Sale 424 Thursday, March 18, 2010 1:00 PM

The Library of Roger Wagner

Auction Preview Saturday, March 13, by appointment Monday, March 15, 9:00 am to 5:00 pm Tuesday, March 16, 9:00 am to 5:00 pm Wednesday, March 17, 9:00 am to 5:00 pm Thursday, March 18, 9:00 am to 1:00 pm Or by appointment

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NOTE: MOST LOTS OFFERED IN THIS SALE HAVE A MINIMUM RESERVE OF ONE HALF OF THE PRESALE LOW ESTIMATE. SOME LOTS HAVE HIGHER RESERVES, BUT ALWAYS BELOW THE LOW ESTIMATE. Administration Roger Wagner, Chairman Scott Evans, President Shannon Kennedy, Vice President, Client Services Dan Sweetnam, Shipping Clerk

Consignments, Appraisals & Cataloguing Bruce E. MacMakin, Senior Vice President George K. Fox, Vice President, Market Development & Senior Auctioneer Gregory Jung, Senior Specialist Erin Garland, Specialist

Marketing Maureen Gross, Vice President of Marketing

Photography & Design Chad Mueller, Photographer

Winter - Spring Auctions, 2010

March 18, 2010 – The Library of Roger Wagner

April 1, 2010 – Americana with Travel & Exploration

April 15, 2010 – Fine Books in All Fields with the Winky King Collection of the Wizard of Oz

April 29, 2010 – Sporting – Angling – Natural History

Schedule is subject to change. Please contact PBA or pbagalleries.com for further information. Consignments are being accepted for the 2010 Auction season. Please contact Bruce MacMakin at [email protected].

Bond # 14425383

Section I: Fine Books, Lots 1-62

Section II: Autographs & Manuscript Material, Lots 63-93

Section III: – Manuscripts, Books & Related Material, Lots 94-214

Section I: Fine Books

DOHENY COPY OF ST. THOMAS AQUINAS, 1482 1. Aquinas, Thomas, Saint. Summa Theologica Pars I. 198 leaves (incl. front blank). A4, a10, b-f8, g6, h8, i-n6, o-u8, x-z6, z6, c6, h8, aa6. Text in two columns, gothic types. (folio) 11¾x8¼, 18th century half calf & speckled boards. Venice: Antonius de Strata de Cremona, 1482 The first part of St. Thomas Aquinas’s great work, the culmination of scholastic philosophy, the harmony of faith and reason. This first part is often considered the most important, his considerations of God. With the old bookplate of W.H.H. Newman of Buffalo, N.Y., and the more recent small leather bookplate of Estelle Doheny. The Doheny library was legendary, formed with the riches of her husband, oil tycoon Edward L. Doheny, Sr., a principal in the Teapot Dome Scandal. The character Vern Roscoe in Upton Sinclair’s 1927 Oil! (the inspiration for the 2007 film There Will Be Blood) is loosely based on Doheny. Two old booksellers’ catalog entries affixed to the front pastedown. Laid into the volume is a small typed card, of the St. Mary’s of the Barrens Rare Book Collection, Perryville, Missouri, indicating the book to the “A perfect copy of a rare edition, only two copies of which are recorded in this country.” Indeed, OCLC/WorldCat lists only two copies of this edition, at the Huntington Library and the Newberry Library. Goff T-199. Covers rubbed and worn, spine worn, joints repaired; light dampstaining to first 4 leaves, top margin of the first half of the contents with small and light dampstain, very minor worming to some of the gutter margins, still in very good condition, the contents quite clean and fresh, a rare incunabular printing of one of the most Lot 1 influential medieval religious philosophers. (10000/15000)

Page 1 FIRST ONE-VOLUME EDITION OF ARISTOTLE’S WORKS, 1496 2. Aristotle. Opera. [4], 403, [1] leaves (408 leaves in all). aa4, a-g8, h6 (with h6 a blank), i-s8, t6, u-x8, y6, z8, &8, ?8, rx8, A8, B-C6, D-N8, O6, P-Z8, AA-OO8, PP-QQ6. With woodcut diagrams in the text; numerous woodcut decorative initials; large woodcut printer’s device on final leaf. (folio) 11¾x7¾, recent blindstamped calf in period style, raised spine bands, leather ties. Venice: Joannes & Gregorius de Gregoriis de Forlino for Benedictus Fontana, 13 July 1496 The first one-volume edition of Aristotle’s works, which, despite its claim to comprehensiveness, does not include the biological works. Nonetheless, a complete copy of Aristotle’s Opera from the fifteenth century; all incunable editions of Aristotle in Latin are rare, and complete Latin editions of the Opera most of all. There is early ink marginalia and occasional underlining in the text. x1 (f. 157) misbound after D8; f. 158 (x2) misnumbered 157. Goff A-966. Tiny wormhole to first several and last several leaves, affecting a few letters; still in fine condition, quite clean. (20000/30000)

SIGNED BY PROJECT SCIENTISTS 3. (Atomic Bomb - Manhattan Project) Smyth, H[enry] D[eWolf]. A General Account of the Development of Methods of Using Atomic Energy for Military Purposes under the Auspices of the United States Government, 1940-1945. Lithoprint typescript. Approx. 200 typed pp. 10½x8, original wrappers. True First Edition. Washington: Adjutant General’s Office, August 1945 True first edition of this seminal report, predating the edition published for public consumption by Princeton University. This was George M. Murphy’s copy, with his ink name on the front wrapper, dated 24 September 1945; Murphy was the Associate Director of the Manhattan Project. He has also signed the title-page, as also have project participants W. F. Libby (who one the Nobel Prize for Chemistry in 1960 for his method to use Carbon 14 for age determination in archeology, geology, geophysics and other branches of science), R. H. Crist, F. B. Brown, George Scatchard, Francis Miller, Bruce Miller, and Graham Cook. H.D. Smyth was Chairman of the Department of Physics ot Princeton University and Consultant to Manhattan District of U.S. Corps of Engineers. Also included is another copy, in yellowish cream wrappers (which are possibly later), unsigned. The signed copy has light soiling to the wrappers, else very good. (4000/6000)

Lot 2 Lot 3 Page 2 4. Bacon, Francis. Of the Advancement and Proficience of Learning or the Partitions of Sciences IX Bookes. Written in Latin by the Most Eminent Illustrious & Famous Lord Francis Bacon Baron of Verulam Vicont St Alban Counsilour of Estate and Lord Chancellor of England. Interpreted by Gilbert Wats. [38] (including frontispiece & engraved title), 60, [14], 477 [i.e. 479], [20] pp. Copper-engraved frontispiece & title-page. (folio) 11x6¾, period calf, rebacked with later leather, later endpapers. First Edition in English of the Expanded Edition, Second Issue. Oxford: Printed by Leon: Lichfield, printer to the University, for Rob: Young, & Ed. Forrest, 1640 Translation of the De Augmentis Scientiarum (first part of the Instauratis Magna) which is an enlargement of the Advancement of Learning, 1605. STC 1167. With ownership signatures/ inscriptions on front flyleaf of H. Cartwright, 1754, and G.W. Southouse, 1836; on the back of the frontispiece is the early signature of Robert Dangerfield. Bookplate of Viscount Birkenhead. Provenance: From the Library of Arthur M. Ellis. Some staining and wear to the Lot 4 covers; a very nice copy. (1000/1500)

5. Bentham, Jeremy. Rationale of Judicial Evidence, specially applied to English Practice from the Manuscripts of Jeremy Bentham, Esq. Edited by John Stuart Mill. 5 volumes. 8¼x5¼, half morocco & marbled boards, spine gilt lettered, edges marbled, marbled endpapers. First Edition. London: Hunt & Clarke, 1827 Bentham (1748-1832), philosopher, economist and jurist, founded the doctrine of utilitarianism. He was deeply involved as a leader with the Philosophical Radicals, along with James and John Stuart Mill, and with them founded and edited the Westminster Review, which served as an outlet for their reformist ideas. Bentham died in London on June 6, 1832 and, in accordance with his wishes, his body was dissected in front of friends and his skeleton, fully clothed and provided with a wax head (the original was mummified), is kept in a glass case at University College, London, which he helped to found. A rare and important set. Bindings rubbed, corners showing, some short tears to spine heads & tails of a couple volumes; bookplates of Henry W. Taft to front pastedowns, two or three hinges cracked, else a very good, sturdy set. (1500/2500)

Each lot is illustrated in color in the online version of the catalogue. Go to www.pbagalleries.com

Page 3 6. (Bible in Hebrew) [The Five Books of Moses]. Text in Hebrew. 15¼x10¼, full linen, slipcase. Berlin: Soncino Gessell-schaft, 1929 Fine printing, considered the most beautiful Hebrew printing of the Pentateuch. Slipcase a little sunned & soiled; vol. spine slightly sunned, else fine. (1500/2500)

7. (Bible in Hebrew - Facsimile) * Facsimile of the Kennicott Bible. 2 volumes. Introduction by Bezalel Narkiss and Aliza Cohen-Mushlin. Profusely illustrated throughout from the original illuminated pages of the Kennicott Bible. The Bible measures: 11½x9; introduction text volume is: 12¼x10, both full calf, decoratively embossed, housed together in a blue cloth clamshell box, interior lined with blue velvet. No. 58 of 500 hand-numbered copies. Facsimile Edition. London: Facsimile Editions / Bodleian Library of Oxford, 1985 A masterpiece and one of the most beautiful illuminated Hebrew manuscript bibles in existence, in a handsome binding and with exquisite facsimile reproduction illustrations from the original illuminated pages. The original bible, together with Rabbi David Kimchi’s grammatical treatise, was copied by the scribe Moses Ibn Zabrara in 1476 at the commission of Isaac, the son of Don Solomon di Braga of La Coruña in northwestern Spain. Executed almost twenty years before the final expulsion of the Jews from Spain in 1492, this manuscript shows what great importance the Jewish communities attached to the perpetuation of their heritage by investing in the production of an accurate and beautifully adorned Bible. The Kennicott bible is named after Benjamin Kennicott, the English Christian Hebraist (1718-1783) of Oxford, whose pioneering work was published in his “Dissertatio Generalist.” Even as a facsimile, this is an extremely important specimen of Jewish art, and includes many carpet pages, decorated arches, and biblical miniatures, all of which are wonderful examples of Jewish art in Spain of that period. Signed by the publisher on a loosely laid in limitation leaf (as issued). Produced by the Italian master printer Luigi Canton, in a nearly perfect reproduction of the intricate gold and silver colors throughout the hundreds of pages. Includes a typed letter signed by David Patterson of Oxford Centre for Postgraduate Hebrew Studies; two illuminated facsimile leaves with gilt coloring; the prospectus; opening instructions; publisher’s gift certificate; order forms and other related and issued loose paper items, all inside the publisher’s booklet will other illustrations. Slight fraying to box; else fine. (3000/4000)

Lot 6 Lot 7

Page 4 8. Byrd, Richard Evelyn. Skyward. [2], xv, [1], 348 pp. With 58 plates with printed tissue guards including frontispiece portrait after a pencil sketch & others from photographs; portions of the fabric from the Josephine Ford with gilt lettered description mounted on front pastedown. 9¾x6¼, half gilt-ruled blue cloth & boards, gilt lettered spine. No. 463 of 500 copies. “Author’s Autograph Edition.” : Putnam’s, 1928 Signed by Byrd to the limitation page. Pieces of the plane, which flew over the North Pole on May 9th, 1926, are naturally scarce. Corners ever so slighly worn, else near fine. (1200/1800)

Lot 8

You can bid absentee directly from the item description in the online version of the catalogue at www.pbagalleries.com. Or bid during the auction using the Real-Time Bidder.

Page 5 NURSERY “ALICE” INSCRIBED TO QUEEN VICTORIA’S GRANDDAUGHTER PRINCESS ALICE 9. Carroll, Lewis. The Nursery “Alice”: Containing Twenty Coloured Enlargements from Tenniel’s Illustrations to “Alice’s Adventures in Wonderland” with Text Adapted to Nursery Rhymes by Lewis Carroll. [10], 56, [5] + [2] pp. Chromolithographed frontispiece & 19 chromolithographed illustrations in the text from Tenniel’s designs. 10x7½, original cloth-backed chromolithgraphed boards designed by E. Gertrude Thomson. London: Macmillan, 1890 Presentation copy inscribed by Carroll to the granddaughter of Queen Victoria on the half-title in blue ink, “Presented to H.R.H. the Princess Alice by the Author, Mar. 25, 1890.” With the bookplate of Alice Mary Victoria Augusta Pauline on the front pastedown. This is probably the highest level of a royal presentation copy of this book, the association made even more marvelous by the recipient being an “Alice.” There were several trial issues of the book in 1889. Avery 34. With modern custom-made folding cloth box with leather spine label. Some rubbing and soiling to the boards, top corner of front board creased, corners showing; top right quarter of the second leaf of “An Easter Greeting” at the end of the book torn off, affecting 9 lines of the Lot 9 text, else very good. (8000/12000)

HAND-PAINTED PORCELAIN “ALICE” MENU CARDS USED AT TENNIEL FAMILY DINNERS 10. (Carroll, Lewis) Tenniel, John. Six Hand-Painted Alice in Wonderland Porcelain Plaques used as menu cards at Tenniel family dinners. Six small hand-painted porcelain plaques by John Tenniel, each with its own wrought-iron miniature easel. Each has a character from Alice’s Adventures in Wonderland or Through the Looking-Glass taking up about a quarter of the plaque, with the remainder blank, and “Menu” written at the top of each. The plaques measure 5x3½; the easels are about 7½” high. No place: No date Marvelous and unique group of original hand-painted plaques used as menu cards for the Tenniel family dinners, descended in the family over the years. The night’s fare was evidently written in the blank spaces with a crayon or grease pencil, then wiped off after the meal was completed. The characters pictured are The White Rabbit (with his pocket-watch), the Mock Turtle (crying away), the Frog Footman (delivering a letter), the Walrus (without the Oysters and the Carpenter), the Leg of Mutton (taking a bow), and a frog with a rake. The plaques have a small wooden case with a removable top, on which is a label with writing “China (Delicate)”. The case top has two sides missing, some other wear. The White Rabbit’s ears have rubbed off (alas), as has the word Menu on that plaque, four other plaques with the word Menu partially rubbed, otherwise in fine condition, unchipped, the pictures bright. (20000/30000)

Lot 10

Page 6 11. Casanova, Jacques. The Memoirs of Jacques Casanova. 6 vols. Translated and Edited by Arthur Machen. A chapter by Arthur Symons. 8½x5¾, gilt-lettered blue cloth, gilt-lettered black cloth spine labels. One of 500 sets. [No place]: Privately Printed, [1902] From the rare unabridged London edition of 1894, translated by Machen. Light rubbing to extremities, spines a bit sunned; else a near fine and bright set. (400/600)

12. [Cox, Nicholas & Richard Blome]. The Gentleman’s Recreation, in Four Parts. Viz. Hunting, Hawking, Fowling, Fishing. Collected from Ancient and modern Authors Forrein and Domestick, and rectified by the Experience of the most Skilfull Artists of these times. [14], 284 + [2] ad pp. Illustrated with 3 (of 4) folding copper-engraved plates; copper-engraved added pictorial title-page. (12mo) 6½x4¼, modern quarter morocco & marbled boads, spine lettered in gilt. First Edition. London: Printed by C. Fisher, for Maurice Atkins, 1674 Rare first edition of this important and hightly influential work, with 57 pages on angling. Lacks the hunting plate, as is often the case. Westwood & Satchell p.68; Wing C6702. With the bookplates of Joseph Delaplaine Bates, Jr., and Jeffrey Norton. Rubbing to board edges; some darkening and minor soiling to the contents, else very good. (1500/2500)

13. (Custer, George Armstrong & The Massacre) Scrapbook. Scrapbook formed by using the first half of Public Instructions and School Law, Michigan, 1852, into the first third of which have been pasted numerous newspaper clippings regarding the Custer fight and its aftermath, nearly all from 1876. Cloth, spine lettered in gilt. Various places: Various dates Interesting selection of contemporary accounts of the massacre, the reasons for it, the folly of our Indian policy, the brave conduct of the soldiers, etc. Custer would have been attending school in Michigan at the time the book on school law was published. Some wear to covers, including a split front joint; front hinge repaired with cloth tape; else very good. (200/300)

The Buyer’s Premium will be 20% for bids up to $100,000 and 15% for that portion over $100,000.

