soiling, otherwise a handsome copy, bound without the terminal ads. Half morocco case. First edition. In addition to the title work, here printed are “Ozymandias,” “Lines written on the Euganean Hills,” and “Hymn to Intellectual Beauty.” With the bookplate of Harold Greenhill. GRANNISS, pp.53-4. WISE, p.50. TINKER 1897. $3500.

319. Shelley, Percy B.: PROMETHEUS UNBOUND A LYRICAL DRAMA IN FOUR ACTS WITH OTHER POEMS. London: C. and J. Ollier, 1820 xv,[3],[19]-222,[2] pp. Large octavo. 19th century calf, spine gilt extra, by Bedford, t.e.g. Rebacked at an early date with original backstrip laid down. Margins of boards a bit crazed and somewhat darkened, hinges a bit stiff due to rebacking; internally, about fine, with the half-title and terminal adverts. Half morocco slipcase and chemise. First edition. The copy has the corrected form of the contents leaf, with ‘Miscellaneous’, a correction made via a cancel leaf. Shelley’s great verse drama, in company with “Ode to the West Wind,” “Ode to Liberty,” “The Sensitive Plant,” “To a Skylark,” and other poems of note. GRANNISS, pp.59-61. WISE, pp. 55-6. TINKER 1898. HAYWARD 228. $2500.

The Pisa Edition 320. Shelley, Percy B.: ADONAIS. AN ELEGY ON THE DEATH OF JOHN KEATS, AUTHOR OF ENDYMION, HYPERION, ETC. Pisa: With the Types of Didot, 1821. 25,[1]pp. Octavo (210 X 138mm). Full crimson morocco, raised bands, side panels elaborately decorated in gilt with floral and vine devices, gilt inner dentelles, a.e.g. (without wrappers). Light scattered foxing, otherwise a very good copy. First edition of one of the great elegies in the English language. This edition, prepared under Shelley’s careful eye in order to avoid textual errors, was completed in July. Some copies were sent to London for distribution by Shelley’s regular publishers, C. and J. Ollier, to no great effect, and many copies were directly distributed within Shelley’s circle. A truncated form of the poem appeared in December in the context of a review in the Literary Chronicle, but it was not published in book form in Britain until 1829 through the intercession of Monckton Milnes and Arthur Hallam, based on a copy of this edition in Hallam’s possession. With the pencil inscription of American collector Alfred T. White, dated Feb 1890, on the free endsheet, and another bookplate (“E.H.F.”) on the pastedown. GRANNIS, pp.67-71. TINKER 1901. NCBEL III:315. HAYWARD 229. GROLIER ENGLISH HUNDRED 73. WISE (SHELLEY), p.60-1. $45,000.

321. [Shelley, Percy B.]: EPIPSYCHIDION: VERSES ADDRESSED TO THE NOBLE AND UNFORTUNATE LADY EMILIA V ____ NOW IMPRISONED IN THE CONVENT OF ____. London: C. and J. Ollier, 1821. [6],[7]-31,[1]pp. Octavo. Sewn self-wrappers, untrimmed. Some dust tanning at extended edges, a few soft creases and light spots of soiling, but a very good copy. Full morocco slipcase and chemise. First edition, published anonymously, and one of Shelley’s scarcest later publications. This copy has the title in the form with the colon after the main title. The lady addressed in the subtitle, Emilia Viviani, is generally regarded as the motivation for the poem’s completion rather than its original inspiration, as Grannis quotes Richard Garnett’s observation that the poem was in its first draft before Shelley made her acquaintance. It was long asserted that the edition consisted of only one hundred copies, but recent scholarship suggests a modestly larger edition, perhaps on the order of three hundred copies. GRANNISS, pp.65-7. WISE, P.59. TINKER 1900. NCBEL III:315. $18,500.

322. Shelley, Percy B.: HELLAS A LYRICAL DRAMA. London: Charles and James Ollier, 1822. xi,[3],[3]-60pp. Octavo. Full dark blue crushed levant, sides decorated with sequence of concentric triple rules, raised bands, t.e.g., others untrimmed, by Bumpus. Bookplate shadows on endsheets, otherwise a fine copy with the half-title, though bound without the terminal blank. First edition of the last book Shelley published during his life time, a work inspired by the Greek insurrection during the fall of 1821, and dedicated to Prince Alexander Mavrocordato. GRANNISS, pp.73-5. TINKER 1903. WISE, pp.66-7. NCBEL III: 315. $2250.

323. Shelley, Percy B.: MISCELLANEOUS POEMS. London: William Benbow, 1826. [4],144pp. 12mo. Original paper boards, untrimmed. Early careful repairs to crown of spine and lower joint, otherwise a lovely copy. Cloth slipcase and chemise. An unauthorized piracy, published in the wake of the suppressed Posthumous Poems of 1824. Benbow was a notorious pirate, notable as the publisher of the curious edition of Queen Mab with the false New York 1821 imprint. Two editions of this title appeared under his imprint, both 12mo, but the other included some of Shelley’s longer poems, and is paginated at 356pp. It was via this edition of 144pp. that Robert Browning, among others, first made the acquaintance of Shelley’s poetry. Granniss calls for a frontis, never present in this copy, but Taylor’s collation does not (though he mentions a frontis depicting the nine muses in an imperfect copy in his notes). Taylor subjects the two forms of Benbow’s Miscellaneous Poems are the subject of considerable scrutiny in The Early Collected Editions of Shelley’s Poems (New Haven, 1958). GRANNISS 87. TAYLOR, p.82-3, etc. $750. 324. Sheridan, Richard Brinsley: COMEDIA INTITULADA A ESCOLA DO ESCANDALO .... Lisbon: NA Offic. de Samão Thaddeo Ferreira, 1795. [6],7- 138,[4]pp. Small octavo. Early 20th century 3/4 calf and marbled boards. Small early ink name in upper corner of title (trimmed slightly in binding), a few small spots to title and faint tidemark in extreme lower margin of first few leaves, but a very good, crisp copy. First edition in Portuguese of A School for Scandal, translated from the English text by José Anselmo Correia Henriques, and with a two page printed dedication to Catharina Micaela Sousa Cesar e Alencastre. The translation omits the Prologue and . OCLC’s collation calls for six unnumbered terminal pages; this copy includes four, one a colophon, the rest blank. Rare: OCLC/Worldcat locates copies at Georgetown, Harvard, Trinity Dublin and Cambridge. The translation is not among the several 18th century non-English editions reported by NCBEL. OCLC 57297563. $850.

325. Sherriff, R.C., and [screenwriters]: [THAT HAMILTON WOMAN]. [London: Alexander Korda / United Artists, 17 August – 11 October 1940]. [1],181 leaves plus lettered inserts. Quarto. Mimeographed typescript, printed on rectos only of white, yellow and blue stock. Punched and bradbound, without wrappers or title-leaf. First two leaves ragged and detached, fore-margins of several terminal leaves frayed and a bit chipped, pencil annotations on top leaf, otherwise good. An unspecified draft of this original screenplay by Sherriff and Reisch, heavily revised throughout via a blizzard of dated revises on colored stocks. The costume epic set during the Napoleonic Wars starred Laurence Olivier and Vivien Leigh, under the direction of Alexander Korda. Although filmed in the UK, it premiered in New York in 3 April 1941, and opened in Britain the following August. $150.