Page 7 FIRST EDITION OF “THE MOST IMPORTANT BIOLOGICAL BOOK EVER WRITTEN” 14. Darwin, Charles. On the Origin of Species by Means of Natural Selection, or the Preservation of the Favoured Races in the Struggle for Life. ix, [1], 502 + 32 ad pp. Folding lithographed diagram. 7¾x4½, original blindstamped green cloth, spine lettered in gilt & decorated with 2 ornate gilt triangles. First Edition. London: John Murray, 1859 First edition of “certainly the most important biological book ever written” (Freeman). This first edition (often called the first issue, since the second edition was also dated 1859 with few differences) has the two quotations (not the three of later editions) on the verso of the half-title (p.ii); the misprint “speceies” on p.20, line 11; and the whale bear story on p.184. As Freeman notes, “There is only one issue of the first edition, the text being identical in all copies. There are, however, small differences in the cases and in the inserted advertisements....” There were 1250 copies of the first edition printed, of which only about 1170 copies were available to the trade, the remainder being reserved for presentation or review. It has often been stated that all copies were sold the first day of publication, but Freeman doubts the verifiability of this, “indeed once copies had reached the bookshops, up and down the country, how could anyone know whether they were sold or not.” At any rate, the book was rapidly consumed by the public, and swiftly reprinted. This copy is (apparently) in Freeman’s “b” binding state, with the M in Murray in the spine imprint below and between the N and D on London, but mostly the N. The inserted advertisements at rear are dated June 1859, with the text not surrounded by a frame. Light rubbing and mild bumps to spine ends and corner, ¼” spot to front cover; front hinge neatly split through at endpapers with the free endpaper & half-title detached, rear hinge cracked and nearly split; still a very nice, unsophistcated copy, contents clean & fresh, covers fairly bright, preserved in folding cloth box. (70000/100000) Lot 14

60 YEARS OF THE STRAND MAGAZINE REPLETE WITH SHERLOCK HOLMES 15. Doyle, Arthur Conan, contrib. The Strand Magazine. 73 volumes. Complete run from January 1891-June 1927. (6 issues bound together per volume.) Illustrated by Sidney Paget, Walter Paget, Frank Wiles, Howard Elcock, and others. 10x7¼, original pictorial cloth, spines gilt-lettered. All of the Sherlock Holmes Stories and as Published in The Strand, Mostly Being the First Appearances in Print.

Plus: Further 44 volumes of The Strand. Nearly complete run from July 1927-March 1950 (lacking only 8 issues). 5 volumes in original cloth; 9 volumes in library cloth; 30 separate monthly issues in wrappers. Together, 117 volumes. London: George Newnes, 1891-1951 The Sherlock Holmes stories were originally divided into series as follows: Adventures of Sher- lock Holmes (July 1891-June 1892 and December 1892-December 1893); The Hound of the Baskervilles. Another Adventure of Sherlock Holmes (August 1901-April 1902); The Return of Sherlock Holmes (October 1903-December 1904); The Valley of Fear. A New Sherlock Holmes

Page 8 Story (September 1914-May 1915); [Reminiscences and New Adventures of Sherlock Holmes] (September 1908-December 1911); His Last Bow. The War Service of Sherlock Holmes (Sep- tember 1917); [New Sherlock Holmes Stories] (October 1921-April 1927). These would become the collected editions known as “Adventures of Sherlock Holmes”, “Memoirs of Sherlock Holmes”, “The Hound of the Baskervilles”, “The Return of Sherlock Holmes”, “The Valley of Fear”, “His Last Bow”, and “The Case-Book of Sherlock Holmes”. The relationship between The Strand and Arthur Conan Doyle was phenomenally successful for both parties. Although Sherlock Holmes had already been introduced to the public in “A Study in Scarlet” and “The Sign of Four”, it was not until his appearance in The Strand that he gained both unprecedented popularity and a visual identity (thanks to Sidney Paget, who was also the first to portray him with a deerstalker cap). The first story that Doyle submitted to The Strand, “A Scandal in Bohemia” appeared in July, 1891. By December 1891, Doyle himself was profiled as a celebrity. Approximately 20 of the volume spines are rubbed or faded, but most are quite bright, some shaken and a little internal foxing; many of the wrapper-bound issues with wear and chipping to spines, a few are perished, still an excellent run; very good or better overall - extremely difficult today to find. (6000/9000)

Lot 15 (partial)

SIGNED BY ALBERT EINSTEIN 16. Einstein, Albert. Mein Weltbild. 269 pp. Black cloth lettered in gilt. First Edition. Amsterdam: Querido Verlag, 1934 Signed by Einstein on the front free endpaper, dated 1934. The great physicist’s “Worldview” signed by him the year of publication. Rubbing to the spine, front hinge a little weak, else very good or better. (3000/5000)

Lot 16

Page 9 17. (Eldredge, Zoeth Skinner) 51 printing blocks from Zoeth Eldredge’s books. 51 printing blocks of various sizes ranging from 2½x2½” to 14¾14¾” including maps, portraits, facsimiles, etc. No Place: [c. 1912-15] Original printing blocks for illustrations from Eldredge’s “Beginnings of San Francisco” (1912) and “History of (1915). Most still wrapped in craft paper with a printed example of the block enclosed within, as returned from the printer. Near fine to fine. (1000/1500)

Lot 17

18. (Everest) Hunt, John. Our Everest Adventure: The Pictorial History from Kathmandu to the Summit. Profusely illustrated from photographs. 9½x7¼, cloth, jacket. First Edition. Leicester: Brockhampton Press, 1954 Signed on the front free endpaper by expedition members John Hunt, who was the leader, Ed[mund] Hillary, George Lowe, Alfred Gregory, Michael Westmacott, George Band, Charles Wylie and Michael Ward, by the Times correspondent James (Jan) Morris, and team reserve J.H. Emlyn Jones. Pictorial account of the first successful ascent to the top of Mount Everest, the highest mountain in the world. Light shelf wear, jacket price clipped, else very good. (1000/1500)

Lot 18

Page 10 RARE FIRST EDITION OF WARWICK WOODLANDS IN ORIGINAL WRAPPERS 19. Forester, Frank [pseud. of Henry William Herbert]. The Warwick Woodlands or Things As They Were There, Ten Years Ago. 168 pp. 7½x4¾, original buff printed wrappers. First Edition. Philadelphia: G.B. Zieber, 1845 The exceedingly rare first edition, in the original buff wrappers. This was the H. Bradley Martin/Jeffrey Norton copy, with book label of the former laid in, and that of the latter mounted on the chemise. It was sold at auction at Sotheby’s in 1990, and at PBA Galleries in 2002. The 1940 Van Winkle sale included a “slightly defective” copy, lacking the back wrapper, with the notation “one of only two copies recorded in the wrappers.” It has not been determined whether the copy being offered here is the other one referred to, or another, unrecorded copy. In custom- made half morocco slipcase and chemise. Van Winkle pp.13-14. Minor staining and wear to wrappers, old ink notation (“Sell 1/6 b/o”) to top of front wrapper, rear wrapper with old but neat reattachment along lower inside gutter, else near fine, quite possibly the best copy in existence. (3000/5000)

20. France, Anatole. The Works of Anatole France. 30 volumes. Gravure frontispiece. 8¾x5½, half gilt-ruled blue levant morocco & cloth, spines decoratively tooled & lettered in gilt, raised bands, top edges gilt. No. 410 of 1075 sets. Autograph Lot 19 Edition. New York: Gabriel Wells, 1924 Signed by Anatole France on the limitation-page in Vol. I. Handsome set of the works of the Nobel Prize-winning French author. Some minor scuffing to spine ribs, near fine to fine. (800/1200)

21. Frost, Robert. The of Robert Frost, 1949. xxi, 666 pp. Frontispiece portrait of Frost from a photograph by Clara E. Sipprell. 8¼x5½, blue-green cloth, spine lettered in gilt. Sixth Printing. New York: Henry Holt and Company, [1956] Signed “Robert Frost Placéd ‘57” inked on the front free endpaper. Faint rubbing to spine ends, top corners a bit bumped, about fine. (600/900)

You can bid absentee directly from the item description in the online version of the catalogue at www.pbagalleries.com. Or bid during the auction using the Real-Time Bidder.

Page 11 GALILEO’S GROUND-BREAKING WORK ON SUNSPOTS, 1613 22. Galilei, Galileo. Istoria e dimostrazioni intorno alle macchie solari e loro accidenti comprese in tre lettere scritte all’illvstrissimo signor Marco Velseri ... dal signor Galileo Galilei ... Si aggiungono nel fine le lettere, e disquisizioni del finto Apelle. 2 parts in 1. 164; 55, [1] pp. A6, B-S4, T6, V4, a6, C-G4. First part with engraved portrait of Galileo, 38 full-page copper-engravings of sunspots, 5 copper-engraved plates of satellites of Jupiter, extra set of the 5 Jovian satellite plates, 1 copper-engraving & 8 woodcut & typographic diagrams in text; second part with 1 folding copper-engraved plate, 1 full-page copper engraving, 3 text engravings, 9 typographic & woodcut diagrams & illustrations in the text. (4to) 8¾x6¾, 19th century ¾ morocco & mottled boards, spine lettered in gilt, joints repaired. First Edition. Rome: Appresso Giacomo Mascardi, 1613 Galileo’s ground-breaking work on the sunspots which he discovered in the course of his astronomical observations, as well as on the satellites of Jupiter. It is this work, in which he boldly advocated the Copernican system, which provoked the censure of the ecclesiastical authorities. This is the issue with the addition of the “Lettere e disquisizioni” of Christoph Scheiner, with separate paging and half title: “De maculis solaribus tres epistolæ...” It is a quite large copy, with full margins, with the notable presence of the additional suite of plates of the moons of jupiter. A handwritten note, dated 1902, affixed to the front flyleaf, attests to the scarcity of the book: “This is without the least possible doubt the rarest of all the early Galileo publications. I have never known another copy to be offered for sale; do not remember having seen one mentioned in a libary catalogue...” Signed with initials, possibly RCH. There is occasional early ink marginalia, and a few instances of underlining to the text. Some light foxing within, neat 2” repaired tear in title of Part 1, affecting no text, tiny hole in B3, a nearly fine copy of a rare and highly important work. (20000/30000)

Lot 22

Page 12 FIRST PRINTED ACCOUNT OF GALILEO’S TOWER OF PISA EXPERIMENT 23. Galilei, Galileo. Risposta alle Opposizioni del S. Lodovico delle Colombe, e del S. Vincenzio de Grazia, Contro al Trattato del Sig. Galileo Galilei, delle cose che stanno sù l’Acqua, ò che in quella si muouono. All’illvstriss. Sig. Enea Piccolomini Aragona, Signore de Sticciano, &c. Nella quale si contengono molte considerazioni filosofiche remote dalle vulgate opinioni. [2], 319 (i.e. 335), [5] pp. *², A-X8, Y². Woodcut devices on title-page and final leaf. (4to) 8¾x6¼, period vellum. Florence: Cosimo Giunti, 1615 First Edition of one of Galileo’s rarest and most significant works, covering both dynamics and hydraulics. This work contains what is perhaps the first printed account of the famous experiment conducted at the Tower of Pisa, in which it was shown that the force of gravity is a constant. Though at times catalogued under Benedetto Castelli as the author, the work is accepted by scholars of science as having been written by Galileo himself, although he is listed as the translator on the title-page. Castelli did write the introduction. The manuscript, in the Biblioteca Nazionale Centrale (Florence), is largely in Galileo’s hand. This copy has been expertly restored, with the vellum covers repaired, the contents washed and resewn, new endpapers. There is an old monastical library stamp to the title-page, and the trace from another which has been removed. *2 misbound after A8; it contains the dedication. Several leaves in signature G misbound but all present. There are a number of errors in the pagination. A very nice, restored copy, with minor paper loss to a few of the margins. (20000/30000)

Lot 23

Page 13 ORIGINAL LEAF FROM THE GUTENBERG BIBLE 24. (Gutenberg Bible Leaf) Original Leaf from the Gutenberg Bible. Printed leaf, Folio 148 from Volume I, being 2 Samuel, Chapter 3 (with parts of Chapters 2 and 4). With 2 hand-executed initials in red, one on either side. 14½x11¾, set in custom-made burgundy cloth chemise and folding box. [Mainz, Germany]: Johannes Gutenberg, c.1450-1455 Original leaf from the most famous book in the annals of western civilization, the 42-line Bible of Johannes Gutenberg, acknowledged as the first book printed with moveable type. A tremendous project, the culmination of years of effort and the toil of many workmen, the printing of the Bible marked a turning point in the social, political, economic and religious life of Europe. The dissemination of information which resulted from the advent of the printing press, both religious and secular, demolished many of the boundaries which had for so long held Europe stratified, and set loose the full vigour of the renaissance. Of the production itself, Printing and the Mind of Man (1) states “Standards were set in quality of paper and blackness of ink, in design and professional skill, which the printers of later generations have found difficult to maintain; it is only in legibility of type that they have been able to improve on this, the first and in many ways the greatest of all printed books.” Original leaves from the Bibles printed by Gutenberg are justly prized, and are a cornerstone of any library concerned with the evolution of the printed book. Lightly foxed, a little rough along one edge where originally bound, a few tiny chips and slight stains at lower edge, very good condition. Lot 24 (40000/50000) 25. (Haight-Ashbury - Communication Company) Mimeographed flyer headed ORDER OUT OF CHAOS. Mimeographed flyer made from all-caps typescript, headed ORDER OUT OF CHAOS and addressed to the people of San Franscisco, warning that the “City of San Francisco’s Health Department/Police Department Combination Will Attempt, By Their Own Word, To Find What They Consider Unhealthy Living Conditions in the Haight-Ashbury. The Health Department Is Not Legally Required To Have, Or Use, Search Warrants....” The flyer goes on to consider the results of such a crackdown in New York in 1959, “the Scene Was Killed, Macdougal Street Is Now a Tourist Trap with Floursheim [sic] Shoe Stores Moving In,” and advises to “Avoid Any Contact With City Authorities. If You’re Not At Home, They’ll Just Have to Come Back Some Other Time. If You’re Never At Home, Inspection Cannot Take Place. Install a Peep-Hole. Clean Up! Clean Up! Clean Up!” The imprint at the bottom, written, not typed, reads “Gestetered by the Communication Company (U.P.S.)”. 11x8½. San Francisco: 1967 Classic piece for the Haight-Ashbury of the 1960’s. Paper browned somewhat, a short marginal tear, spot in the margin, else very good. (200/300)

Page 14 26. , Ernest. . Cloth, jacket. First Edition. New York: Scribner’s, 1940 First issue dust jacket without photographer’s name below portrait of Hemingway on verso. Hanneman A18.A. Some chipping and a few short tears to jacket extremities, light crease near lower half of rear joint; minor offsetting to endpapers; still a fine copy in a very good and clean jacket. (600/900)

LEONARDO DA VINCI’S TREATISE ON DRAWING 27. Leonardo da Vinci. Trattato Della Pittura. [bound with, as issued:] Trattato Della Statua [Pittura] di Leon Battista Alberti. [xx], 112, [12]; [1] (blank), [xiv], [2], 62 pp. (a4, é2, í4, A-O4, [P1], Q2, R4; a4, é2, í2, a-h4). Illustrated with copper-engravings, including 2 portraits, 2 engraved titles, head- & tail-pieces, ornamental initials, numerous in-text diagrams & cuts (19 of which are after Nicholas Poussin, the others by Pierfrancesco Alberti). (Folio) 16½x11, modern half- morocco & cloth, raised bands, gilt-ruled compartments, gilt- lettered spine. First Edition. : Jacques Langlois, 1651 Rare first edition in the original Italian of perhaps the most important treatise ever published on the art of drawing, much scarcer than the French language edition which was came out the same year. Published some 132 years after Leonardo’s death, the work showcases Da Vinci’s theories on perspective, light, art of drawing, etc. Complete with the rear blank h4, as well as the interior blank R4. Some scuffing to joints and extremities; slight aging to contents, near fine. (8000/12000) Lot 27 SMALL COLLECTION OF JACK LONDON 28. London, Jack. The Call of the Wild. Serialized in 5 issues of The Saturday Evening Post, Vol. 175, Nos. 51-52, Vol. 176, Nos. 1-2 (June 20, 27, July 4, 11, 18, 1903). Illustrated by Philip R. Godwin & Charles Livingston Bull. 14x11¼, original wrappers. First Appearance. Philadelphia: Curtis Publishing Co., 1903 The original appearance in print of Jack London’s most famous novel. The illustration on the front wrapper of the June 20 issue by Charles Livingston Bull depicts Buck in traces on the edge of a crevasse. Walker & Sisson 6.; Woodbridge 20. Some minor soiling & darkening to the wrappers, each with a small address label affixed on the top (printed, not illustrated) portion; else very good. (700/1000)

29. London, Jack. Circulate the Jungle. Printed on a single sheet 6x3½. No place: 1906 Appeal to fellow Socialists to buy and read Upton Sinclair’s latest book, The Jungle. Offsetting from tape to corners; else very good - quite scarce. (200/300)

Page 15 30. London, Jack. Dutch Courage and Other Stories. xii, [4], 180 pp. Frontispiece photograph of Jack London, 7 plates from drawings by G. M. Richards. 7½x5, red cloth decorated & lettered in black on front cover, in gilt on spine. First Edition. New York: Macmillan & Co., 1922 Inscribed and signed by Becky London, Jack London’s daughter, on the front free endpaper, dated 1982. A collection of very early nautical-themed short stories written in the period when London was still struggling for recognition. The second story in the collection “Typhoon Off the Coast of Japan” is named by Charmian in her preface to the collection as “the first story ever written by Jack London for publication.” The descriptive narrative was published in the “San Francisco Call” newspaper in Nov., 1893 when Jack was 17. Only 4,348 copies printed. BAL 11985; Sisson & Martens, p. 105. Staining and rubbing to covers, darkening to endpapers, good to very good. (200/300)

31. London, Jack. “To Build a Fire,” - article within The Youth’s Companion. Article on page 275 of The Youth’s Companion, Vol. 76, No. 22 (Memorial Day Number). 16½x11½, pictorial wrappers. First Appearance. Boston: Perry Mason Co., May 29, 1902 “This most famous of all Jack London Stories, was written during the Snark voyage.” -Walker & Sisson 108. Browning to extremities of wrappers; creased where folded; else very good. (300/500)

32. London, Jack. We live in a beautiful part of the country...leaflet written by London. 4 copies of the leaflet that begins, “We live in a beautiful part of the country, about two hours from San Francisco by two routes...” Each 4 pp. on blue paper, folded as issued. 6¼x3½. Glenn Ellen, CA: [c.1911] Leaflet written by London giving instructions to guests visiting his home, describing local accomodations and transportation, directions on how to find the ranch, and describing the daily routine for themselves and for guests. Apparently 1,000 copies of the leaflet were printed. Three have additional type-written instructions along left side of page [1] with red pencil underlines, and pencil correction to one word in printed section (changing “Northwestern Pacific train” to “Southern Pacific train”) - these were likely amended by Charmian. -BAL 11935. A rare item; in fine condition. (600/900)

33. (London, Jack) Bosworth Inc. Presents - silent film programs for The Sea Wolf and John Barleycorn. Lot consists of: Bosworth Inc. Presents: The Sea Wolf by Jack London, in Seven Reels. 6 identical programs. * Bosworth Inc. Presents: John Barleycorn by Jack London, in Six Reels. 3 identical programs. Together, 9 folding film programs, illustrted from film stills. Los Angeles: Bosworth, [1913] From the silent films directed by Henry Bostworth. Creased from folding; very good - scarce. (600/900)

34. (London, Jack and Charmian) Three items framed together. 3 items: “We live in a beautiful part of the country...” blue leaflet of directions to his Glen Ellen ranch, written by Jack London. * Bookplate of Charmian London. * Piece of personal stationary paper of Charmian London. Together in frame measures 8½x10½. [Glen Ellen]: [c.1915] Fine. (500/800)

Page 16 35. (London, Jack) Jack London by Himself. 3 pamphlets of the same title (above): 8 pp., including photo-pictorial self wrappers, 7¼x5½. First Edition. 1915. * Another 2 copies, in wrappers, 7¼x5. First British Editions. [c.1915]. New York & London: [1915] Issued as an advertisement, primarily for The Valley of the Moon. BAL 11948; Woodbridge 1055. A tiny chip in cover of American edition; tiny stain on cover of British Edition; else fine. (200/300)

36. (London, Jack) Jack London by Himself - pamphlet framed with calling card and bookplate. 8 pp. including photo-pictorial self wrappers. 7¼x5½. New York: Macmillan, [1913] Framed with Jack London’s original bookplate and his calling card. Together with frame measures 10x12¾. BAL 11948; Woodbridge 1055. Near fine. (250/350)

37. (London, Jack) Box of Jack London ephemera. Includes numerous issues of The Wolf & Jack London Echoes from the 1980’s, Book Club Quarterlies, postcards of Heinhold’s Tavern, framed photo of Becky London, stationery picturing London, Jack London bookplates, audio tapes of London stories and memories, etc. Various places: Various dates Interesting group, bears examination. Generally fine condition. (300/500)

38. (London, Jack) Group of ephemeral items. Including: Life of Jack London. Ten Cent Pocket Series No. 183. [1923]. * Several pieces of stationery belonging to Charmian London. * Folding lithograph map of California [c.1920]. * London. Eight Factors of Literary Success. [1917]. * Order form for Jerry of the Islands and The Human Drift. [c.1919]. * Plus a few others. Various places: Various dates All were given to collector Mark Zamen by Milo Shepard at the Jack London Ranch in 1983. Very good or better. (200/300)

MICHENER’S TALES OF THE SOUTH PACIFIC, SIGNED 39. Michener, James A. Tales of the South Pacific. Cloth, color pictorial jacket. First Edition. New York: Macmillan, 1947 Signed by James A. Michener on title-page with his rubberstamped initials in red. The first book by the Pulitzer Prize-winning author. ¾” chip lacking to top rear jacket panel, a few tears over ½”, short tears and nicks to edges; light edge wear to volume; light age toning to page margins; very good volume in like jacket. (2000/3000)

40. Michener, James A. Tales of the South Pacific. Gilt-lettered cloth. One of 1500 copies. New York: Macmillan, 1950 Signed by Michener on the half-title. Issued in honor of the golden anniversary of the American Booksellers Association. Spine lettering worn off, else near fine. (250/350)

Lot 39

Page 17 41. Miller, Arthur. Death of a Salesman. Orange pictorial cloth, pictorial endpapers, pictorial jacket. First Edition. New York: Viking, 1949 Signed by Arthur Miller on the title-page, and who seldom signs. Winner of both the Pulitzer Prize and the New York Drama Critics Circle Award. One of the most important plays of the twentieth century by one of the greatest American playwrights. Mild crease to front and rear jacket panels, tiny nicks to edges; slightly leaning, spine a bit faded, faint dampstains at spine foot; minor foxing, bookplate; very good in a very good and bright jacket. (2000/3000)

Lot 41

IMPORTANT PRESENTATION COPY OF GONE WITH THE WIND 42. Mitchell, Margaret. Gone With the Wind. Cloth, jacket. First Edition, Second Printing. New York: Macmillan, 1936 Presentation copy inscribed and signed on the front free endpaper “For Powell Pendley from Margaret Mitchell.” Accompanied by two letters from Mitchell to N. Powell Pendley. The first, dated July 10, 1936, is a 11-line autographed note, “Dear Powell: Just a note to thank you for all the kind words. And was I flattered that you wanted an autograph! I hope the book reaches you safely and that you found it interesting. Best to you - Peggy M.M.” The envelope in which the note was sent, addressed in Mitchell’s hand, is affixed to the front free endpaper below the inscription. The other letter, typed, signed by Mitchell, with two small ink corrections, dated Jan. 5, 1947, compliments Pendley on purchasing and donating some historical documents, “Dear Powell: When you and I were members of the Younger Generation and very superior indeed, both of us thought the most damning term that could be applied to any human being was `civic minded.’ Of course `God fearing’ and `worthwhile’ were runners-up. I am glad I am now old enough enough [sic] to realize how many fine things are embodied in that phraze `civic minded,’ for after long thought it is the only phrase I can apply to you for the generous way you acted in purchasing the documents on Georgia history... I think what you did was wonderful and I know students coming after us, long after we both are gone, will benefit by what you did. So this old friend of yours says `thank you,’ and I am certainly proud to know you. Peggy.” The envelope is also present. The book itself the second printing, with “Published June, 1936” (rather than

Page 18 May) on the copyright-page; the jacket has GWTW at the top of the left-hand column on the rear panel listing New Macmillan Books. Provenance: Formerly the property of the High Museum of Art in Atlanta, previously sold to benefit the Acquisition Fund, now offered by the current owner. The jacket is very badly worn, heavily chipped with large portions missing, extensive old tape repairs; the book has foxing and darkening to the covers, rubbing to spine ends and corners, spine creased vertically; shaken, hinge cracked before title-page, darkening to the endpapers with some staining and tape residue, in good condition, with an inscription and accompanying letters to a long-time friend of Mitchell’s, a fellow resident of Atlanta, Georgia, and a civic-minded student of Georgian history. Archivally stored in folding box and archival paper folders. (10000/15000)

Lot 42

43. (Oneida Community) First four issues of The American Socialist. 4 issues, including: Vol. I, Nos. 1-4 (March 30, 1876-April 20, 1976). Edited by John H. Noyes. Each are 8 pages. 16x11½, printed weekly. Oneida, NY: Oneida Association, 1876 The first four issues of the periodical of the once promising American Utopian experiment, the Oneida Community, which flourished for over 30 years under the leadership of its founder, John Noyes, editor of the above. Also known as “Bible Communists” or “Perfectionists” the group was notorious for a controversial ideal, the complex marriage, wherein every man was mated to every woman and vice-versa, which was intended for procreative causes. Though famed for a crafty invention, a certain steel-trap, the group lost societal approval and was met with harsh criticism by their neighbors over the issue of complex marriage around the time of this publication. The subtitle of the journal reads “Devoted to the Enlargement and Perfection of Home,” but at the heart of the articles are workers and “the common good.” Disbound copies with stabholes in the gutter margin, light wear about the edges, but only lightly foxed, thus very good, scarce first issues. (200/300)

Page 19 MAGNIFICENT COPY OF ORTELIUS’ FAMED ATLAS, 1584, WITH 112 HAND-COLORED MAPS 44. Ortelius, Abraham. Theatrum Orbis Terrarum [with] Parergon, in quo Veteris Geographiæ aliquot tabulæ [and] Nomenclator Ptolemaicus; Ominis Locorum Vocabula Quæ in tota Ptolemæi Geographia occurrunt.... Hand- colored engraved title-page, 20 pp. of preliminary text (with hand-colored initials & tailpieces), hand- colored copper-engraved portrait of Ortelius. With 100 double-page hand-colored copper-engraved maps in the Theatrum, & 12 double-page hand-colored copper-engraved maps in the Parergon, for a total of 112 maps. The Parergon & the Nomenclator Ptolemaicus with hand-colored decorations on the title-pages to those parts. (Folio) 17¾x11¼, 18th century full mottled sheep, spine elaborately tooled in gilt, raised bands, morocco lettering piece, marbled pastdowns. Antwerp: Christopher Plantin, 1584 Magnificent copy of the enlarged 1584 edition of Ortelius’ famed atlas, one of the major milestones in the history of cartography. First produced in 1570, the Theatrum is noted in Printing and the Mind of Man (91) as “a landmark in cartographic publication, for it is the first large modern atlas.” The 1570 edition comprised only 53 maps, with Additamenta of additional maps added in 1573, 1579, 1584, 1590 and 1595. This 1584 Latin edition is the first to contain the Additamentum III of 23 maps, and the Parergon, in the second edition, is enlarged with eight new maps, bringing the total number of double-page map sheets for the atlas to 112, with a number of the sheets containing more than one map. The Parergon, the historical supplement to the atlas reflecting Ortelius’ interest in the geography of Roman times, is sometimes issued separately but is proper to the atlas, as is the Nomenclator Ptolemaicus. In the Theatrum Orbis Terrarum, Ortelius’ produced one of the most brilliant and innovative of all Renaissance books. The first true atlas in the modern sense of the word, it introduced an entirely new and standardized method for the study of geography. For the first time in one volume, all parts of the globe were treated in a comprehensive and uniform manner, and thus it presented as complete a picture as was then possible of the whole world. Published not only in Latin, the traditional language of the scholarly elite, but also in German, Dutch, French, Italian and English, the Theatrum was thus accessible to the masses, or at least the upper middle classes who could afford the expensive volume. This widespread dissemination had profound results in an age when geographical knowledge was in a rudimentary state, and the information contained in the atlas became the accepted vision of the world. Another important aspect of the work was Ortelius’ strategy to make the atlas more acceptable to the public by incorporating beautiful ornamentalism in the then-popular Mannerist style, thus appealing to contemporary aesthetic tastes. In speaking of the maps in the Theatrum the noted art historian, James A. Welu, comments on “their richness of ornamentation, [they are] a combination of science and art that has rarely been surpassed in the history of mapmaking... Ortelius’ Theatrum is known for its numerous decorative cartouches, which undoubtedly added to the atlas’s long popularity” - Art and Cartography, pp. 145-146. The 1584 edition, notable for being the first to contain the third series of additional maps, seems particularly scarce. In an article on the rarity of the various editions of the Ortelius atlas in The Map Collector, Marcel P.R. van den Broecke estimates that only 50 copies of the 1584 Latin edition were printed; of those the total number estimated to be extant is only 32. The present copy is a superb example, quite tall with full margins, and in an attractive 18th century binding. There is an ownership mark on the front free endpaper with a small drawing of a stork, dated 1909, with a small bookplate with a stork device on front pastedown, with the initials S.B.; below the bookplate is the small booklabel of Juan Carlos Ahumada, Buenos Aires, with a four-line ownership inscription by him on front free endpaper, dated Buenos Aires, Dec. 1936. Just a little rubbing to the joints and corners, the joints tender and the front beginning to crack; title-page somewhat darkened with some minor soiling, stain to text leaf A6, World map with unobtrusive water stains to the Southern Continent, the green coloring in a few of the later maps has offset to the facing image; overall in fine condition, very rare thus, with bright contemporary hand coloring, a truly beautiful book. (150000/200000)

Page 20 Lot 44

Page 21 INSCRIBED COPY OF PERRY’S EXPEDITION TO JAPAN 45. Perry, Matthew Calbraith. Narrative of the Expedition of an American Squadron to the China Seas and Japan, Performed in the Years 1852, 1853, and 1854, under the Command of Commodore M.C. Perry, United States Navy, by Order of the Government of the United States. Compiled by Francis L. Hawks. 3 vols. xvii, [1], 537; [6], [2], 414, [4], 14, xi, [2]; xliii, 705 pp. Vol. I illustrated with 89 lithograph plates, most color, including 3 “facsimiles” of Japanese woodblock prints, 2 folding; 6 maps & charts, 2 folding; numerous woodcuts in the text. Vol. II with 4 color lithographs of Chinese scenes; 2 uncolored natural history engraved plates; 4 (of 6) hand-colored lithographs of birds; 10 hand-colored steel engravings of fish; 5 lithographs of shells, 2 hand-colored; 16 diagram plates of winds & currents; 14-page facsimile of Japanese language version of the U.S. Japan treaty; 16 (of 17) folding charts on 15 (of 16) sheets; numerous woodcuts in the text. Vol. III with woodcut star charts throughout. 11¼x8¾, original cloth, spines lettered in gilt. First Edition. Washington: Beverly Tucker, 1856 Inscribed & signed in ink by M[athew] C. Perry at top of title-page of Vol. I.; pencil inscription on front endpaper of Vol. III, “From M.C. Perry,” apparently also in Perry’s hand. Detailed & profusely illustrated account of Perry’s expedition to open Japan to the West; as the Dictionary of American Biography describes it, “In January 1852 he [Perry] was selected to undertake the most important diplomatic mission ever intrusted to an American naval officer, the negotiation of a treaty with Japan, a country at this time sealed against intercourse with the Occidental powers.” By March 31, 1854, the treaty granting the U.S. trading rights had been signed by the Japanese. Upon his return to the U.S., his chief duty for the following year was to compile his reports of the expedition, aided by Francis Hawks. The importance of Perry’s mission to Japan cannot be overstated. Not only did Perry open Japan to Western trade and influences which she would soon master, thrusting her into the forefront of nations during the , but the accounts of the country and culture, and the pictorial representations, were some of the earliest to be readily available to the public, being superseded only by the cumbersome tomes of earlier missionaries. In addition to the artist W. Heine, from whose drawings a great number of the lithographs were made, the daguerreotypist E. Brown, Jr., went on the expedition, taking what were undoubtedly the earliest photographic Lot 45 images of Japan, many of them reproduced lithographically in this work. This copy without the nude bathing plate, which was not issued in all copies, being suppressed, but does contain the oft-removed photographer plate. Lacking, however, are two hand-colored bird plates and the track chart of the world. Some rubbing, fading, wear & light staining to covers; several hinges cracked or cracking few of the folding charts with crease tears, else very good, contents generally clean & unfoxed. (2000/3000)