326. Somerville, E.Œ., and “Martin Ross” [pseud. of Violet F. Martin]: FRENCH LEAVE. London: William Heinemann, Ltd., [1928]. Maroon cloth. Spine faded, with rubbing to extremities, foxing, but a sound copy. Presentation copy signed by the author on the title-page and inscribed by her on the front free endsheet: “Kinkie’s copy for Francis, with love from Edith eb. 1928.” One of the posthumous “collaborations,” dedicated by Somerville “To My Collaborator.” Ross/Martin died in 1915. HUDSON, p 47. NCBEL IV:740. $350.

The Editio Pinceps 327. : [Title in Greek:] SOPHOCLIS TRAGAEDIAE SEPTEM CVM COMMENTARIIS. [Venetiis: in Aldi Romani Academia mense Augusto 1502]. [196] leaves. Octavo. Full 19th century straight grain red morocco, elaborately gilt extra, a.e.g. Greek letter. Aldine anchor on verso of terminal leaf. Bookplate of Henry Labouchere, 1st Baron Taunton (1798-1869). Some early and interesting manuscript annotations and highlighting in red ink, a few other annotations faded and occasionally a bit smeared, similar annotations eradicated from title, minute single wormhole in foremargins of final half of text block (in a few instances showing signs of early careful in-fill), otherwise a very good copy, neatly bound. First edition in book form of the Greek text of seven of the Tragedies of Sophocles, edited by Marcus Musurus with a dedication to Jan Lascaris. This was the first of the classical Greek texts published by in this portable form, and it remained the most readily available source for study of Sophocles’s text until the 19th century, when superior manuscripts became the object of scholarly study. Like the copies noted by Brunet and regarded as the earlier printing, the verso of the four-line title is blank, as is the facing recto. A high-water mark in the history of typography, classical texts and drama. ADAMS S1438. RENOUARD 34:6. BM (ITALIAN), p.634. BRUNET V:445-6. $30,000.

328. [Spanish Civil War]: Alberti, Rafael, et al: RECUERDO DE ESPAÑA [Series Title for Group of Five Illustrated Cards]. [Madrid & Barcelona: Sindicato de Professionales de la Bellas Artes / Indus Gráficas Seix y Barral, ca. 1937]. Five folded leaflets (17.5 x 12.5 cm) on stiff card, with pictorial top panel. Some dust smudging at edges, mild thumb-tip size discoloration at one fold, but generally very good. An interesting set of cards distributed for the promotion and defense of the Republic, published under the direction of the Fine Arts trade union, the alliance charged with some of the most important propaganda efforts during the war. The cards bear illustrations in various media, and internally present both in type, and in facsimile of manuscript, statements in support of the cause, both prose and poetry. One card prints Alberti’s “Vostros no Caisteis” in ms., with a French translation in type (“Vous N’êtes pas Tombés”), with a cover illustration signed in the image “Parilla XXXVII.” The other texts are by Jacinto Benavente, Corpus Barga, Antonio Zozaya, and Antonio Machado. Other images are signed in the image by “S del Pilar,” and “Orteus.” $450.

Item 328. Alberti. 329. Spearman, Frank H.: HELD FOR ORDERS TALES OF RAILROAD LIFE. New York: McClure, Phillips & Co., “MCMIIV” [sic 1903?] Navy blue cloth, with elaborate decoration in red and white of a railroad switch. Frontis and plates by Jay Hambidge. A fine copy, in good, somewhat darkened, soiled and torn (but complete) pictorial dust jacket replicating the cover design in different colors. Fourth impression. A collection of fictionalized accounts of the lives of railroad workers, including the title story, which bears the subtitle “The Striker’s Story.” The first printing appeared in 1901, and any of the printings of the original edition are rather uncommon in the dust jacket. SMITH S-739. HANNA 3301. $125.

330. Staël de Holstein, Anne-Louise-Germaine Nicker, Madame de: A TREATISE ON ANCIENT AND MODERN LITERATURE. ILLUSTRATED BY STRIKING REFERENCES TO THE PRINCIPAL EVENTS AND CHARACTERS THAT HAVE DISTINGUISHED THE FRENCH REVOLUTION. London: Printed by George Cawthorn..., 1803. Two volumes. [2],353; 287pp. Small quarto. Contemporary paper boards, rebacked in cloth, with gilt morocco labels and paper strengthening of endsheet gutters, all edges untrimmed. Boards bumped and edgeworn, otherwise a very good set, internally about fine. First edition in English, the translator neither attributed within nor disclosed in the obvious references. From the library of Richard Brinsley Sheridan(the grandson), with his ownership signature on the first title, and bookplate on each pastedown. The first volume also bears the ownership signature of John Dovaston, perhaps the London poet and theatre critic (1782-1854). First published in 1800 as De La Littérature Considérée Dans Ses Rapports Avec Les Institutions Sociales, this apprentice work preceding Madam de Staël’s rise to literary (and political) prominence appeared in English again in 1812, under the variant title The Influence Of Literature Upon Society, also with the translation unattributed. NCBEL III:107. $850.

331. [Stanbrook Abbey Press]: Stacpoole, Alberic: THE SEVEN WORDS FROM THE CROSS A MEDITATION IN POETIC IDIOM. Worcester: Stanbrook Abbey Press, 1974. Quarto. Gilt decorated stiff wrappers. Trace of sunning at edges, else near fine. First printing in this format. One of 100 numbered copies printed in van Krimpen’s Spectrum type in red and blue on Medway handmade paper, bound in ‘Badger’ covers. Fifteen copies numbered in Roman were specially bound, and an unnumbered issue of 100 copies on finished off the edition. $150.

332. [Steam Navigation]: Great Western Steamship Company: THE LOGS OF THE FIRST VOYAGE, MADE WITH THE UNCEASING AID OF STEAM, BETWEEN ENGLAND AND AMERICA, BY THE GREAT WESTERN, OF BRISTOL, LIEUT. JAMES HOSKIN, R.N., COMMANDER ... ALSO AN APPENDIX AND REMARKS BY CHRISTOPHER CLAYTON. Bristol: Printed at the Mirror Office by John Taylor, [1838]. vi,76,[1]pp. plus errata slip, folding chart of the route, and note slip inserted after p.vi. Octavo. Original printed wrappers, bound up in 19th century calf and marbled boards. Wrappers mounted, lower blank forcorner of title restored, binding a bit rubbed and scraped, but a very good copy. First edition. Inscribed on the upper wrapper: “With Captain Hoskin[‘]s compliments to Mr. King – 7 August 1838.” The Great Western was a wood-hull paddle-wheel steamship designed by Isambard K. Brunel, and built expressly for the purpose of trans-Atlantic passage. This work documents her maiden voyage. In a race with the Irish Steam packet Sirius, the Great Western departed Bristol on 4 April, four days behind the Sirius, and although the Sirius arrived one day ahead of the Great Western, it did so only by the crew having to burn furniture, and a mast and other fixtures when they ran low on coal. The Great Western arrived with a comfortable surplus of 200 tons. The Great Western continued sailing the trans-Atlantic route on a regular basis until 1846, when, after 45 crossings, its company went out of business and the ship was sold to the Royal Mail Steam Packet Company. $1500.

333. Steinbeck, John: ZAPATA A NARRATIVE, IN DRAMATIC FORM, OF THE LIFE OF EMILIANO ZAPATA. [Covela, CA]: The Yolla Bolly Press, [1991]. Thick quarto. Three quarter plum cloth and decorated paper over boards, paper spine label. Illustrated with 18 woodcuts (7 full-page). Bookplate on front pastedown, otherwise fine in folding cloth box with hasps, in company with enclosures. Small label smudge in lower corner of upper panel of case. First edition in this format. Illustrated with original woodcuts by Karin Wikström. One of forty numbered copies (of fifty), with the seven large woodcuts handcolored, accompanied by an additional woodcut portrait of Zapata, signed in pencil by the artist, from a total edition of 257 copies printed on French Rives paper in Veronese types, and signed by the artist. A copy of the original prospectus is laid in, as well as the separately printed and bound supplemental text, Zapata The Man The And The Mexican Revolution by Robert E. Morseberger (1/100 copies signed by the author). The substantial original 1949 treatment for the proposed film biography of Zapata by Steinbeck, here published for the first time, and of course differing substantially from the final shooting script for the 1952 film. $2500.

334. [Steinbeck, John, et al]: Hecht, Ben [screenwriter]: ... DAVID O. SELZNICK’S PRODUCTION OF LIGHT’S DIAMOND JUBILEE ... [wrapper title]. [Culver City: Selznick Studios], 1954. 149 leaves. Quarto. Mimeographed typescript, printed on rectos only of white, green, yellow and pink paper. Bradbound in stencil-printed wrappers. Upper wrapper a bit sunned and with small scuff, script number at top fore-corner, small nick to one edge of upper wrapper, but very good or better. A “Final Script” – though heavily revised by way of a rainbow of dated inserts – for this special anthology television special, in tribute to the anniversary of the invention of the light bulb. Hecht wrote the script, featuring adaptations from stories and other material by Steinbeck (“The Leader of the People”), Robert Benchley, Irwin Shaw, Max Shulman, Samuel Clemens, et al, interspersed with interludes and sketches relevant to the spirit of invention, scientific and technological advancement, and the challenges of the modern age. The stars included Judith Anderson, Lauren Bacall, Walter Brennan, Joseph Cotten, Helen Hayes, Robert Benchley, David Niven, Brandon De Wilde, and others, and closed with an address to the audience by the President. King Vidor directed the film sequences, William Wellman the Presidential sequence, Arthur Handley the live staged sequences, with other directors assigned to different components. The telecast was scheduled for 24 October 1954. $750. 335. Sterling, George: THE HOUSE OF ORCHIDS AND OTHER POEMS. San Francisco: A. M. Robertson, 1911. Dark blue cloth, heavily decorated in silver. Gilt morocco bookplate on pastedown, trace of rubbing to stamping along fore- edge of upper board, else about fine in half morocco slipcase and chemise. First edition. Inscribed by Sterling on the front free endsheet: “For Bertram C. Best, these rhymes of sea and land, with my sincerest regards, George Sterling. San Francisco. June 27th, 1918.” 2000 copies were printed and, as often with his presentation copies, Sterling has made a few manuscript corrections and revisions in the text. BAL 18756. $250.

336. Stevens, Wallace: POEMS. San Francisco: The Arion Press, 1985. Quarto. Quarter blue morocco and cloth, morocco fore-edges. Frontis. A very fine, unrubbed copy, with prospectus and publisher’s notice laid in. First edition of this selection edited, with an introduction, by . The frontispiece is an original etching by , signed by him in the margin. One of three hundred numbered copies (of 326) printed on English mould-made paper under the direction of Andrew Hoyem, and bound by the Schuberth Bindery. The etching was printed at Universal Limited Art Editions. $6000.

337. Stevenson, Robert Louis: AN INLAND VOYAGE. London: C. Kegan Paul & Co., 1878. Original publisher’s sky-blue cloth, with pictorial decoration in gilt and black, spine lettered in gilt, ruled in black. Spine a trace oxidized, rear inner hinge cracking slightly, a few small bubbles to cloth, minor marginal smudges, otherwise a very good copy. Half morocco slipcase and chemise, which is slightly rubbed. First edition of the author’s first formal book publication, preceded by several pamphlets and offprints. The edition consisted of 750 copies, and includes a pictorial extra-title by Walter Crane. It would be three years before a second printing was required. BEINECKE 12. PRIDEAUX 1. $750.

338. Stoddard, Charles Warren: DIARY OF A VISIT TO MOLOKAI IN 1884 WITH A LETTER FROM FATHER DAMIEN TO HIS BROTHER IN 1873 .... San Francisco: Book Club of California, 1933. Small octavo. Quarter cloth and marbled boards, paper label. Portrait and facsimile. Slight curl to one corner of spine label, else fine, unopened. First edition. One of 250 copies printed at the Grabhorn Press. Introduction by Oscar Lewis. BAL 19027. GRABHORN 188. $200.

339. [Stone & Kimball]: D’Annunzio, Gabriele: EPISCOPO & COMPANY. Chicago: Herbert S. Stone & Company, 1896. xiii,[1],122,[1]pp. Small octavo. Folded, untrimmed, unopened signatures. Publisher’s device on title. A bit of foxing early and late, but very good. Custom cloth slipcase and chemise. First edition of the first appearance of a book-length work by D’Annunzio in English, translated by Myrta Leonora Jones. This was the second Stone imprint, following the break-up of Stone & Kimball, and marks the first appearance of the logo designed by Frank Hazenplug. KRAMER 108. $250.

340. [Stonhouse, James]: HINTS FROM A MINISTER TO HIS CURATE FOR THE MANAGEMENT OF HIS PARISH. London: Printed for John, Francis, and Charles Rivington, 1776. ix,[3],48pp. 12mo. Sewn, untrimmed. Half-title and extended edges tanned, otherwise a very near fine copy. Second (but first London) edition, first printed in Bristol in 1774. One of the physician/cleric’s many instructional tracts on topics that included medical, religious and social advice. Sheets from this edition were bound up in 1781 in the uncommon collective volume of his Religious Tracts. While the physical condition of this copy hints at a remainder, ESTC locates only 6 copies in North America. ESTC T68317. $125.

341. Symons, Julian: THE NAME OF ANABEL LEE. London: Macmillan, [1983]. Printed wrappers. A near fine copy with a vertical crease where the front wrapper has been turned back, and a trace of hand-soiling. Uncorrected page proofs of the first edition. Inscribed and signed by the author on a preliminary leaf: “George [Sims] from Julian – what is wrong with the title page??,” with an arrow drawing Sims’ attention to the misspelling “Annabel” above a plot summary of the book. Booklabel of George Sims. $175.