Each lot is illustrated in color in the online version of the catalogue. Go to www.pbagalleries.com

Page 22 46. (Punch) Punch, Or The London Charivari. I-XXVI (July 1, 1841-July 1, 1854), and L-LI (1866), many bound 2 vols. in 1. Profusely illustrated with engravings. Each approximately 11x8, various bindings, but Vols. I-III (in 2) and Vols. L & LI (in 1) in original gilt-stamped, blind embossed blue cloth, all edges gilt. London: Punch Office, 1841-1866 A nice run of the Saturday morning “guffawgraph,” including the first issue, which has the original magazine titled, Punch And The London Charivari. Five volumes (in 3) in original blue cloth, with gilt stamped vignette of Punch kicking the globe up above him. Some wear to all extremities, many with hinges cracked or starting; internally bright, clean, good to very good. (500/800)

47. Rackham, Arthur. Arthur Rackham’s Book of Pictures. Introduction by Sir Arthur Quiller-Couch. Illustrated with 44 tipped in color plates by Arthur Rackham with printed tissue guards. 10¼x8, gilt- stamped gray cloth. London: William Heinemann, [1913] A necessity in Rackhamiana, illustrating fairy tales, the grotesque and the fantastic. Slight rubbing and discoloration to cloth; front hinge cracked; else very good. (300/500)

48. Rice, Anne. The Interview with the Vampire. Cloth, Jacket. First Edition. New York: Knopf, 1976 Signed by Rice on the title page. Chipping to jacket spine ends, remainder stamp to bottom edges, usual creases to flaps, else very good. (400/600)

The Buyer’s Premium will be 20% for bids up to $100,000 and 15% for that portion over $100,000.

Page 23

You can bid absentee directly from the item description in the online version of the catalogue at www.pbagalleries.com. Or bid during the auction using the Real-Time Bidder. 49. Rueff, Jakob. De Conceptu & Generatione Hominis...Libri Sex, congesti opera Jacobi Rueff, Chirurgi Tigurini. aa4, a-z4, A-C4, D1 (with aa1, c4-d2, h1 & i3 supplied in facsimile). [4], 105 fl. Errata to verso of last leaf. Illustrated with 58 original printed woodcuts depicting aspects of real & imagined embryology, plus historiated initials & others in facsimile. (4to) 7¼x5¼, old full calf, panelled in blind on covers. First Latin Edition. [Zurich]: Christopher Froschauer, 1554 Jakob Rueff (1500-58) was the town physician and Professor of Medicine at the university in Zurich, famed particularly as a surgeon and obstetrician. This book was published simultaneously in Zurich in two editions, one in German and one in Latin, of which the present copy is an example, and it is known to be the first to contain “true anatomical pictures in an obstetrics book.” Indeed, Rueff described smooth-edged forceps for delivery of a live baby, preceding Chamberlan, and a toothed forceps for an extraction of the dead fetus, both illustrated within. Also, celphic versions of manipulation are explored in the cuts as too are the conjugal twin variations and cross-mammalian fantasy. The first English translation would not appear until 1637, titled pragmatically The Expert Midwife. Divided into six sections or “books” the volume covers the entire pregnancy cycle along with discourses on related medical diseases and situations. Book one opens with information on conception and nutrition of the fetus; the second section contains descriptions of the uterus and guidelines for the pregnant women; book three deals with the birthing process, subsequent care of mother and infant, as well as a portion devoted to the use of obstetric instruments; section four pertains to the management of “unnatural” births such as multiples and awkward presentations; book five discusses related conditions such as false pregnancy, uterine tumors, abortions, and deformed infants (or “monsters”); while section six discusses causes for sterility with suggested remedies. With fine armorial bookplate of Clare College, Cambridge University, 1701 and also early signature of “J. Littlechild, Fulbourn [village near Cambridge], his Book” to front endpapers. Also, some old marginalia near leaf numbers noting (studiously?) flowers in English. Morton 463. Moderate scuffing and wear to covers; front and rear pastedowns present but free and apparently never pasted; as noted, lacking 6 original leaves supplied in photoduplicate facsimile, some light dampstaining to the whole towards fore-edge, but exceedingly scarce in any condition, near very good. (3000/5000)

Lot 49

Page 24 FIRST EDITION OF SALINGER’S CATCHER IN THE RYE 50. Salinger, J. D. The Catcher in the Rye. Black cloth, spine lettered in gilt, pictorial jacket. First Edition. Boston: Little, Brown, 1951 The classic story of the “cynical adolescent” Holden Caulfield. The jacket is a first issue, with the photo credit of Salinger’s portrait by Lotte Jacobi on rear panel. Jacket price clipped, 1½” split to front joint, 1” tear and tiny chips to front panel, short tears to bottom edge, mijnor tape stains to verso, spine slightly darkened; light wear to volume spine head and top front joint, faint rub streak to front cover; ¼” split at top of rear hinge; near fine in a very good and bright jacket. (6000/9000)

Lot 50

51. (Sappho) The Songs of Sappho: Including the Recent Egyptian Discoveries. xiv, 436 pp. Translated into rimed verse by Marion Mills Miller; text translated into prose by David M. Robinson. Illusrated with 10 plates from photographs of artifacts and text. 9½x6½, cloth-backed paper over boards, facsimile vignette of Mytelene coin on covers, original slipcase. No. 232 of 500 copies of the Author’s Autographed Edition. Lexington, KY: Maxwelton Company, 1925 Signed by Miller and Robinson at the limitation statement. Perhaps the best scholarly study on Sappho, celebrated muse of Lesbos. Cracked, tape repair at edges of slipcase; corners of volume and spine a touch rubbed; front hinge cracked; else a near fine volume in a good slipcase. (200/300)

Each lot is illustrated in color in the online version of the catalogue. Go to www.pbagalleries.com

Page 25 FOUNDATION OF MODERN ECONOMIC THEORY 52. Smith, Adam. An Inquiry into the Nature and Causes of the Wealth of Nations. 2 volumes. [12], 510; [4], 587 + [1] ad pp. (4to) 11x8½, period calf. First Edition. London: Printed for W. Strahan; and T. Cadell, 1776 First edition of Adam Smith’s ground-breaking analysis of capitalist economics, in which it was demonstrated that the impetus of individual greed would create wealth for the many. The book is of profound influence in the development of modern society, and its appearance in the same year as the American Declaration of Independence matched the burgeoning political freedom to the unfettering of economic activity. Printing and the Mind of Man aptly states: “Where the political aspects of human rights had taken two centuries to explore, Smith’s achievement was to bring the study of economic aspects to the same point in a single work. The Wealth of Nations ins not a system, but as a provisional analysis it is completely convincing. The certainty of its criticism and its grasp of human nature have made it the first and greatest classic of modern economic thought.” Printing & the Mind of Man 221; Rothschild 1897. With the bookplates of Agnes & Alfred Stern. Covers worn, detached, spine strips partially perished; rear flyleaf and final text leaf of Vol. I detached together, light marginal offset to title-page of Vol. I and half-title of Vol. II (Vol. I has no half-title, and was not issued with one), internally a very nice, clean, wide-margined copy, well worthy of Lot 52 restoration of the binding. (50000/80000)

INSCRIBED BY STEINBECK 53. Steinbeck, John. Bombs Away: The Story of a Bomber Team. 185 pp. Illustrated from 60 photographs by John Swope. 8½x6, decorative blue cloth stamped in black and white, color pictorial jacket. First Edition. New York: Viking, 1942 Inscribed and signed by John Steinbeck on the front free endpaper “For...(?) six lessons from Madame, John.” Written by Steinbeck for the U.S. Army Air Forces, with all royalties from its sale going to the Air Forces Aid Society Trust Fund. Goldstone-Payne A18.a. Rubbing to jacket extremities, a little wear along top edge, 1” closed tear to rear panel; volume spine leaning, ends rubbed, small bumps/tears to top edge of boards; Lot 53 about very good in very good and bright jacket. (3000/5000)

Page 26

You can bid absentee directly from the item description in the online version of the catalogue at www.pbagalleries.com. Or bid during the auction using the Real-Time Bidder. RARE TALL GALLEY PROOF OF THE PEARL 54. Steinbeck, John. The Pearl. 71 leaves, printed on rectos only. 11½x6, wrappers, cloth spine, printed and typed label affixed to front wrapper with clear tape, housed in a custom blue cloth clamshell box. Uncorrected Proof of the First Edition. New York: Viking Press, 1947 Uncorrected tall galley proof of the first edition, quite rare. (Goldstone-Payne A25.a). Fine condition - an exceedingly scarce Steinbeck item. (3000/5000)

Lot 54

TORTILLA FLAT SIGNED BY STEINBECK 55. Steinbeck, John. Tortilla Flat. Illustrated by Ruth Gannett. 7½x5¼, beige cloth, spine lettered in blue, stamped horizontal blue line around covers and spine. First Edition. New York: Covici-Friede, [1935] Signed by Steinbeck on the front pastedown, below laid in bookplate of Henry T. Drown, Jr. Goldstone-Payne A4.b. Light shelf wear; offsetting to front pastedown from bookplate, else fine. (4000/6000)

Lot 55

Page 27 INSCRIBED BY CARL SANDBURG TO JOHN STEINBECK 56. (Steinbeck, John) Sandburg, Carl. Abraham Lincoln: The War Years. 4 volumes. Gilt-lettered cloth. First Trade Edition. New York: Harcourt, Brace, [1939] Inscribed and signed by Sandburg to John Steinbeck on the half-title of Vol. I (“John Steinbeck, as between two soldiers. Citizens and fellow strugglers - with affectionate good wishes, Carl Sandburg, Los Gatos, 1940.”), and with Steinbeck’s embossed stamp to a few pages of each volume. Front hinge of Vol. I cracked at half-title. Rubbing to spines, else very good. (2500/3500)

STEINBECK’S SOPHOCLES FROM HIS SCHOOL DAYS, WITH PERSONAL NOTES, INSCRIBED TO HIS WIFE 57. (Steinbeck, John) Sophocles. The Tragedies of Sophocles. Red cloth. Cambridge: University Press, 1917 Steinbeck’s personal copy from his school days, with his signature in pencil (“J.E. Steinbeck, Jr.”) to front pastedown, 10-line inscription to his wife by Steinbeck on front free endpaper in light pencil: “Dear Carol, Here is my old school copy of Sophocles. I want you to read the Trilogy of Oedipus particularly. I like this translation, it has more * than most of the pretentious (?) translations in * I hope you will enjoy these plays. They are timeless, * things, John.” Most importantly, Steinbeck has written notes (from school-day era, likely written during class and passed to a friend sitting next to him.) in upper margins of a few pages having to do with his life, for instance on page 15: “Sewerd invited me to go down to Carmel last week-end. I was too broke to go.” A cryptic note on p.1, likely to a girl, reads, “Busy to-night? May come til 10. Mother’s tears are more anatomical.” Another reads, “Ray! I have to play Polo on the 31st - my 1st public appearance. I’m skeered. Run the boat?” Yet another says, “Who in hell’s Montaigne. He ain’t s’much. Trilogy & 2 Electras.” A couple of other notes from Steinbeck also present. Dampstaining to spine and joint areas, affecting internal portions as well, thus good, but with great personal content from a young and older Steinbeck. (10000/15000)

Lot 56 Lot 57 Page 28 THE HOBBIT SIGNED BY J.R.R. TOLKIEN, RARE ASSOCIATION COPY 58. Tolkien, J.R.R. The Hobbit; or, There and Back Again. Illustrated by J.R.R. Tolkien with 8 drawings in text, color frontispiece and cartographic endpapers. 7¼x5, original green cloth, pictorially decorated in dark blue across covers and spine with illustrations after Tolkien’s designs, pictorial jacket. Second Edition, Eleventh Impression (overall) with author’s corrections. London: George Allen & Unwin Ltd., [1959] Signed by J.R.R. Tolkien on title-page. One of the most internationally acclaimed works in the fantasy literature genre and one that is eternally popular with readers young and old of any generation, its influence made even more profound by the acclaimed films in the Lord of the Rings series. This copy is a rare association copy signed by Tolkien on the title-page. Tolkien was in the habit of signing slips and attaching them to books, and books signed by him directly on the title-page are quite uncommon. This copy belonged to one of Tolkien’s close personal friends, George Sayer. The recipient and his wife were longtime friends of Tolkien’s and are known by Tolkien biographers to have been highly influential in the publication of “The Lord of the Rings.” They were among Tolkien’s most trusted and approved manuscript “proof readers” and he valued their advice on many aspects of the publication of the “Rings.” In a letter to Rayner Unwin, Tolkien called the recipient “...the most normal reader and liker of the work that I could think of....” These friends helped Tolkien in choosing the book’s individual titles and helped with countless editing and rewriting sessions. Also close friends of C.S. Lewis the recipients were well known in the publishing world and helped Tolkien in dealings with Allen and Unwin publishers as well. As close personal friends, they attended the funeral of C.S. Lewis together, aided Tolkien during his wife’s sickness and frequently welcomed him as a quest in their home in Melvern. This copy of “The Hobbit” was from the personal library of the recipient before being sold to the current owner. The scarce dust jacket with a few small neatly restored tears at upper verso edge; spine leaning ever so slightly, a touch of sunning at tail of spine, else a near fine copy in a near fine and rather Lot 58 clean and bright jacket. (10000/15000)

59. Vidal, Gore. Williwaw. Black cloth, lettered in blue, pictorial jacket. First Edition. New York: E. P. Dutton, 1946 Signed by Vidal on the title page. The author’s first book. Chipping to jacket spine ends and corners, rubbing and slight creases to jacket extremities, tape repairs to jacket spine ends, price clipped; volume spine slightly leaning, light shelf wear, else very good or better in good jacket. (400/600)

The Buyer’s Premium will be 20% for bids up to $100,000 and 15% for that portion over $100,000.

Page 29 60. Windsor, Edward. A King’s Story: The Memoirs of the Duke of Windsor. xi, 435 pp. Illustrated with several plates from photographs; map endpapers. 8vo. Black cloth, decoratively stamped with three crests on the front cover representing Edward as the Duke of Windsor, as the Prince of Wales, and as King Edward VIII, spine lettered in gilt. First Trade Edition. New York: G.P. Putnam’s Sons, [1951] Signed by “Edward,” The Duke of Windsor (1894-1972) and for a short time, Edward VIII, King of England, on his affixed regal label on the half-title page. Additionally, inscribed to radio actress Alice [Frost] Tuttle from Ann Seagrim(?) dated March 1952 on the same page. Light shelf wear, a few slight rub marks to cloth, very faint fading to spine, else very good or better. (500/800)

61. (World War II Aviation) Duerksen, Menno. The Memphis Belle: Home at Last. Illustrated with photo plates. Cloth, jacket. Second Edition. Memphis, TN: Castle Books, [1987] Signed on the title-page by eight crew members of the first B-17 to be detached from combat and sent back to the United States to tour the country in an effort to raise support for the war effort. These are Robert Morgan, Pilot - he was the first American bomber pilot to achieve 25 missions and return to the U.S., later he flew B-29’s over Japan; James A. Verinis, the “other pilot”; John P. Quinlan, Tailgunner, the only member of the crew to be wounded - He shot down two Germans from the Belle, and later was in a B-29 which was shot down; Robert Hanson, Radio Operator; Charles B. Leighton, Navigator; Clarence E. “Bill” Winchell, Left Waist Gunner - it was his gun that downed the eighth and last German fighter shot down by the Memphis Belle; Casimir A. Nastal, Right Waist Gunner; and Harold P. Lock, Third Top Turrett/ Engineer. Fine condition. (400/600)

62. (World War II Aviation) Glines, Carroll V. The Doolittle Raid. Illustrated from photographs. Cloth, jacket. First Edition. West Chester, PA: Schiffer Military History, [1991] Signed by nine crew members aboard the B-25 bombers which attacked the mainland of Japan on April 18, 1942, on a signature sheet affixed to the front free endpaper. These are: Bill Bower, pilot of crew #12; Hank Potter, navigator of crew #1; Travis Hoover, pilot of crew #2; R.E. Cole, co-pilot of crew #1; Guff Williams, co-pilot of crew #15; J.R. Stark, co-pilot of crew #10; William L. Birch, bomber of crew #11; Dave Lobe (?) gunman of crew #8; and Ting Shing Lui (?), a helper of crew #2. Fine in fine jacket. (300/500)

Section II: Autographs & Manuscript Material

63. Byrd, Richard E. 1888-1957. Signature on envelope by explorer Richard E. Byrd. On envelope which bears a rubberstamp circular Little America - Antarctica - Jan. 31, 1934 postmark and a Byrd Antarctic Expedition II cancelled U.S. postage stamp. Signed and dated “R.E. Byrd - Dec. 9, 1936” in blue ink. Measures 4x9½”. Antarctica: December 9, 1936 Admiral Byrd (1888–1957) the pioneering American polar explorer and famous aviator. Light wear from age and handling; else near fine or better. (200/300)

Each lot is illustrated in color in the online version of the catalogue. Go to www.pbagalleries.com

Page 30 LETTER FROM GEORGE WASHINGTON CARVER ABOUT PRICE OF PEANUTS 64. Carver, George Washington. 1864-1943. Autographed Letter, signed, from Carver to “My esteemed friend, Mr. Porter”. 18 lines, in ink, on letterhead of the Tuskegee Normal and Industrial Institute. Tuskegee Institute, Alabama: 1935 George Washington Carver, African- American botanist, writes Grady Porter at the Tom Huston Peanut Co. in Columbus, Georgia, inquires about various matters, and discusses the peanut business, “...just how are we going to pull out of it is a very serious problem. Just think of it, $110.00 per ton for peanuts, phenomenal. My strength is holding up I guess fairly well for a person of my age. The latch string always hangs on the outside for you here.” With original mailing envelope. Fine condition. (1200/1500)

65.  Dumas, Alexander, fils. 1824-1895. Autograph Letter Signed “A. Dumas.”. One page, 8vo, on imprinted “98, Avenue de Villiers” stationery, in French, not translated. February 20, 1884 Alexander Dumas fils. 1824-1895. French playwright and novelist. Fine (200/300) Lot 64

EDISON WRITES TO HIS LAB ASSISTANT 66. Edison, Thomas Alva. 1847-1931. Autograph Letter Signed T.A. Edison, to his lab assistant E.P. Fabbri. 15 lines, in pencil, on 8½x6 sheet of plain paper. No place: March 17, [18]81 The great American inventor Thomas Alva Edison writes to his lab assistant (and later director of Edison Electric Light Company) Egisto P. Fabbri, “Please state what library in N.York is rich in Italian Literature we want to find where there is a complete set of the Neuvo Cimento, the Astor & Merchantile have it not.” Fabbri has added a pencil note in bottom margin asking for the information Edison seeks. Left blank corner missing, light foxing and age toning. (1500/2000)

Lot 66 Page 31 67. Edison, Thomas Alva. 1847-1931. Typed Document Signed by Edison. On both sides of single sheet 9½x7. No place: 5 June 1922 Minutes of a Meeting of the Board of Directors of Thomas A. Edison, Inc. Concerns the authorization for Walter Stevens, Vice President, Manager of the Export Division, to purchase Disc and Amberola Phonographs, Primary battery Products, Safetae Blanks, Ediphone Products, Amberol Records and Disc Recreations. Also signed by Stevens, Charles Edison and four other officials. Closely trimmed along left edge and bottom not affecting signatures. Light age toning, small chip in right blank margin, with a dark signature of Edison. (1000/1500)

Lot 67

LETTER FROM ALBERT EINSTEIN TO DUTCH COLLABORATOR 68. Einstein, Albert. 1879-1955. Autograph Letter Signed Einstein written on verso of German postcard. 23 lines, in ink, written in German. On 3½x5½” postcard, addressed to Wander Johannes de Haas in Holland, with Berlin postmark. Berlin: 6 July 1916 Dutch physicist and mathematician de Haas collaborated with Einstein in formulating the The Einstein–de Haas effect, a physical phenomenon delineated the mid 1910’s, that exposes a relationship between magnetism, angular momentum, and the spin of elementary particles. The text of the letter translates as: “Got back last night from Gottingen and found your letter waiting for me. I have already written to an experienced freight company and have asked for an estimate. The freight company is without a doubt possible. I will contact the landlord in order to discuss the return of any rent money. The second half of July I will not be here I am going to Rugen. Through that trip, however, time will definitely not be lost, because I will give someone my power-of-attorney for this matter. You will hear again from me soon. That you are staying there pleases me for you and particularly for your little one, for whom it is infinitely better. Good luck with the experiment! Heartfelt greetings from Einstein.” Very light uniform age toning, else fine. Lot 68 (3000/5000)

Page 32 69. Einstein, Albert. 1879-1955. Envelope addressed in German to Mechaniker un Physikal Institut in Zurich, and signed by Albert Einstein. 3¼x6, addressed and signedin ink, with postmark. Berlin: No date Einstein has written his name A. Einstein and address in Berlin in the lower left corner. Light uniform age toning and very minor wear, with a dark signature of Einstein. (2000/3000)

Lot 69

LETTER FROM FERDINAND & ISABELLA OF SPAIN 70. Ferdinand V. 1452-1516 and Isabella I. 1451-1504. Manuscript Letter Signed by both Yo el Rey and Yo la Reyna. One page, 8¾x8. contained in an antique hand-tooled brown leather folding case, with crimson cloth lining. Palencia, Spain: 12 December 1501 The King and Queen of Castile and Aragon, famed in history for dispatching Christopher Columbus on his epic voyages across the Atlantic in search of a shorter route to India, write to the Bishop of Malaga and his council: “We have seen your letters of the 15th of November in which you notify us of the departure of the Princess, our children, on their way to us, causing us much happiness and because to see them is what we most desire and in order to be more at ease, for our peace and to our service we wish you to help hasten their trip without any inconveniences and in such good news we will find complete relief.” The death of their two eldest children left the succession of Castile to their third daughter, Joan the Mad, and her husband Philip the Handsome, and they were to make the journey from Flanders to Spain. A significant letter from perhaps the most famous and influential of all Spanish monarchs, a most desirable set of autographs, the basis for a collection of American historical documents. Light Lot 70 toning in upper left corner, 4 horizontal tear in lower blank margin and small area of paper thinness not affecting signatures or writing, usual folds; a nice example with the writing and signatures dark. (6000/9000)

Page 33 AUTOGRAPHS OF MEMBERS OF FRENCH ACADEMY OF SCIENCES 71. (French Royal Academy) 68 Autograph signatures of Members of L’Académie des Sciences, tipped into volume. 68 autograph signatures of Members of L’Académie des Sciences on manuscript list of members, plus other autograph signatures on letters, all bound into a volume history of the Academy by Ernest Maindron. 9½x6, period mottled boards recased with later morocco backing, gilt-letterred spine. Paris: Germer Baillière, 1888 With the bookplate of H.F. Norman. The list of members (Laplace, Le Gendre, Ampere et al) is inked at top in French, “State of Distribution for...Members of the Royal Academy of Sciences, during the month of November 1826.” Also bound in are other autograph letters, as well as mounted clippings. A nice printed book in itself, with a hand-colored plate, portraits and other illustrations throughout. Some wear to boards, spine lightly rubbed at ends; manuscript material in very good condition. (2000/3000)

Lot 71

72. Freud, Sigmund. 1856-1939. Envelope addressed in his hand to his colleague and American translator Dr. A.A. Brill in . 5x6, addressed in ink, with Fred’s name and Vienna address printed on the back. Vienna: No date The Austrian neurologist and founder of psychoanalysis Sigmund Freud addresses the envelope the Austrian-born American psychatrist Abraham Arden Brill, who was the first practicing psychoanalyst in America in addition to translating Freud’s major work into English. A few tears and minor wear. (600/900)

The Buyer’s Premium will be 20% for bids up to $100,000 and 15% for that portion over $100,000.

Page 34 LETTER FROM TO SCREENWRITER PETER VIERTEL 73. Hemingway, Ernest. 1899-1961. Typed letter signed by Hemingway as Papa to screenwriter Peter Viertel. With a six line holograph addition by Hemingway, on his Finca Vigia, San Francisco de Paula, Cuba home stationery, one and one quarter pages (on a single leaf), quarto, dated August 21, no year. To screenwriter Peter Viertel: “...this picture business has some comic aspects when you read the contracts all the way through and when you have to go and see the actual moving pictures to check on characters. Did you have to watch The Purple Plain?...the chicken aircraft stuff and the abusive close-ups and Peck’s march to the river...Well I must try again...”. Cuba: [c. 1950’s] Viertel’s association with Hemingway is an important one; he wrote the screenplays for two Hemingway films, and . According to Jefferey Meyer’s book, Hemingway had an affair with Mrs. Viertel (Jigee) and Peter Viertel’s book, Dangerous Friends, also alludes to that effect. Light wear, else very good or better. (3000/5000)

Lot 73

74. Hugo, Victor. 1802-1885. Autograph note signed. ANs on blue paper by Victor Hugo. In French. Expertly matted with a striking vintage gravure. January 24, 1864 Fine. (400/600)

Each lot is illustrated in color in the online version of the catalogue. Go to www.pbagalleries.com

Page 35 75. (Indian Captivity) Sparks, Edwin Erle. 1860-1924. Typed Manuscriptof Sparks’ introduction to the 1905 reprint of Charles Johnston’s account of his Indian Captivity. Nineteen pages, 4to, with numerous holographic corrections and additions. [No place]: c.1905 Sparks’ introduction to the 1905 reprint of Charles Johnston’s account of his Indian Captivity first published in 1827. Johnston, a Virginian, was taken prisoner by Indians while on a journey to Kentucky in 1790. After being ransomed by a Canadian trader, he made his way back to New York where he was interviewed by President Washington. Some soiling, wear and chipping along edges, with area of paper loss in upper right blank corner of first page; generally very good. (200/300)

76. Maximillian. 1832-1867. Emperor of Mexico. Document Signed Maximillian, in Spanish. One page, oblong octavo. 4½x8½. [Mexico]: 1866 Safe-conduct pass to Paso del Norte, signed by the unfortunate Austrian Prince who, with French backing, assumed the throne of Mexico, only to be defeated by Juarez and shot. Some soiling and wear, very good, the writing dark. (1200/1800)

Lot 76 FINE AUTOGRAPH LETTER FROM HERMAN MELVILLE 77. Melville, Herman. 1819-1891. Autograph Letter Signed by Melville, to John H. Gourlie, Esq. 6 lines, in ink, on 8x5” sheet of paper. New York: Dec. 14, 1869 In full: “Dear Sir, I am very glad to do as you desire. H. Melville.” Provenance: The John H. Gourlie collection. John H. Gourlie of New York City was an author and ardent supporter of the Union cause during the Civil War. He served as Chairman of the Finance Committee of the New York Metropolitan Fair in 1864, which raised $1,183,506.23 for the United States Sanitary Commission. Gourlie was an avid collector of autographs from 1850 to 1880. Herman Melville autograph letters are quite rare. Fine condition. (12000/15000)

Lot 77

Page 36 LETTER FROM JAMES MONROE ABOUT NATIONAL BANK 78. Monroe, James. 1758-1831. Important Draft Autograph Letter regarding the National Bank. Three full pages, in ink, unsigned, recipient unknown. 9¾x8. New York: March 1831 Remarkable, detailed letter written by the “Father of the Constitution” concerning his views on the establishment of a national bank as opposed to a private bank. “…Your letter touches on a very interesting subject, one which is of the highest importance to the national prosperity and to the success of our free system of government itself. The great object of your inquiry is, whether a bank of the government, founded on the public’s revenue, and under its exclusive control is to be preferred, for all the national purposes specified, to such a bank as that which now exists, founded partially on the stock of individuals and exclusively under their control. I have no hesitation in declaring it my decided opinion that the latter is to be preferred…A bank of individuals founded on their stock and under their control, connected with the government on just and independent principles, would accomplish all…A supervision by the government, of a bank of it’s own, whether confined to the city, or extended by branches to the states, would interfere with its other duties distinctly pointed out by the Constitution. It adds a new branch with powers of great extent and of a peculiar character. It is by a national bank as you suggest that this proper currency is to be raised, and sustained on a par with specie, that exchange is to be regulated, remittances made to individuals throughout the union, and what is of the highest importance, that loans be furnished, and obtained by others, in great emergencies, in war for example. In my judgment none of their duties could be performed with complete affect by a bank of the government. Personal interest would operate on some of the parties connected with it…A bank established on the funds of the union, under the control of the Executive might by the abuse of the power, to which there would be great temptations, shake our free system of government if not overthrow it…a party might be formed repugnant to the Constitution and the safety of the republic…A century might elapse before these dangers would be realized…” He continues with detailed thoughts on the merits of a bank founded on the funds of individuals. A letter of particular import today, as the questions of government control versus an unfettered banking industry are at the forefront of debate. Writing strong and dark. Uniform age toning, with light soiling, else fine. (8000/12000)

Lot 78

Page 37 FOUR DOCUMENTS AND LETTERS SIGNED BY NAPOLEON 79. Napoleon Bonaparte. 1769-1821. Document Signed by Napoleon, appointing Antoine Claude Dominique Juste de Noailles as a Count of the Empire. Engraved document on vellum, filled out in ink, signed by Napoleon. 18x22, framed under glass. * Red wax seal, 4½” in diameter, with attached ribbon (torn). In shadow box, under glass, 9x9½. The original tin cylindrical document case, with a place for the wax seal as well, 23” high, accompanies the lot. Paris: 27 September 1810 Napoleon appoints the nobleman Antonin Claude Dominique Just de Noailles (1777-1846) as the Count of Worsen. He thrived after Napoleon’s downfall as well, serving as ambassador to Russia and and in the chamber of deputies. Document a little creased and discolored, 2” cut at left side, ink writing a beit weak in places, still very good. (3000/4000)

Lot 79

You can bid absentee directly from the item description in the online version of the catalogue at www.pbagalleries.com. Or bid during the auction using the Real-Time Bidder.