342. Taradash, Daniel [screenwriter]: INTIMATE NOTES ORIGINAL STORY AND TREATMENT BY ... [wrapper title]. [Culver City]: Vanguard Films, 11 December 1946. [1],81 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in typescript wrappers with studio prelim. Script number stamped on upper wrapper, otherwise about fine. A substantial, and unproduced, original story and treatment by a distinguished screenwriter and playwright, dating to the period following his return from military service making films with the Signal Corps. Though unproduced, the project reached at least the stage of a second draft screenplay. In additional to his theatrical work, prior to his military service Taradash had accumulated three screen credits (including Golden Boy). In the years following the war, he racked up, among others, Knock On Any Door and Rancho Notorious. In 1953, he won the Academy Award for his screenplay for From Here to Eternity, and in years following, his credits included Picnic, Bell Book And Candle, Morituri, and Castle Keep. This story/treatment was among the duplicates from the Selznick archives. $225.

343. [Tarkington, Booth]: Original studio lobby card for PENROD AND SAM. [Los Angeles]: First National Pictures, [1923]. Vintage sepia-toned lobby card, 11 x 14”. Shadow in margin from previous framing, else near fine. An appealing, and poignant, studio lobby card promoting the 1923 silent screen version of Tarkington’s novel, based on a script by Louis D. Lighton and Hope Loring, directed by William Beaudine (who also directed the 1931 sound remake). The film was produced by J.K. Williams Productions, and First National handled distribution. The dialogue caption for the present card is “They’ve gone and killed my Duke.” The card was printed by Ullman Mfg. Co. of New York. Very scarce. $425.

344. Taylor, Frederick Winslow: THE PRINCIPLES OF SCIENTIFIC MANAGEMENT ... FOR CONFIDENTIAL CIRCULATION .... New York & London: Harper & Brothers, 1911. 77pp. Large octavo. Green cloth, paneled in blind, lettered in gilt. Heavy offset from absent clipping to title and facing blank, ink digits in lower gutter of first leaf of text, crown of spine frayed with snag to lower joint, toe of spine shows evidence of removed shelf-label, otherwise a very good, sound copy. The special advance edition, printed for circulation “among the members of the American Society of Mechanical Engineers with the Compliments of the Author.” Not only does this printing precede the public edition published the same year, but it includes a Foreword and 3-page Appendix not carried over to that edition. One of the foundation works of time and motion study as applied to production methods, and, in time, a book of considerable influence both in the U.S. and abroad. PRINTING AND THE MIND OF MAN 403. NORMAN LIBRARY 2059. $3500.

345. Taylor, Peter: HAPPY FAMILIES ARE ALL ALIKE. New York: McDowell, Obolensky, [1959]. Cloth. Cloth very slightly faded, otherwise a very good or better copy, in moderately chipped and torn price-clipped dust jacket. First edition. Inscribed by the author on the front free endsheet: “for Uncle Don with love from Pete Columbus December 21, 1959. I recently met the author of ‘When It’s Spring time in the Rockies,’ and I told her that I have a brother and an uncle who used to sing it beautifully.” Taylor has added an explanatory note at a later date: “Uncle Don was my father’s brother and lived at our home for several years and used to laugh at my brother’s rendition of ‘When It’s Spring Time’ Peter T.” $750.

346. Taylor, Peter: A SUMMONS TO MEMPHIS. New York: Knopf, 1986. Cloth and boards. Somewhat used and read, in worn dust jacket, but an association copy of merit (see below) First edition of the author’s Pulitzer Prize winner. One of two copies inscribed by Taylor to the daughter and son-in-law of novelist Caroline Gordon and poet Allen Tate: “for Nancy and Percy with affection – and memories of all those old times in [indecipherable] and Memphis Peter 11/6/86.” Allen Tate was one of Taylor’s earliest literary mentors, dating from Taylor’s early undergraduate career at Southwestern (now Rhodes) College in Memphis, and he remained in touch during the following decades. The rear free endsheet bears some unrelated notes by Nancy Wood in Spanish (she lived in Chiapas at the time). $450.

347. Thomas, Dylan: THE MOUSE AND THE WOMAN. San Diego: Brighton Press, 1988. Large octavo. Handcolored pictorial cloth. Illustrated with seventeen woodcuts by James Renner. Fine, with prospectus laid in, in cloth slipcase. Copy #2 of 180 numbered copies (of two hundred), printed on Rives heavyweight paper, with the woodcuts printed from the blocks, signed by the artist. The text was originally published in transition and later collected in Adventures in the Skin Trade. $250.

348. Towne, Robert: [screenwriter]: “HAIR” [retitled SHAMPOO]. Los Angeles: Ziegler & Ross., [no later than 1974]. [1],60 leaves. Quarto. Carbon typescript, on rectos only, with typescript title leaf. Bradbound in agency wrappers. Wrappers a bit marked and sunned, with a few nicks at overlap edges, otherwise very good or better. An early treatment by Towne for the film eventually scripted and produced as Shampoo, starring Warren Beatty, Julie Christie, Goldie Hawn, Lee Grant, Tony Bill, et al, under the direction of Hal Ashby. In its final release, the screenplay was co-credited to Beatty. The script won NFSC and WGA awards for its year, and was nominated for an Oscar. $225.

349. [Turkey Press]: Billings, Susan X.: A KATO INDIAN GENESIS ADAPTED & ILLUSTRATED .... [Isla Vista]: Turkey Press, 1975. Oblong quarto (25 x 33 cm). Loose sheets, laid into stiff paper folder. Illustrated with ten original color blockprints. Two spots to folder, some inevitable slight offset from the blockprints, otherwise about fine. With the original printed wraparound band, with the seal intact.

First edition of this early production by the press. Copy #36 of 80 numbered copies printed on Strathmore handmade paper, and signed by Billings. $275.

350. Tyler, Anne: CELESTIAL NAVIGATOR. New York: Knopf, 1974. Cloth. First edition of the author’s fifth book. Publisher’s review copy, with slip laid in. Fine in dust jacket $600.

351. Tyler, Anne: THE ACCIDENTAL TOURIST. New York: Knopf, 1985. Cloth and boards. Fine in dust jacket. First edition. One of an unspecified, but relatively large number of copies (reported variously, usually as more than 500 and less than 1000) with an extra leaf signed by the author tipped-in after the front free endsheet. $200.

352. [Updike, D.B. – The Merrymount Press]: THE ALTAR BOOK: CONTAINING THE ORDER FOR THE CELEBRATION OF THE HOLY EUCHARIST ACCORDING TO THE USE OF THE AMERICAN CHURCH: MDCCCXCII. [Boston: D.B. Updike, The Merrymount Press, 1896]. Folio (38.5 x 30 cm). Recently and beautifully bound in appropriately understated full wine-red morocco, upper board with label lettered in gilt, raised bands, fore- and bottom edges untrimmed. Illustrations and decorations. Printed in red and black. Engraved title vignette, repeated on colophon (offset to facing blanks). A few marginal finger smudges and isolated small spots from intended use, a few gutters discolored from former placement of two ribbon markers (now present but laid into an envelope), but a very good or better copy of a book usually subjected to the ravages of its intended use and difficult to find in fine condition. Enclosed in a matching linen slipcase with morocco backstrip with matching raised bands and gilt label. One of an edition of 350 copies set in the newly cast Merrymount type at the Merrymount Press and printed on handmade paper at the De Vinne Press. With seven double-page spread illustrations by Robert Anning Bell, with Kelmscott- style woodcut borders and initials by Bertram Grosvenor Goodhue (who also designed the type). The loosely inserted 8 page gathering of plain-song is not present in this copy. The work which established the reputation of Updike and the Press as among the foremost modern designers/printers, it is considered by most contemporary analysts as a peak in the Arts & Crafts movement as manifested in the book arts, as well as the most significant attempt by an American designer to emulate the model established by the Kelmscott Chaucer. Copies could be ordered with specially printed dedicatory prelims – such is not the case with this copy. A few copies were also issued with hand-coloring. This is not one of those copies. BIANCHI 20. $3500.

353. Valéry, Paul: ESSAI SUR STENDHAL. Paris: Jacques Schiffrin / Éditions de la Pléide, [1927]. Large octavo. Printed wrappers. Typographic decorations by René Ben Sussan. Spine cracking a bit, offset on endsheets from old tape affixing glassine wrapper, internally about fine. First edition. One of eighteen copies on Vélin à la Cuve reserved for friends of the author and publisher, from a total edition of 315 copies. This copy bears the publisher’s affectionate presentation inscription. $275.

354. Van Vechten, Carl: ORIGINAL PORTRAIT PHOTOGRAPH OF JANET REED. New York. 27 October 1944. Original borderless gelatin silver print, 25 x 20 cm (9 7/8 x 8 inches). A vintage portrait of the American ballet , in her role as the wife in Agnes de Mille’s Tally-Ho! This print bears Van Vechten’s blindstamp, and on the verso his ink studio stamp. The subject and negative number are also written on the verso in ink, in Van Vechten’s hand. There is a print of another negative from the same sitting in the Library of Congress Van Vechten photo archive, but not this image; another print of this image was included in Extravagant Crowd Carl Van Vechten’s Portraits of Women (Yale, Beinecke Library, 2003). KELLNER G1062. $500.

355. [Vassos, John]: Wilde, Oscar: THE HARLOT’S HOUSE AND OTHER POEMS. New York: Dutton, 1929. Small quarto. Cloth and boards. Illustrated with plates by John Vassos. First edition, trade issue. Soft crease in front free endsheet, else very good or better, in very good highly decorative dust jacket with a few small chips and a tear in the upper portion of the front flap fold. $350.

356. Vidal, Gore [screenwriter]: THE BEST MAN. Hollywood: Millar / Turman Productions, Inc., 28 August – 1 October 1963. [4],139 leaves plus lettered inserts. Quarto. Mechanically reproduced typescript, printed on rectos only of white, blue and yellow stock. Bradbound in stencil printed wrappers. A few pencil revisions, wrappers a bit smudged and soiled, script number in felt-tip on upper wrapper, otherwise very good. Denoted a “Final Revised Shooting Script,” but including continued substantial revisions over a span of a month via variously dated inserted revises, including the addition of a 4pp. prologue. Vidal’s own adaptation to the screen of his 1960 political play, directed by Franklin Schaffner, and starring an ensemble cast including , Cliff Robertson, John Henry Faulk, Mahalia Jackson, Edie Adams, Howard K. Smith, and many others. This copy bears the signature of director Hal Ashby, who served as editorial consultant for this project. The film was released in 1964. $650.

357. Vidal, Gore [screenwriter]: ’S KALKI. Studio City: Von Zerneck / Sertner Films [MGM], 21 September 1989. [1],94,[1] leaves. Quarto. Mechanically reproduced studio-generated typescript, printed on rectos only of pale blue paper. Punched and bradbound. Faint use, near fine. A “second draft” of Vidal’s own screenplay adaptation of his 1978 novel. It would appear that this endeavor never reached production. $350.

358. [Villon, Jacques]: Ghika, Tiggie: LE SOIF DU JONC POÈME. Paris: Editions Cahiers d’Art, [1955]. Quarto. Printed wrapper over stiff wrappers. Three plates hors-texte. Wrappers very faintly edgeworn, one wrapper corner bumped, else a very good, internally fine copy. First edition of this translation by Jacques Dupin, illustrated with three original dry-point etchings, signed in the plate, by Jacques Villon. From a total edition of 207 copies, this is one of two hundred copies on vélin de Rives. This copy is signed by Villon in pencil on the colophon. MONOD 5327. $1200. 359. Viva [pseud. of Janet Sue Hoffman]: SUPERSTAR. New York: Putnam, [1970]. Cloth and boards. Portrait. Spine ends a bit soft, but a very good copy in edgeworn dust jacket (with a photo by Cecil Beaton) with large chip at crown. First edition. Warmly inscribed by the author on the free endsheet: “Dear dear Leonard, I finally summoned the courage to send you the book. Don’t say I didn’t warn you. Thanks for all your good works – Love Viva.” On the opposite pastedown, she has draw a picture of herself (nude), kissing and embracing the recipient. Uncommon thus. $450.

360. Vollard, Ambroise: LE PÈRE UBU À LA GUERRE. Paris: Èditions Georges Crès et Cie., 1920. Small octavo. Pictorial wrappers. Offset to extended edges of prelims and terminal leaves from wrapper turn-ins, small nick at toe of spine, otherwise a near fine, unopened copy. First edition. Illustrations by Jean Puy. One of five hundred numbered copies on large, untrimmed Hollande. An addition to Vollard’s sequence of dramatic pieces inspired by Jarry’s creation, illustrated by one of his primary artists. $350.

361. Voltaire, [F.M. Arouet de]: LA PUCELLE D’ORLÉANS POËME EN VINGT-UN CHANTES...EDITION ORNÉE DE FIGURES GRAVÉES PAR LES MEILLEURS ARTISTES DE PARIS. Paris: De l’Imprimerie de Didot le Jeune, L’An Troisiéme [1795]. Two volumes in one. 211;212pp. plus portrait and twenty-one engraved plates. Large, thick quarto (34 x 35.8 cm). Full early 19th century forest green morocco, spine elaborately gilt extra, ornate gilt side panels, a.e.g. Extremities rubbed, upper inner hinge and crown of joint cracking, endleaves a bit dusty, otherwise a very good copy. Bookplates. First edition thus, printed on thick, pale blue paper, and elegantly illustrated with the portrait (by Gaucher) and plates after Lebarbier, Marillier, Monnet, and Monsiau, engraved by Baquoy, Choffard, Delignon, Delvaux, Duhamel, Dupréel, Lemire, Lingée, Malbeste, Patas, Pauquet, Ponce and Romanet. “Très belle édition” – Cohen-De Ricci. A mock-epic poem on the subject of St. Joan, La Pucelle proved itself one of Voltaire’s most infamous and popular works. Due to its mildly licentious nature, many early editions were published surreptitiously, and a good number of them were suppressed. The first authorized edition was printed in Geneva in 1762. COHEN – DE RICCI 1034. BENGESCO 513. $1250.