Page 38 80. Napoleon Bonaparte, 1769-1821. Manuscript Document Signed Bonaparte, as General in Chief of the Army of Italy. Two pages on 4-page folio, 14¾x9¼. Italy: 8 March 1797 Exceptional manuscript document, Napoleon as General in Chief of the Army of Italy issues five articles ordering the Convent of San Benedetto to be suppressed and the monks there to return to their provinces. He also orders that half of the goods belonging to the convents present in Mantua be given to civilians who had lost their homes in consequence of the defense of the city. The other half to be divided: Two thirds to the coffers of the army and the other third to the inhabitants of San Benedetto to compensate them for the alms which the convent would have given them. The third article orders any good belonging to the convent in the Cisalpine Republic or in Lombardy are to be confiscated for the benefit of the army. The convent of San Benedetto is to be turned into a military hospital under the disposition of the Chief Director. This document bears an exquisite large engraved vignette at the top of page one of the French Liberty figure and Bonaparte’s name as General in Chief of the Army of Italy. Bonaparte’s signature, on page two, is strong and dark. Fine condition. Lot 80 (3000/5000)

81. Napoleon Bonaparte, 1769-1821. Manuscript Letter Signed Napole, to his adopted son Prince Eugene Napoleon. 8 lines, in ink, on sheet 9x7¼. Paris: 22 February 1806 Napoleon writes to his adopted son Prince Eugene Napoleon (1781- 1824), Viceroy of Italy. He writes in full: “I am extremely displeased that you have given General Lauristan some orders contrary to those that I had given to him. I directed him to take possession of Dalmatia, to go there without delay. This kind of action is unbelievably foolish. Under no circumstances whatsoever are you to countermand any of my orders. You do not have the right.” With a large signature and paraph of Napoleon. Fine condition. (2500/3500)

Lot 81

Page 39 82. Napoleon Bonaparte. 1769-1821. Manuscript Letter Signed with his scarce full Napoleon signature, to his adopted son Eugene Napoleon, Viceroy of Italy. Two pages, on conjugate lettersheet 9¼x7½. Paris: 16 February 1806 Important letter from the French Emperor to his adopted son Eugene Napoleon, Viceroy of Italy. Napoleon lists in detail the amounts of taxation to be paid to the Grand Army by various regions in Italy: “...Verona is to pay 400,000 francs; the region of Venice 1,000,000 francs; the Treviso region 1,500,000 francs (etc)...” He adds: “It is essential that the sum be deposted because I need it. I would be happy if it reaches ten million...Don’t forget that I need a lot of money; that I must add to my army, and that I am organizing my fleet...I note that you are spending too much money in Italy...” Napoleon also writes: “I greatly approve of the steps that you have taken to prevent the introduction of English merchandise into the Venetian region; do the same thing for the Kingdom of Italy. Those are good and useful measures, with advantageous results for France and very severe ones for our enemies...” A superb letter in excellent condition. Lot 82 (4000/6000)

83. (Napoleon Bonaparte) 65 engraved and printed portraits of Napoleon. Various sizes. Various places: Various dates Engraved and printed portraits of Napoleon of him at various stages of his life, with many unusual and seldom encountered images. Generally very good (200/300)

84. Orwell, George. 1903-1950. Typed Letter Signed Geo. Orwell, on imprinted stationery of The Tribune. 3 lines, on 5x8 sheet. London: 16 August 1944 Rare signed letter from the British novelist and essayist, one of the major political writers of the 20th century. “I am keeping your poem 48 Hours. The usual proviso - it will have to wait over for some time.” Recipient’s name crossed out. With portrait and related article. Very good. (800/1200)

Lot 84

Page 40 85. Pasteur, Louis. 1822-1895. Autograph Letter Signed L. Pasteur, in French. 10 lines, in ink, on 5x4” piece of paper. No date Note from the famed French chemist and father of microbiology who developed the cure for rabies in dogs and children and developed the process known as Pasteurization. Roughly translates as “To Monsieur Sergurd. Here is the address I gave at the grave of Monsieur Servand. I had forgotten to give it to you this afternoon.” Very good condition. (1500/2500)

Lot 85

86. Pound, Ezra. 1885-1972. Holograph postcard from Pound to Richard Wirtz Emerson, editor of The Golden Goose. In pencil. Plain postcard 3¼x5½. Washington: 1950 On word postcard, written to the editor of The Golden Goose thanking him for his letter (“Than’ g”), signed by Pound (with his initials) and hand-addressed by him on the front. Emerson’s letter (carbon of which accompanies this lot) discusses the state of poetry in 1950, a visit he had just made to William Carlos Williams (enclosing the transcript of their discussion, which is not present), and mentions Rexroth, Norman McLeod, Wallace Stevens, Patchen, Olson, and others. An interesting letter with boldly signed reply from Pound. Fine. (300/500)

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Page 41 LETTER FROM RODIN WITH TWO PENCIL SKETCHES 87. Rodin, Auguste. 1814-1917. Letter signed (“Aug. Rodin”) to M. Sardou, with pencil sketches. 1-page letter signed, with two pencil sketches and notes on the verso filling the entire page. In French. (4to) 8¾x6½ (sight size), framed on hinge to show both sides, with portrait and explanatory plaques. Rue de l’Université, 182, [Paris]: 24 January 1905 Translated, in full: “I studied your side of the pedestal. I am making one of my side also—as for the dimensions that you asked me to make, they follow with this letter (turn over). Accept my warm greetings. Aug. Rodin”. An exceptional item from the famous sculptor in which he collaborates with the architect Sardou on a sculpture project. The sketches show the pedestal with two details, and give complete dimensions. Rodin letters with drawings are scarce on the market. Some minor creasing and edge-toning to letter; near fine. (3000/4000)

Lot 87

88. Rodin, Auguste. 1840-1917. Autograph Letter Signed “A. Rodin.”. One page, 8vo, in French. “My Dear Friend, Tomorrow, Friday, I shall be away. Saturday, as you request, I shall be around and will expect you in the morning, as you wish.” No date Partial fold break at center, light age toning. (300/500)

89. Rodin, Auguste. 1840-1917. Autograph Note, unsigned. On Rodin’s imprinted personal calling card. He writes: “Mme. Cimino has no authority whatever to speak for me. Monday I shall not be in. Let us say Thursday, it you can.” No date Light uniform age toning, else fine. (200/300)

90. (San Francisco) Manuscript invoice on printed folio letterhead of John O. Ralston relating to painting and construction at the Cliff House. 14x8½. San Francisco: 19 January 1884 Invoice to “Mr. Adamson Agt. for A. Sutro,” detailing the costs of construction work at San Francisco’s Cliff House, including the bar, mostly painting. The total amount of $605.25 was paid in cash in three payments. Very good. (200/300)

Page 42 HANDWRITTEN MS. OF PLAY BY JOHN STEINBECK WRITTEN IN SOVIET UNION 91. Steinbeck, John. 1902-1968. Handwritten manuscript of an untitled play by Steinbeck, dating from his month-long visit to the Soviet Union in October and November, 1963. 5 pages on rectos of 5 leaves, written in felt pen on unlined, rather pulpy stationery with a picture of the monument in Kiev to the old Ukrainian leader Bohdan Khmelnitski. Kiev: 1963 Steinbeck made the visit at the suggestion of President John F. Kennedy and the subsequent invitation of the Union of Soviet Writers. At Steinbeck’s request, the American Embassy in Moscow assigned as his escort a young officer named Peter Bridges who was knowledgeable in Soviet literature and fluent in Russian. The Soviet writers’ union provided its own escort and interpreter, a woman named Frida Lurie. The play, or outline of a play, reflects some of the difficulties Steinbeck and his wife Elaine had with the Soviet authorities, and his creative genius in dealing with them. The Steinbeck visit, and the Soviet attempts to manipulate it, are described in detail in Jackson L. Benson’s biography The True Adventures of John Steinbeck Writer (New York: Penguin, 1984). The visit is also dealt with in the forthcoming memoir by Steinbeck’s one-time escort in Moscow, Peter Bridges, Safrika: An American Envoy, published by the Kent State University Press in May, 2000. The handwritten play by Steinbeck, though untitled, is headed on the first page “Notes & lists of dialogue for a play in 2 acts so far.” The five-page script was given by Steinbeck to Peter Bridges in Kiev. The play, in a tongue-in-cheek vein, reflects the unsuccessful attempts of the Soviet authorities to prevent Bridges from accompanying Steinbeck beyond Kiev. The play’s characters include “Big Dick Kleiberg, owner of the King Ranch” (i.e. Nikita Khruschev); “Johnson, a northern industrialist looking for a site for a factory” represents Lot 91 Steinbeck himself; “Fredrika, a tour mistress” is Frida Lurie; “George...an advertising executive from Madison Ave.” is Peter Bridges; and “Gustave, an expert in Indian culture” is another writers’ union functionary who accompanied Steinbeck to Kiev. The “Florida Chamber of Commerce” (i.e. the Soviet Authorities) is trying to sell Johnson (Steinbeck) a piece of swamp land, and he wants George (Peter Bridges) along because he knows real estate values, reflecting Steinbeck’s desire to have Bridges accompany him as a hedge against politically motivated translations. This unique and significant unpublished manuscript material from John Steinbeck, given by him to his embassy escort Peter Bridges in 1963, is now, some forty years later, offered for public sale. It offers a rare glimpse of Steinbeck on his third and final journey to Russia. Fine. (10000/15000)

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Page 43 92. Steinbeck, John. 1902-1968. Two items from Steinbeck’s visit to Russia in 1963, including a handwritten note. Includes: A note with seven numbered points, handwritten by John Steinbeck on a small piece of stationery from the Hotel National in Moscow where the Steinbecks were staying in November, after returning from Kiev, Yerevan and Tbilisi. The note, which was given by Steinbeck to U.S. Embassy official Peter Bridges, reports his private conversation with Alaksei Adzhubei, editor of Izvestiya and Khrushchev’s son-in-law. Among the points, Steinbeck relates that K (i.e. Khrushchev) wants to meet him, and it will be arranged; an agreement has been confirmed for direct flights between Moscow and New York three times a week; Steinbeck has agreed to “write a short piece of sterling prose for his sheet”; “In the name of his outfit, he gave me the bauble you see on my left wrist”; etc. Bridges has added a short notation at the bottom of the note, and a longer one on the reverse. * A carbon copy of poem, typed either by John or by Elaine Steinbeck, entitled “Latoniquem.” An ink note by Bridges in the upper right of the page states that the poem is in “John Steinbeck’s new language - translation of Shevchenko’s `Zapovit’!” Bridges relates years later that “While in Kiev, the Ukrainian branch of the writers’ union had made much of the 19th century Ukrainian poet Taras Shevchenko, and the Steinbecks had been exposed to a little too much untranslated Ukrainian including the poet’s `Zapovit’ (`Precept’). Steinbeck reacted by inventing a new language which he thought was more melliflous than Ukrainian was.” Moscow: 1963 Both items are in very good condition, unique and significant pieces which shed light on his final trip to the Soviet Union. (1500/2000)

93. Washington, Booker T. 1856-1915. Typed Letter Signed by Washington, on imprinted Tuskegee Normal and Industrial Institute stationery. 5½x8¼. Tuskegee, Alabama: November 13, 1899 The African American educator writes to the editor of the Boston Herald requesting publication of an appeal for an endowment fund endorsed by President Grover Cleveland. Very good or better. (500/800)

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Page 44 Section III: Henry Miller – Manuscripts, Books & Related Material

Nearly all of this important manuscript material by Henry Miller and his circle was purchased from the personal archives of Henry Miller, which were sold in a series of three auctions at PBA Gelleries in 1997 and 1998. The first portion comprises letters and manuscripts by Henry Miller, arranged in chronological order. Following are archives relating to Miller and his works, then books by Miller, and letters from members of his circle.

94. Miller, Henry. Typed carbon of a letter sent to “an old friend” (Cohen) from Paris in 1928. 9 page typed carbon letter. [Paris]: [1928] The letter was written while Miller and his wife June spent six months touring Europe in 1928 (June had extracted the money necessary for the trip from her “patron”, Pop). This contains Miller’s earliest recorded impressions of Paris and Europe and predates his move to Paris by nearly two years. Of Germany, Miller writes disgustedly: “At Aachen, I think it was, just over the French border, I caught the first glimpse of that boorish spirit which the world insists on calling German. Factory workers, stripped to the waist, making their toilet in 4th class trains, throwing ugly grimaces at the tourists, begging for cigarettes, heads shaved - as thoroughly bestial and depraved in appearance as a machine man can become. You remember George Grosz’s caricatures? Hell, they are not even caricatures. The man is the most painstaking photographic realist...” Miller, true to style, takes up 2 or 3 pages with descriptions of toilets in Poland and Paris, then goes back to architecture and street scenes in Paris: “...And then the bookshops and the bookstalls. Wonderful! Especially those along the quays, where at night the possessions are all locked up in strong boxes that repose calmly on the walls of the Seine embankment. What a pity not to know French! Books are dirt cheap here - and what books. Anything and everything you want... Then as to the inhabitants. Whiskers still flourish, and corduroys, and wide sashes around the belt. Fairies galore - this must be their Paradise. At night squads of street- walkers, but all bunched pretty much in one or two localities. For the most part Paris is eminently respectable - frightfully bourgeois, in fact. Prostitution is no index of great liscence...The French, I imagine, take their women like they take their wines and apéritifs. Anybody who calls Paris wicked does not know his New York...” A wonderful letter comparing America to Europe, Brooklyn toughs to Paris toughs, sex-drives of Americans and French, etc. While a carbon, the letter is likely unpublished and an important contribution to Miller’s early history in Europe. Fine. (500/800)

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Page 45 HENRY MILLER’S PARIS NOTEBOOKS, ASSEMBLED IN THE 1930s, PRESENTING HIS THOUGHTS & REFLECTIONS AT A CRUCIAL TIME 95. Miller, Henry. Miller’s Paris Notebooks from 1932-1936, with manuscript and typed notes on ideas and resources for his writings. 3 volumes, comprising approx. 413 leaves, typed and holograph manuscript, each signed at the front (“Property of Henry V. Miller...”). 9½x6¼, half morocco & marbled boards, spines lettered in gilt. Paris: 1932-1936 Extraordinary and highly important notebooks written and assembled by Henry Miller during his years in Paris in the 1930’s, providing source material for his three novels written in Paris, (1934, an account of his bohemian life in Paris), Black Spring (1936, an examination of his early childhood, inspired by his relationship with Anais Nin), and Tropic of Capricorn (1939, a fictionalized account of his struggle to become a writer before coming to Paris). The literary significance of these notebooks can hardly be overstated - they capture the thoughts and reflections of Miller during his period of greatest creativitiy, and provide the basis for the works which were to make him famous. The notebooks contain an astounding array of material, both typed and handwritten, and occasionally newsclippings and other material pasted in. Included are notes on scenes and events in Paris; typed and handwritten excerpts from Lady Chatterly’s Lover and Anais Nin’s diary; keys to the names of characters in his novels; lists of debts he owes; letters from friends such as Alfred Perles, Emil Shnellock and Anais Nin; several photographs including his father and Anais Nin; erotic cartoons, movie programs, a French vocabulary, several drawings, a list of Miller’s residences in Paris from 1930-1932, numbering 23 places, “which doesn’t take account of the places where I’ve `flopped’ for a night,” and much more. Among his reflections on life in Paris: “The women of Montemartre! One has to go back to Virgil for comparisons - to the harpies!”; “At night screams, shouts, curses, animated discussions on streets - all very course, loud, terrifying, thoroughly Latin. Altercations with women absolutely unheard of in America - treat women like dogs, no chivalry, not even the slightest respect. The commoner here is a very low, crude specimen”; “Here June gets angry because I loaned `Chadla,’ the dancer, her book of Dostoievski. Later she & Chadla become good pals...”; plus Miller’s transcription of Anais Nin’s notes on Tropic of Cancer; notes from Nin’s diary which, when she read them to him, precipitated their sexual relationship; and much more. In the third volume are extensive handwritten notes on Black Spring and Tropic of Capricorn. There are manuscript indexes inserted at the front of the first two volumes. In sum, the three volumes containing what is undoubtedly the most important source material for the study of Henry Miller, his mind, his life, and his writings. Miller kept these three volumes on his desk, and they can be seen in many photographs taken of him in his office. Provenance: The Henry Miller Family, then the Collection of Roger Wagner. Some normal wear, but in quite nice condition. Lot 95 (100000/150000)

Page 46 Lot 95

Page 47 Lot 95

Page 48 MANUSCRIPT “WALL CHART” OF THINGS TO DO AND REMEMBER 96. Miller, Henry. “Wall Chart” - original notes by Miller on verso of a broadside. Broadside entitled, “Information du Film,” dated April 15, 1932, with manuscript notes by Henry Miller on verso. 30x40. Paris: 1932 Miller’s holograph notes are reminders to himself and lists to remember, such as “record dreams,” “Cultivate stationery store man - have a drink with him Sunday morning,” “Books to Read,” “Get card for American Library or Sylvia Beach,” “Steal good books from Am. Library,” (At his list of books to read, he had noted “Steal” next to a few); “Plan bicycle trips - Strasbourg, Meaux, Provins, Brussels, Amiens, Rouen, Tours, Chinon,” “Buy tin file case like Fraenkel’s,” “Make idiot savant drawings for Emil. Skeletons whose bones are wired with words...,” “On cold nights paint the walls - Tackle it con furioso!,” “Invite Kaun [?], Zadkine for dinner - but separately!,” “Tragic Sense of Life - Unamuno - Multaluli - Louis Couperus (fuck him - he’s n.g.),” and many other tidbits. A fascinating chart detailing Miller’s daily doings in Paris. Split into two large sections, with creases from folding and tears along creases, this piece is fragile but easily legible - would look wonderful framed; very good. (6000/9000)