362. [Voltaire, Francois Marie Arouet de]: CANDIDE, OU L’OPTIMISME, TRADUIT DE L’ALLEMAND DE MR. DOCTEUR RALPH. [Np. no imprint], 1759. [2],[3]- 299,[1]pp. 12mo. Contemporary quarter gilt calf and pastepaper boards, spine gilt extra. Bookplate on pastedown, binder’s free endsheet neatly excised, spine ends chipped, fore-tips worn, but a good copy, internally very good. Of the field of editions dated 1759, and the significantly smaller subset of that field paginated at 299pp., this particular printing is among those virtually certain to be derivative of an earlier edition/printing, and a somewhat carelessly proof- read derivative at that. See Wade, “The First Edition of ‘Candide’ A Problem in Identification,” Princeton University Library Chronicle, XX:2, p. 74 (etc). PMM 204. WADE 4. BENGESCO 1436. MORIZE 59d. $1850. 363. von dem Bussche, Wolf [editor & photographer]: TOTEM THE PAPAGO LEGEND OF THE CREATION OF THE GIANT CACTUS, CALLED SAGUARO, WITH TWELVE PHOTOGRAPHIC IMAGES BY .... [Berkeley, CA]: Three Plowshares, 1993. [2],vii,11 leaves plus twelve mounted photographs. Folio (56.4 x 45.5 cm). Loose sheets, laid into publisher’s cloth covered clamshell box. Trace of bookplate inside lid of box, otherwise fine. First edition. Introduction by Malcolm Margolin. A formidable production, with the text of the legend edited by von dem Bussche from the record of the legend published by Harold B. Wright, accompanied by twelve original prints of his photographs (39 x 30cm) on Ilford Multigrade matte paper, mounted on Rives, each printed by him, and signed and captioned on the mount in pencil. The letterpress was beautifully printed in Lithos type on Rives Moulin de Gué at the Okeanos Press. The total edition was limited to 77 portfolios, of which this is one of 25 “special” lettered copies reserved for public and special collections. Most widely known for his almost iconic images of the World Trade Center and other New York fixtures, von dem Bussche brought a special personal interest and sensitivity to this production, every aspect of which involved his participation. $6000.

364. Waldrop, Keith, and Nelson Howe [design]: TO THE SINCERE READER. New York: Wittenborn and Company, 1969. Quarto. Stiff wrappers. Illustrations. Plain wrapper loose from staples, otherwise near fine in slightly bumped outer wrapper with printed label and a few small spots on lower panel. First edition. One of 100 numbered copies printed by the author and the artist at Burning Deck Press, and signed by them. A second edition of 300 copies, also numbered and signed, appeared the following year. $100.

365. [Warren, Robert Penn]: Original French Studio Promotional Pressbook for LES FOUS DU ROI (ALL THE KING’S MEN). Paris: Columbia Films S. A., [ca. 1950]. Quarto gatefold, opening to four panels (ca. 30.5 x 100 cm), printed recto and verso. Heavily illustrated, with reproduction in quality gravure. A bit of sunning along spine and fore-edge, with the latter showing a bit of creasing and short tears, but generally a very good copy of a fragile item. A beautiful studio publicity pressbook promoting the 1950 French release of Robert Rossen’s award winning adaptation of Warren’s novel, starring Broderick Crawford, Joanne Dru, John Ireland, et al. The film premiered in the US in November 1949, and qualified for the Academy Awards for that year. Hence, the French release of August 1950 capitalizes on both the Academy Awards (Best Picture, Best Actor, Best Actress), and on Warren’s Pulitzer Prize (“equivalent americain du Goncourt”). Visually a rather striking piece. $150.

366. Welty, Eudora: THREE PAPERS ON FICTION. Northampton: Smith College, 1962. Large octavo. Printed wrappers. First edition (ca. 1200 copies printed). Signed by Welty. Slight toning at wrapper edges, but very good or better. $250.

367. [West, Nathanael]: Sequence of ten stills for “LONELYHEARTS.” [Los Angeles]: United Artists, 1959. Ten 8x10” b&w stills, with captions in lower margins. A couple small marginal nicks, three stills a bit tanned at margins, but very good to fine. A representative selection of the promotional stills for the 1959 United Artists release based on West’s Miss Lonelyhearts. The adaptation was made by Dory Schary, with direction by V.J. Donehue. Montgomery Clift, Robert Ryan, Myrna Loy and Maureen Stapleton starred. This was the second time West’s novel was approached by Hollywood, this time with some measure of success. Publicity material relating to this film is uncommon. $150.

368. [West, Nathanael]: Ferracci, René [designer]: Original French half- sheet poster for LE JOUR DU FLEAU [i.e. The Day Of The Locust]. [Paris]: Paramount / Cinema International Corp., 1975. Folio (56 x 40 cm). In color, printed on recto only. Folded, as issued, else fine. A vintage half-sheet poster for the 1975 French release of John Schlesinger’s film of West’s brilliant Hollywood novel, based on a screenplay by , starring Donald Sutherland, Karen Black, Burgess Meredith, William Atherton, Geraldine Page, et al. This visually outstanding poster was designed by famed French film poster artist René Ferraci (1927-1982) and bears his credit line. $100.

First Book 369. Whittier, John G.: LEGENDS OF NEW ENGLAND. Hartford: Published by Hanmer and Phelps, 1831. v,[2],[7]-142pp. Original linen and boards, printed spine label. Boards a trifle worn and soiled, scattered foxing as usual, upper joint slightly strained, but sound, spine label slightly chipped but about 80% present, prelims a bit roughly opened at top edge; but in all, a near very good copy of a book difficult to fine much better these days. Pencil collector’s signature and notes, dated 1891. Cloth chemise and slipcase.

First edition of the poet’s first solo collection. This copy exhibits BAL’s states A of the verso of [1]3, of the title imprint, and of the copyright statement. Page 98 exhibits the corrected reading ‘they go,’. Whittier included only two of the poems in his later collections, and did not reprint the seven prose tales. Much has been made of the spine label on this title, the Carroll Wilson catalogue asserting: “Only those who have sought for this book with the label would know how hard it is to find it.” This copy bears the green label. BAL 21671. WRIGHT I:2710. $1500. 370. Whittier, John G.: SNOW-BOUND. A WINTER IDYL. Boston: Ticknor and Fields, 1866. 52pp. Terra-cotta cloth, stamped in gilt. Portrait. Title vignette. Upper fore-corner of rear cover has a quarter-size stain, light soiling to margin of final text leaf, upper 4.5cm neatly clipped away from rear endsheet, a bit of wear to spine ends, otherwise a good, reasonably bright and tight copy. Cloth slipcase and chemise. First edition, BAL’s state 1 with p. 52 numbered. One of 3390 copies printed. With the armorial bookplate of John George Hodgins, Irish-Canadian educator and prominent Anglican layman. BAL 21862. GROLIER AMERICAN HUNDRED 73. $300.