Lot 96

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Page 49 FIRST DRAFT OF THE TROPIC OF CANCER 97. Miller, Henry. Tropic of Capricorn - carbon typescript first draft. 177 pp., on pink & blue carbon paper, double-spaced, bound in quarter gilt- lettered calf & cloth; a few holograph corrections in Miller’s hand. Hand-titled by Miller at front: “Tropic of Capricorn - First draft, scrapped. Begun at Clichy 1934.” This page also with two rubberstamps of Henry Miller’s address at 18, Villa Seurat, Paris. Paris: 1934 Having written (but still revising) Tropic of Cancer and feeling more secure with himself as a writer, Miller began in 1930 to first document in book form the turbulent seven years between his first meeting with June, his second wife, and his departure for Europe in 1930. This first version differs significantly in text and tone from the final, published version of the book and demonstrates a writing style that varies from the rest of his published works. Miller’s time living and writing at Clichy, rooming with Alfred Perlès and visiting with Michael Fraenkel and Anaïs Nin on a regular basis, has been described by Miller as one of the happiest of his life, whereas the time during which this takes place, from the vermin-infested cellar of his Brooklyn apartment to the seedy speak-easies of the Village, was without a doubt the most turbulent and poverty- stricken time of his life. With the publication of Crazy Cock and Moloch during 1991 and 1992 by the , this early and dramatically different first draft of Tropic of Capricorn becomes Miller’s last remaining unpublished work from his most creative days in Paris. This typescript is worthy of separate publication in its own right as well as for literary and historical purposes - this carbon appears to be the only copy, the whereabouts of the original long unknown - Miller obviously went to some pains to have this carbon specially bound, at a time when money was not plentiful for him, and he would not likely have done that if he had the original to bind. Upper edges slightly trimmed, cutting off one holograph note on page 1 and a couple of typed lines, else very good. Lot 97 (40000/60000)

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Page 50 NOTEBOOK FROM PARIS YEARS INCLUDING TWO WATERCOLORS 98. Miller, Henry. Paris Notebook - large notebook with 19 leaves filled out by Miller, including two watercolors. About 19 pages of manuscript notes, including 2 original watercolors. The most important information and watercolors by Miller date from 1937-39, though at least one later page is dated 1950, and there are several child’s drawings by Miller’s daughter, Val, on later leaves (dated by Miller 1951). 15½x11, original wrappers, detached. [Paris]: [1937-39] and [1950-51] Miller’s “Paris Notebook” contains two lovely watercolors by him, and some fascinating information: lists of where he sent manuscripts, lists of things to do, people to see (including some well-known names) and pieces to write, with things accomplished crossed out in pencil (still legible): “...Brassai - give me 6 copies of woman on the pot!...Kahane: Give me blank books for A[naïs]’s diary & water-colors...Go thru folders of MSS. Anais returned for possible good timber! Get circular letter printed for 100 names, demanding money for publishing venture. Buy Pen Knife! Dedicate French version of ‘Aller Retour NY’ to - ‘the first Frenchman to make me a royal gesture!’...Print ‘Land of Fuck’ from ‘Capricorn’ privately at 100 frs. a copy - for sale discreetly. Then, with proceeds, print other things!....” In 1938, Miller lapses into a page of daily doings that is a wonderful window into his world: “Feb. 10th. Do 5 pages a day of Capricorn regularly - Day passed going to movies with the Durrells! Begin tomorrow!! 2/18/38 - not yet begun!...Feb. 1939 - Do water-colors for Gotham Book Mart!! Begin 2nd Volume of Capricorn! Do regularly first thing every day. Lawrence and other work on the side! Get symbolic Geographic maps on Quai - near Point Royal. Look for cheap French edition of Claude Saint- Martin’s ‘Le Crocodile’ et ‘L’Homme de Désir.’ (Chacomac?) Get gouache tubes, good paper, square brush & oil brushes. Also heavy paper for oils....” Miller also lists plans for better hygiene and quality of life: “Hygiene: Resume morning walks - around exterior Boulevards. Hot baths frequently. Evian mineral water. Pain Hovis & yogurt daily. Good Wines Lot 98 with Meals! Less salt & pepper - less coffee. * Horlich’s malted milk shakes! (Montparnasse). Take Enemas now & then. Reserve Sundays for painting - no work! * Stay in bed whole day before tackling different work! (Meditate, contemplate - saturate). Grapefruit more often!” Heavy extremity chipping and browning to fragile pages, many pages detached, but none appear to be lacking, still an excellent early workbook, with most pages dated and two exquisite watercolors. (15000/20000)

Page 51 99. Miller, Henry. Typed letter from Henry Miller to author Claude Houghton, with holograph corrections. 9 page TL to author Claude Houghton, with holograph corrections (some by Miller, some by Houghton). Also with A.N.s. from Houghton to Miller, returning the letter in 1958. : [1942] Houghton was a British writer who exchanged a series of letters with Miller beginning in 1942. Miller said that his letters to Houghton were some of the most personal he ever wrote, and this letter does not disappoint. Miller found important similarities in emotions described in a book of Houghton’s to his own feelings when his second wife, June, left him for another woman in about 1927, spurring him to write Tropic of Capricorn. (Interestingly, he states a couple of times in the letter that June was his third wife, not his second, with no explanation, so, a mystery.) On page 2, Miller really gets going: “In the year 1927 June, to whom I got married soon as I had divorced my second wife, left me to go to Europe - with a woman, a woman whom I loathed and detested. I hated as I had never hated before. it was like the Otto Steele affair. (My only great hatred). That temporary divorce was a real death to me. Just as you described yourself slowly and painfully struggling back to life, so might I described my return to life during the next seven years. Up to that point I mentioned, when I saw the pattern of my life clearly and significantly. In that three months when she was abroad I sank to the lowest point. I resolved then that I would write a book about her, about us, which would be immortal...It will take me to the end of my days to tell the story of my meeting with her and our life thereafter, which lasted until one day in 1933 or 34, in Clichy, where I was living with Perlès, when she suddenly ran away, leaving a note on the table for me, saying she wanted a divorce. I have never seen her since...I have not the courage to see her, and yet I must see her one day - there must be a reckoning....” In the following few pages, Miller quotes brief passages from Houghton’s book and contrasts their striking similarity with the events, arguments, feelings, philosophies, etc. in his (Miller’s) past. A fine and wonderfully revealing letter. It was published in “Writers Three: A Literary Exchange On the Works of Claude Houghton with Henry Miller, Claude Houghton, Ben Abramson” (Ann Arbor: Roger Jackson, 1995). Fine. (1000/1500)

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Page 52 BEVERLY GLEN NOTEBOOK – “DRINK FINE WINES EVERY DAY” 100. Miller, Henry. Henry Miller’s “Beverly Glen Notebook” - artist sketchbook containing numerous ink and pencil notes. 26 pages of pencil and ink notes, compiled during 1943-46 while Miller was living at Beverly Glen (Los Angeles), and then in , California. 9x12, red wrappers Beverly Glen and Big Sur: 1943-1946 Notes include lists of things to buy for his house, art supplies to purchase, & agendas of things to do (“Personal Exercises:...Hour’s walk before breakfast (no thinking!)...Drink fine wines every day! Type one hour per day - drudge work,” “Reprint the Etoilique with Preface. Send out carload lots to editors & publishers everywhere!” “Ask Argus if he will mail announcements for new books! (ditto Gotham Book Mart!),” & “Get Leite to do only letters relating to `Tropic of Cancer,’ dedicate to all the censors of this world and the next - including Soviet Russia & Young China.”). Miller also includes lists of proposed “Titles to Use”, “Titles of Paintings” (quite lengthy, with prices realized and to whom they were given), “Dollar a Week Patrons - Prospective!” (topping the list are James Agee, Ben Hecht, Judy Garland, Gotham Book Mart & Bern Porter), “Art galleries to circularize,” “Debts to pay off ” (only several names crossed off!), and much more. A great notebook containing the author’s daily thoughts and chores during the early 1940’s. Very good condition. Very good. (5000/8000)

Lot 100

Page 53 HENRY MILLER PLOTS NEXUS 101. Miller, Henry. “Schema for Nexus” - ten page holograph notebook with notes and synopsis of Nexus. [10] pp. holograph notebook on taped-together versos of reproductions of a Miller watercolor, written during the early planning stages for Nexus, with outlines of plots and charaters mapped out in blue ink. No place: [c.1945-1950s] Miller plots outlines for pages 1-100, 100-200, etc., referring himself to some of his other notebooks, including the Bern Porter notebook also in this sale. The notebook also contains memories of real-life events Miller planned to describe: “June - Paris; Varèse, Zadkine, Duchamp, Hotel Müller...Fred and Jeanne - North Africa! Sterling and June - Trip! Clinton Avenue - Dave Elkus, Chess, Learning to drive, Buick throttle - trip to L.I. - June, Writing novel for Pop - Walks and talks, Lexington Ave “L” rides...Trips to negroes Long Island with Elkus...” With list of male and female characters and their real-life counterparts holographed by Miller at rear 2 pp. Yellowing to tape, else about fine, with important outline and character content. (2500/3500)

Lot 101

102. Miller, Henry. Approximately 16 pages of holograph notes about The Rosy Crucifixion. Approximately 16 pages of Miller’s holograph notes about The Rosy Crucifixion, Miller’s paean to his second wife, June, written during the planning stages of the project, which spanned many years - he picked it up and put it down many times. Accompanied by 3-pp. carbon typescript of corrections in text of Plexus (English Lang. Ed.) published by the Olympia Press, Paris. No place: [c.1945 and later] The notes include quotes Miller planned to use (including a number from Dostoyevsky, whose writing June adored), character studies for Bernie (3 pages), one card on which is written (in part): “Female Charaters: Louise Ashley (Alma Reardon) use in throw-back with negro - bicycle store - boarder. Margaret Heller (Sadie Lester) throw- back - Uncle Harry’s garage, Hermann Dircks - courting and tragic conversa- tion 30 years later! Clinton Street after June’s return from Europe! Dewar & his girl, O’Reagan & water colors...” and with a wonderful 15x19¾ chart of Lot 102 all of the characters in the trilogy, each written in thick black ink, and who they

Page 54 represent, with June as Electra Annapolis in the center. An important set of notes detailing the planning of Miller’s famous trilogy, published in 1949 (Sexus), 1952 (Plexus), and 1959 (Nexus). A bit of yellowing and a few small stains to verso of chart, few short tears; else very good. (1200/1800)

HENRY MILLER’S “LITTLE BLACK BOOK” 103. Miller, Henry. Livre de Femmes (Roster) (de l’enfance à la vieillesse) et de partout au monde. Holograph notebook containing Miller’s list of lovers throughout his life (including wives), with ratings of zero to three stars beside their names! No place: [c.1948] Effectively, Miller’s little black book. Signed by Miller on the title page. The first 6 pages list 39 women under six different section headings: Fillettes de l’enfance; Jeunes Filles; Femmes (Decatur Street); Femmes (Pendant mariage - premièr); Femmes (2d mariage) (Here he only lists June Edith Smith, to whom he allots 3 stars); Femmes (Paris) (including Anaïs Nin, who also gets 3 stars). If Miller is right by his calculations, he had 40 lovers between his childhood and 1948 (including a woman and her sister). The last 3 pages of the book, written dos-a-dos, are Miller’s holograph translations of Japanese phrases, such as “I’m dying for you!” and “Shy?” Another man’s name, dated 1948, is written on rear pastedown. Several preliminary pages have been torn out by Miller, else very good condition - a rare compendium of full, partial and maiden names of Miller’s numerous lovers. Lot 103 (2500/3000)

MILLER WRITES ABOUT BOOKS 104.  Miller, Henry. Books in My Life, Volume II - carbon typescript with Miller’s holograph corrections. Loose carbon typescript with numerous holograph corrections by Miller, pp. 181-429 (possibly incomplete, and with duplicate pages, plus some earlier uncorrected pages and two errata pages). No place: [c.1950] Corrections by Miller are in a variety of colored inks, indicating Miller’s lengthy toiling over corrections. Very good - should be seen. (1200/1800)

Lot 104

Page 55 105. Miller, Henry. Books to Write About - Or Subjects: original spiral-bound notebook with Henry Miller holograph notes. Spiral-bound notebook filled almost completely with holograph notes by Miller about books and subjects in his life to remember and write about for his book Books in My Life. Approx. 80 pages of text in purple & black ink. No place: [c.1950] Miller intended to write a book of “Books in My Life,” and this is his original compilation of notes for that book. Notebook contains lists of books read and books to read, including favorite quotes, as well as books never read and never to be read again (“never read - regret!”); a brief outline of the planned book; a lengthy section entitled “Zen in Eng. Lit.” containing many quotes and anecdotes to use, etc. He also has pages of jottings of memories about books and life to relate to the reader, like his experiences at a bath-house: “The Hot Baths: All who ran it, from fairy bookseller (Warren Wright - bad checks!) to 2 old fairies, one with raw ass! The audacious obnoxious fairy - every Thursday. Confessions and revelations about `the clan’ & their doings. `Keep hands off him!’ (Tony) just `tolerating’ us normal ones...pricks with fancy poodles, cattle men from ? with balls like a bull (living Priapus) - rolls of fat. Mr. Aram strutting like a peacock...Solitude. Idiots with rifles - target practice on seals! The whales, sea otters, sea weed, mist, smells, clouds, waves - double-faced rock of King & Queen - color of rocks at low tide - old bath tubs teetering on rocks below. Snakes on roof in hot weather. Rocks tumbling....” Miller also lists “Birds I know & recognize,” “Weeds,” Lot 105 “Trees,” “Visits from....,” “Coincidences & Things coming in at right moment!....,” “Thankful to have met, if only once:....,” “Good lines to use: She was as attractive as an earwig!...” lastly, he writes, “End book with Fred’s coming to write biography! Rescue of me in Paris and vice-versa (Villa Seurat). Now ‘putting me on the map’! First full book on me....” A couple pages detached, else very good - filled with interesting data on Miller’s life at Big Sur and influences of books read. Very good. (2500/3500)

ORIGINAL DRAWINGS, PASTELS & WATERCOLORS 106. Miller, Henry. Sketch book containing 17 original drawings, pastels and watercolors by Miller. Including a self portrait, some occasionally pornographic works, a few titles in his hand. 11x8¾, spiral bound flexible boards. No place: No date While none are signed by Miller, a few have titles or words written in his hand, and many are typical of his style. Stain to front cover (adding character!), lower half of front cover coming detached, else very good; internal drawings fine - a rare compilation. Very good. (7000/10000)

Lot 106 Page 56 107. Miller, Henry. Typed copy of corrections made to the Olympia Press edition of Plexus. 3 sheets of yellow paper, with typed “Corrections in text of Plexus (English language edition) / pub. by the Olympia Press, Paris.” 116 corrections in all. No place: c.1953 Near fine. (200/300)

108. Miller, Henry. Holograph loose leaf note-paper detailing debts owed and when paid. Approximately 50 pages or more of Miller’s holograph notations of dates that money was borrowed, whom he borrowed from, and when the loan was repaid (if ever). Various places: Oct. 1954 - May 1955 Amounts are for as low as $1 and generally don’t exceed $25, and include loans from such characters as Carl Van Vechten, Frances Steloff (Gotham Book Mart), Edwin Corle & Merle Armitage. In Miller’s unmistakable hand. Very good. (400/600)

WORLD OF SEX WITH EXTENSIVE MS. REVISIONS BY MILLER 109. Miller, Henry. The World of Sex. 88 pp. Dummy cloth. 1 of 1000 copies. Second Edition. No place: Printed by J.H.N. for Friends of Henry Miller, [1946] Miller’s working proof copy for the revised (3rd) edition planned to be published by Olympia Press in 1957, this second edition is heavily edited, corrected and changed, with all changes holographed in Miller’s hand (blue ink) - Miller has lengthy changes to almost every line of the book, including the first, and even corrects his own corrections with crossouts and add-ons, making this copy unique and fascinating as a work-in-progress; Miller has basically created an entirely new text here. Pages detached and many loose in binding, else very good. (3000/5000)