371. Wilde, Oscar: POEMS. London: David Bogue, 1881. Publisher’s parchment over boards, gilt extra, t.e.g., others untrimmed. Tan offsetting to endsheets, as usual, some hand smudging and a few small spots to parchment, otherwise a very good copy. Half morocco slipcase and chemise. 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.” MASON/MILLARD 304. $2750.

With Autograph Letter 372. [Wilde, Oscar (one-time attribution)]: WHAT NEVER DIES A ROMANCE. BY BARBEY D’AUREVILLY. TRANSLATED INTO ENGLISH BY SEBASTIAN MELMOTH (O.W.). Paris: Privately printed, 1902. Octavo. Original unprinted terra cotta wrappers. Wrappers slightly worn and nicked at spine corners, bookplate of a noted Uranian collector, but a very good copy in half morocco slipcase. First edition of this translation, offered at the time as being the work of Wilde. One of five hundred copies printed for private circulation. As noted in Mason, Charles Carrington accompanied his 1909 printing of The Picture of Dorian Gray with an inserted slip asserting that he no longer offered this title as being the work of ‘Sebastian Melmoth’ or Oscar Wilde. Inserted in front of this copy is a one page a.l.s. from Barbey d’Aurevilly, dated simply “Jeudi matin,” to an unidentified recipient, pertaining to social obligations. MASON/MILLARD, p.350. $500.

373. [Wilder, Margaret Buell]: Daniel, Jeffrey (pseud of David O. Selznick) [screenwriter]: An archive of script material relating to . [Culver City]: Selznick International Picture / Vanguard Films, 9 April 1943 through March 1949. Nine volumes. Quarto. Eight items mimeographed typescript, printed on rectos only, one item pictorial wrappers. Modest use to a few wrappers, a bit of rust to a few brads, but generally very good to near fine. An interesting lot of material relating to Selznick’s 1944 multi-award nominated film adaptation of, and elaboration on, Wilder’s epistolary novel about the Home Front, Since You Went Away: Letters to a Soldier From His Wife. The film was directed by John Cromwell and Selznick, and starred Claudette Colbert, Jennifer Jones, Joseph Cotten, Shirley Temple, Monty Woolley, Lionel Barrymore and an enormous supporting cast. As originally released in 1944, the film had a running time of 172 minutes; it was recut and re-released in 1949 with a running time of 130 minutes. This archive traces both the original version and the abbreviated version, and includes the following items: a) “Since You Went Away Part II.” 9 April 1943, 82 leaves, a portion of an abstract or synopsis of the book evidently for use by the writer; b) a “Narrative Synopsis of Screenplay,” 7 September 1943, [1],58 leaves; c) a doorstop of a “Final Shooting Script,” 9 September 1943 – January 1944, credited to Jeffrey Daniel – a nome de plume for Selznick which he finally rejected in favor of “By the Producer” – an astonishing [2],290 leaves, plus lettered inserts, and exhibiting a rainbow of mimeo, carbon and original typescript dated revises on colored stocks at a virtual 1:1 ratio to unrevised leaves; d) 28 leaves of “Retakes / Added Scenes / Wild Lines,” 12 April 1944; e & f) “Cutting Continuity” and “Dialogue Continuity” for “Foreign Version, both 20 September 1946, foliated in reel format; g) a “Dialogue & Cutting Continuity,” March 1949, clearly the recut version; h) a “Spotting List for Recut Version,” 22 August 1949, [2],62 leaves; and finally, i) a copy of the illustrated souvenir program for the original release. At the time, the film was the longest and most expensive Selznick production since Gone With The Wind, a project that he took on as a personal contribution to the war effort. $950.

374. Williams, John A.: THE JUNIOR BACHELOR SOCIETY. Garden City: Doubleday & Co., 1976. Narrow quarto. Printed wrappers. A few dust-marks on fore-edge, paperclip rust marks on half-title edges offset opposite, otherwise a very good or better copy. Uncorrected page proofs of this late but uncommon novel by the African American novelist, accompanied by a one page t.l.s. from him to William Manchester, 12 December 1975, on Doubleday letterhead, reminiscing about mutual acquaintances and soliciting his opinion and noting his reliance on Manchester’s latest book for some fact-checking. $225.

375. Williams, Tennessee: Carbon typescript of “THE COMING OF SOMETHING TO THE WIDOW HOLLY.” New York: Liebling-Wood, [nd. but ca. 1953]. 12 leaves. Quarto. Clean carbon typescript, typed on rectos only. Bradbound in agency wrappers with typed label. A typescript of this short story from the dispersal of the duplicate files of Williams’s long-time agent, Audrey Wood. The story saw first publication in any format New Directions Fourteen (1953) and was collected in Hard Candy and its variant in 1954. CRANDELL B30 & A13.I.a. $850.

376. Williams, Tennessee: Carbon typescript of “THE VINE.” New York: Liebling-Wood, [nd. but ca. 1953]. 21 leaves. Quarto. Clean carbon typescript, typed on rectos only. Bradbound in agency wrappers. About fine. A typescript of this short story from the dispersal of the duplicate files of Williams’s long-time agent, Audrey Wood. The story saw first publication in any format in Mademoiselle (July 1954) and was collected in Hard Candy and its variant later the same year. CRANDELL C119 & A13-I.a. $850. 377. Williams, Tennessee: TENNESSEE THREE PLAYS BY .... Washington, DC: Librix Continuum, 2004. Large folio (50 x 35 cm; 20 x 13.5”). Full khaki calf, lettered in blind, ruled in gilt. Illustrated with three colored offset lithographs by Clarice Smith. Fine. Enclosed in the publisher’s mammoth (21 x 15.5”) full brown calf suede-lined folding box, decorated in gilt and blind, and further enclosed in the oversize stiff board folding box, with prospectus inserted in sleeve in upper lid. First edition in this format, including the first book publication of “These are the Stairs You Got to Watch,” in company with Cat On A Hot Tin Roof and The Glass Menagerie. One of 1500 numbered copies printed on Fabriano Rusticus, published in concert with the Shakespeare Theatre and the Kennedy Center / Shakespeare Theatre’s production of Five By Tenn, directed by Michael Kahn. Kahn contributes a Preface, and David Bruce Smith, the publisher, has provided commentary as well as the text of an interview with Williams. Three additional prints, signed by the artist, are enclosed in a folding compartment in the slipcase. The title leaf is signed by the designer, John Paul Greenwalt. It would appear that a portion of the edition (750 unnumbered copies) appeared (later?) in three less cumbersome volumes, in reduced format (18 x 14”) and modified slipcase, and are denoted by the publisher as the “Standard Edition.” Substantial extra shipping charges apply. $2850.

378. [Wilson, Adrian]: Hart, James D. [ed]: MY FIRST PUBLICATION ELEVEN CALIFORNIA AUTHORS DESCRIBE THEIR EARLIEST APPEARANCES IN PRINT. [San Francisco]: The Book Club of California, 1961. Cloth and decorated boards, paper spine label. Portraits. Facsimiles. Label and upper edges a trifle sunned, bookplate, otherwise near fine. First edition. Illustrations by . One of 475 copies printed by Adrian Wilson at the Press in Tuscany Alley. Californians and authors adopted by California from Dana to Saroyan ruminate about the trials of their earliest efforts. $100.

379. Wilson, Robert, et al: THE PHOENIX BOOK SHOP A NEST OF MEMORIES. Candia, NH: John Lebow, 1997. Printed wrappers. Frontispiece. As new. Enclosed in cloth clamshell box with paper label, accompanied by ephemera noted below. First edition, deluxe issue. One of 65 copies numbered in Roman (of 265), and signed by contributors Wilson, , Diane di Prima, Michael McClure, , , , Diane Wakoski, , Marshall Clements and Ed Sander. Other contributors who have not signed: Brodsky, Ginsberg, and Purdy. Of special note is a checklist of all the publications of the Phoenix during Wilson’s years of ownership. This example of the deluxe issue is accompanied by a copy of the clothbound portfolio, Phoenix Photographs, and a wadge of ephemera, including Phoenix Catalogue 150, a copy of Michael And The Lions, a prospectus for Ace Of Pentacles, and checks from the Phoenix payable to, and endorsed by, Diane Di Prima, Barry Gifford, and . $500.

380. Wittenborn, Rainer: DESTINATION: NEW YORK 8 SERIGRAPHIEN. [Köln]: Edition Hake, [nd. but ca. 1970s (?)]. Square small folio (41 x 41 cm). Loose sheets, laid into printed box with numbered label. Short closed marginal tear in title leaf, otherwise about fine. First edition. One of thirty numbered copies. A series of eight double-sheet silk- screens, each composed of an image on paper coupled with an acetate overlay bearing another image that substantially completes the underlying image when overlaid. Each of the silk-screens is numbered and signed by the artist on the paper component. Subjects include Times Square, J.F.K. Airport, the subway, etc. $450.

381. Wordsworth, Christopher: JOURNAL OF A TOUR IN ITALY, WITH REFLECTIONS ON THE PRESENT CONDITION AND PROSPECTS OF RELIGION IN THAT COUNTRY. London: Rivingtons, 1863. Two volumes. Original vertically ribbed plum-brown cloth, decorated in blind, lettered in gilt. Spines sunned, early small ink name on each front free endsheet, otherwise a very good set. First edition. The author, the poet’s nephew and executor, made several tours, in his capacity as Bishop of Lincoln, to investigate the religious situation in France and Italy, followed by reports of a critical nature. NCBEL III:564. $175.

William Wordsworth’s Copy 382. [Wordsworth, William – His Copy]: [Wren, Matthew]: CONSIDERATIONS ON MR. HARRINGTON’S COMMON-WEALTH OF OCEANA: RESTRAINED TO THE FIRST PART OF THE PRELIMINARIES. London: Printed for Samuel

Gellibrand ..., 1657. xiv,94pp. plus blanks G7-8. Small octavo (141 x 88 mm). Contemporary calf, borders ruled and decorated in blind, with ‘R.S.’ in blind in middle of each panel, recently rebacked to style, with restorations at board edges and gilt spine label, new binder’s endsheets. Ink annotations on title (see below), some occasional minor spotting and trivial marginal tidemarks, but a very good copy. First edition of this significant anonymously published response to the best known of Harrington’s Utopian works, published the year following its first edition. Wren (1629-1672) was directed to his reading of Oceana by his friend, John Wilkins, to whom this work is dedicated (“Dr. W.”) Harrington addressed Wren’s critique in The Prerogative of Popular Government (1657) and Wren followed up with Monarchy Asserted....(1659). “Both were trenchant critiques of Harrington which received much praise from royalist supporters such as Bishop Brian Duppa, who wrote that ‘his wit is clear and sprightly, and doth so smoothly deal with his curly-headed adversary’” – DNB. With the early ownership signature and binding marks of Richard Silly (c. 1616-1659) of Cornwall, educated at Pembroke College. An ink misattribution of the authorship to “Sir Christopher Wren” is likely his as well. Subsequently, from the library of poet William Wordsworth, with his signature (“Wm. Wordsworth”) on the title. Wu suggests Wordsworth read Oceana ca. 1791-2, and it is possible that his acquisition of this text was roughly contemporary with those dates. This book appeared, in company with his copies of Oceana and Monarchy Asserted, as lot 36 in the July 1859 auction of Wordsworth’s library at Rydal Mount. As of date of cataloguing, ESTC locates 5 copies in North America, to which OCLC adds two more. Wu, WORDSWORTH’S READING 124. ESTC R204148. WING 3676b. GOLDSMITHS 1407. $3000. 383. Wright, G.N.: IRELAND ILLUSTRATED, FROM ORIGINAL DRAWINGS, BY G. PETRIE, R.H.A., W.H. BARTLETT, & T.M. BAYNES. London: H. Fisher, Son, and Jackson, 1832. [4],80pp. plus 40 leaves of plates (two engravings per leaf) and engraved extra-title. Quarto. Modern quarter morocco and marbled boards. Modest tanning and occasional smudging and foxing, usual offset from engravings to facing leaves (and occasionally from text to plates), a few short marginal tears and one chip, engraved title creased at gutter along plate line; just a good copy, handsomely bound. One of the most popular volumes of its genre, here present in a somewhat later issue, with the engraved title dated 1829, and the printed title dated as above. This work is most often encountered with a printed title dated 1831, and copies continued to be assembled and sold through the 1840s. $350.

384. Yeats, William B.: THE TOWER. New York: Macmillan, 1928. Heavily gilt pictorial green cloth, after the now classic design by T.Sturge Moore. Modest rubbing at spine ends, a trace of sunning at edges of binding and endsheets, Rockwell Kent bookplate on pastedown, large press photo affixed to two terminal blanks, otherwise a very good copy. First U.S. edition. Signed by the author on the title leaf below his printed name, and distinctly uncommon thus. As one of the key collective volumes of 20th century poetry in English, and a highpoint of 20th century trade binding as well, this is the volume which has risen to the fore as the title to have for Yeats collectors with short shelves. Signed copies of its British counterpart, as well as of this American edition, are oddly conspicuous for their relative scarcity in comparison to signed copies of Yeats’s other trade publications of the period. The bookplate is dated 1932, and it would appear likely that Yeats signed this copy during one of his visits to the U.S. “... A peak in English poetry” (Connolly), reprinting poems from their earlier appearances in October Blast, The Cat and the Moon, and Seven Poems and a Fragment, along with “The Gift of Harun Al-Rashid,” which appears here for the first time in book form. WADE 159. MODERN MOVEMENT 56a. $3500.

Cast a cold eye / On Life, on death. / Horseman pass by! 385. Yeats, William Butler: LAST POEMS AND TWO PLAYS. Dublin: The Cuala Press, 1939. Linen-backed boards, paper spine label. Woodcut title pressmark (“”) by . One fore-tip slightly bumped, else fine in defective glassine wrapper. First edition. One of five hundred copies. “Under Ben Bulben” opens this first posthumous collection, and “The Circus Animal’s Desertion” appears for the first time in book form as well. WADE 200. MILLER 61. $750.