Lot 109 Page 57 110.  Miller, Henry. The World of Sex - revisions. 42 glossy photographs, each 8x10 of Miller’s holograph revisions. 2 pages of text per photograph. No place: 1957 Miller was told by Olympia Press that they were to publish a side-by-side edition with one page demonstrating his holograph revisions facing a page of the final text. The book was published with only 10 such pages, maddening Miller. The photographs show the actual extent of revisions and emendations by Miller on the work, which left hardly a sentence unchanged. Near fine. (800/1200)

Lot 110

111.  Miller, Henry. “Third Eye Correspondence”. Envelope filled with Miller’s 9-page typed essay on T. Lobsang Rampa’s book, The Third Eye (with numerous holograph corrections by Miller) & ensuing correspondence from Rampa (Hoskins) to Miller and from Ken McCormick, editor in chief at Doubleday, to Miller. Various places: 1957-1958 Fascinating correspondence regarding the famous literary hoax, in which Cyril Henry Hoskin, a plumber’s son from Plympton, England who had never been to the Orient, masqueraded as Tibetan lama “T. Lobsang Rampa” and wrote The Third Eye, an “autobiographical” account of the lama’s life in Asia, clairvoyant doings, and occult beliefs that was questioned from the outset. In 1957, before the hoax was revealed, Henry Miller was on a “one- man crusade” to bring about awareness of the importance of Rampa’s already controversial metaphysical book, and to get it published in the United States, and his essay gives many insights into Miller’s own philosophies despite the hoax. Throughout the correspondence, the hoax is revealed and Hoskin comes up with a number of explanations, one being that he had ghosted the story for a Tibetan in hiding, another that he was a Tibetan spiritually inhabiting the body of an Englishman, and (my personal favorite) that he had stolen identity papers from a dead Englishman living in the East and masqueraded as him to move to Ireland, where he resided at the time of the hoax. There are several signed letters from him to Henry Miller, providing these explanations, and Miller’s letters back to him are very supportive. Throughout their correspondence, Hoskin’s language get more relaxed, making it quite clear that English is not his second language, and the two get down to writing about the best & worst literary agents, money, etc. As Hoskin had sworn Miller to utter secrecy regarding the revelation that he had stolen a British I.D. off a dead body, the outside of the envelope of correspondence reads, in Miller’s hand, “Do not open until after my death - Henry Miller.” Fine - a fascinating group of letters. (600/900)

Page 58 DRAFTS OF UNPUBLISHED NEXUS II 112. Miller, Henry. Nexus II - first and second drafts of the work, with numerous holograph corrections by Miller. 6 manila file folders that include the following contents: First Draft of Nexus II with extensive holograph corrections by Miller. 112 pp. * First draft of Nexus II, carbon typescript. 112 pp. * First draft of Nexus II, carbon typescript. 112 pp. * Second Draft [Fragment] A of Nexus II with a few holograph corrections by Miller. Pages 87-115. * Second Draft Fragment B of Nexus II with a few holograph corrections by Miller. Pages 1-87. * Second Draft of Nexus II carbon typescript. No place: 1961 The publication of Nexus in 1959 was the first of a projected two volume work. The typescript for Nexus II begins in the summer of 1928 when Miller and his wife June leave for a six month vacation in Europe on money provided by June’s “patron,” Pop. The trip took Henry & June to France, England, Belgium, Germany, Czechoslovakia, Austria, Hungary & Poland. The book was never finished. Except for a small segment published in El Corno Emplumando during 1964, the entire text remains unpublished. Fine. (10000/15000)

Lot 112

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Page 59 MEMOIR OF HIS FIRST MISTRESS 113. Miller, Henry. Pauline - 19 page holograph manuscript, signed. 19-page holograph manuscript, signed. Accompanied by 15-page typescript with a couple holograph corrections, and a few photocopies, one stamped “Reece Halsey Agency.” No place: No date Miller’s intense memoir of his first mistress, the friend of a mother of one of Miller’s piano students in Brooklyn, “Pauline.” In one passage, Miller describes his first sexual experience with her: “As I said before, she had not fallen for me at first blush. I believe she sensed what she was letting herself in for. She must have known from the beginning that it would end tragically for her. I, on the other hand, acted as if I were blind, deaf and dumb. I questioned nothing. I never looked ahead a millemetre. Of couse it was my initiation into the world of sex. And it was a most beautiful one. As for Pauline, I am certain she had been deprived of a sex life for a number of years. She had never remarried and, so far as I knew, had had no lovers We were both hungry for it. We fucked our heads off...” Later, a shocking revelation, a description of Pauline’s late-term abortion of Miller’s baby: “...I rushed to the bureau, opened the second drawer and there I saw the body of a child wrapped in a towel. I spread the towel and beheld a perfectly formed little boy, red as an Indian. It was my son. I choked on the realization of that fact. And from that to tears at the thought of what she must have suffered. It seems to be the lot of women to suffer. For the pleasures of the flesh they offer us men; we give them in return only pain. If the abortion itself was a horror the aftermath was even worse. The question was how and where to get rid of the body. The doctor, Lot 113 whoever he was - I never saw him - decided to chop the body into pieces and throw the pieces down the toilet. Naturally the toilet got clogged - and the landlady discovered all. She was not only irate but shocked and threatened to notify the police. How Pauline talked her out of doing this I don’t know, but the result was that we were obliged to move on short notice...” Miller ended up leaving Pauline, twice as it turned out, and feeling so guilty about it that he never called or wrote her. However, an interesting memoir of Miller’s first “relationship.” Near fine. (1500/2500)

114. Miller, Henry. Looseleaf note-paper of approximately 100 pages containing the addresses of Henry Miller’s friends and acquaintances. Approximately 100 loose leaf pages (lacking notebook). Most addresses within are typed, but there are numerous corrections & additions by Miller, as well as many holograph addresses in his hand added in. [Pacific Palisades]: [c.] With many famous names of authors, actors and directors, as well as family members and Paris figures Ana‹s Nin, Miller’s 2nd wife June (Corbett), et al. Very good. (400/600)

115. Miller, Henry. Two notebooks - Henry Miller’s address book in original binders. 2 loose leaf notebooks, approximately 200 pages. Many pages are typed, but contain numerous corrections and additions by Henry Miller, as well as many holograph addresses in his hand added in. [Pacific Palisades]: [c.1960s]

Page 60 Containing the addresses of Miller’s friends and acquaintances, including many famous names of authors, actors and directors, as well as family members and Paris figures Anaïs Nin, Miller’s 2nd wife June (Corbett), et al. Very good. (400/600)

116. Miller, Henry. At the Garden Door - typed carbon of a love song by Miller, written for his wife, Hoki, with holograph corrections by him. Typed carbon of the lyrics to a love song by Miller, written for his wife, Hoki, with holograph corrections by him. Accompanied by a cleaner copy (no corrections) and initialed note. No place: 1968 Rust marks from paperclip; else about fine. (200/300)

117. Miller, Henry. Introduction to “Life and Times of Henry Miller” - 4 page typescript with holograph corrections by Miller. 4-page typescript with holograph corrections by Miller. Together with Introduction to Bradley’s Book. [2nd draft of preceding?] 4-page typescript with holograph corrections by Miller. Together with 1-page typed outline of intro. with holograph corrections by Miller. No place: [1970] The Life and Times of Henry Miller was published by Press. The introduction was written by editor Bradley Smith, so this Miller essay was never actually used. Second draft signed by Miller at the end About fine. (200/300)

118. Miller, Henry. Early Days in Williamsburg - typescript draft with holograph corrections. Includes: First Draft, 6-page carbon typescript with holograph corrections. * Second Draft, 6-page carbon typescript, uncorrected. Accompanied by printed version in , Oct. 17, 1971. 1971 A beautifully written memoir of Miller’s boyhood in Brooklyn: “...The house I lived in was be- tween North First and Metropolitan Avenue, then called North Second Street. Opposite us was Dr. Kinney, the veterinarian, and on the roof top next door to his place Mrs. Omelio kept her twenty to thirty cats. Diagonally opposite us was Fillmore Place, just one block long, which was my favorite street and which I can still see vividly if I close my eyes. At the Driggs Avenue end of this street was a saloon and at the other end a kindergraten. I remember the saloon because as a child I was often sent to get a pitcher of beer at the side entrance; we called this `rushing the growler.’...At the Bedford corner was the police station where I was dragged by the arm one afternoon by the young lady whom my mother had asked to take care of me. I must have been six or seven years old; the crime I had committed was to use dirty language in her pres- ence. Florence Martin was her name, and her father, known as Professor Martin, made a good living exterminating rats in the big hotels in Manhattan. He used to carry two ferrets, which he used to catch the rats, in his overcoat pocket...Dividing North First Street from South First Street was Grand Street, a rather exciting street to us kids because [it was] full of stores of all kinds. The most outstanding of these was Reynolds Bakery, which even at that date, was already an institution. Mrs. Reynolds was undoubtedly the first woman I looked upon as a queen, or at least an aristocrat. She stood out above all the women I knew. The back of the bakery gave out on North First Street, where we often played cat, of shinny as we called it then, and the aroma of fresh baked bread, crullers and doughnuts, assailed our nostrils day in and day out. On the other side of Grand Street was Daly’s Fish Market, which also stands out vividly in my memory, particularly the man Daly, who was very swarthy and hairy and, in my mind at least, seemed al- ways to be opening oysters....” Miller goes on to remember the vaudeville houses, early cinemas, school, playmates, candy stores, etc. Of his fantasies of childhood, Miller adds, “But there were also what I call dream streets, that is, streets which I only imagine I knew, and the memory of which was so strong, so vivid, that years later when I was fully grown, I would return and try to find these streets which never existed except in my dreams....” Really a well written, almost Proustian memoir. Fine. (300/500)

Page 61 119. Miller, Henry. On Female Sexuality - carbon typescript for Mademoiselle. 1¼ page carbon typescript with one holograph note at top “(For Mademoiselle).” Accompanied by a TLs from Mary Cantwell, Managing Editor at Mademoiselle, thanking him for the article, who remarked, “As ever, you are controversial.” Pacific Palisades: 1971 “Despite the impression my books may have created in the minds of some,” Miller writes, “I have sinned more on the side of love than sex...I believe that women are more preoccupied with sex than men are; they dream about it in the waking state as well as asleep. Unless they are extremely inhibited they seem ready to make love any time, and they are not so easily disturbed by draughts, noises or other external conditions...” Published in July, 1971. Faint rust mark from paperclip; very good. (200/300)

120. Miller, Henry. On Seeing Jack Nicholson for the First Time - 11 page holograph manuscript, signed. 11 page holograph manuscript and notes, signed (initials). Accompanied by a 4 page original typescript with holograph corrections and photocopies of the same. Together with publicity material, photograph stills, etc. for 1970s Nicholson films including “Five Easy Pieces.” No place: [1970s] A review of the film “Five Easy Pieces” as seen by Henry Miller, together with materials used for the purposes of writing the review. Rust to most from paperclips; else near fine. (300/500)

121. Miller, Henry. Untitled - one act play in typescript with holograph corrections and notes. 40 pages of typescript, with numerous holograph corrections and notations. Plus several small pages of holograph notes. No place: [c.1970s] Gathered in 6 paperclipped groups, this appears to be a rough draft of an untitled play Miller was working on about a stripper on trial, plus additional notes. Rust from paper clips; else very good. (250/350)

122. Miller, Henry. Masculine-Feminine - 15 page carbon typescript article with holograph corrections. 15- page carbon typescript article (5 pages are inserts) with holograph corrections. Accompanied by a photocopy. Pacific Palisades: [1972] A well-written article on the war of the sexes, which begins: “In this age of transition, when customs and traditions are being shattered, it is only natural that these effects shoud be noticed in the realm of sex. Sec is the touchy spot in man’s thinking and behaviour. When there are continuous wars and revolutions, such as we have had almost since the beginning of this century, there are bound to be serious repercussions in this domain as well as in others. What marks man’s thinking most today is the predominance of fear, anxiety and frustration. It applies not only to the Western world but to the Oriental world as well....” He goes on to write, “The question being asked more and more today is whether the noncomforist groups of young people are tending to become less polarized sexually or possibly epicene. Though non-conformist with respect to the Establishment, in dress and behavior they present quite a different picture, one of look alike, talk alike, act alike. Observing them individually and at close range, a limited view admittedly, I get the impression that they run the whole gamut of sexual behavior. Some are fucking like jack rabbits, absolutely promiscuous and striving desperately to become uninvolved, to avoid a more lasting relationship with one another. Some are frustrated and eaten by despair. Some have retreated into the realm of drugs and seem immune to enthusiasm or excitement in any realm, sex included. Some fall in love the same old-fashioned way as did their elders before them, and are even more confused, more tormented than were their elders. The idealistic ones seek outlets through political activity or religious experiences. Others again, either through a feeling of inadequacy or a sense of adventure, turn to homosexual relationships....” An unusual philosphical arguement against promiscuous, loveless sex from Henry Miller. About fine. (300/500) Page 62 123. Miller, Henry. Preface for New, Revised Translation of Capricorn (in French) - 2 page typescript with holograph corrections by Miller. 2 page carbon typescript with holograph corrections by Henry Miller. No place: 1972 This preface to the revised French edition of Tropic of Capricorn has never been published in English. With holograph note by Miller in upper corner of first page: “Sent to Georges Belmont 1/31/72.” Rust marks from paperclip; else about fine. (200/300)

124. Miller, Henry. On Turning Eighty - 2 carbon copy drafts with holograph corrections by Miller. 2 carbon drafts (9 pp. and 11 pp.) with holograph corrections by Miller. No place: [1972] The early corrected drafts of Miller’s essay on growing older, with reflections on his life behind and ahead. Faint rust from paperclips; very good. (200/300)

MILLER REVIEWS JONG’S FEAR OF FLYING 125. Miller, Henry. Schlock or Literature? - 2 page holograph manuscript article signed with Miller’s initials. 2 page holograph manuscript article, signed with Henry Miller’s initials, written for the Book Review section. Accompanied by two ALs from to Henry Miller, one 13 pages (11/18/74), the other one page, enclosing John Updike’s review of the book. No place: May 25, 1975 The article reviews Erica Jong’s Fear of Flying. Miller begins, “Well, well, so Herr Prelutsky thinks ‘Fear of Flying’ a lot of schlock... Naturally a book which sells in the millions is going to be misinterpreted by thousands. As the ‘dean of ’ today I must say that this book is literature, and not schlock...I am doing all I can to champion the book. I want to see it read all over the world. The style is natural, free flow. Just the contrary of Hemingway’s studied prose which so many Americans consider ‘good writing.’ This is a book which the British have published cautiously. Apparently their mildewed critics don’t cotton to it. For them, it’s not a woman’s book. But it is a woman’s book, very definitely so. And it speaks to women, as the thousands of fan letters she receives, testifies. It is more than that. It is a book. Perhaps not the greatest of the century, but a damned good piece of honest writing, whether by man, woman or hyena.” Miller became close friends with Jong when she began a correspondance with him, and both of her letters here intimately discuss Fear of Flying and its huge controversy. Rust Lot 125 from paperclip, else near fine. (1200/1800)

126. Miller, Henry. Fuck Away, Fuck Away! - 25 line pornographic poem. 25 line poem typed carbon with one holograph correction in red ink. No place: [1975] One of only a handful of poems Miller would write in his lifetime, this one is, alas, unquotable here. Very good. (250/350)

Page 63 127. Miller, Henry. Cousin Henry - 19 page typescript with holograph corrections. 19 page typescript memoir of Miller’s cousin Henry, with holograph corrections; accompanied by a copy of the same. No place: [1976] An interesting memoir of Miller’s childhood visits spent with Cousin Henry on 85th Street in Manhattan, the boys he played with, the girl he almost slept with, shenanigans with the gang in the streets or cool cellars during the summers, playing cards & reading aloud. From one passage, he writes: “And then there were those wonderful slices of rye bread with rich sweet butter and sugar which his mother handed us when we came home from play. She did it as if we were two little angels. Never did she suspect, sweet innocent creature, what her two `good little boys’ were capable of. Never would she have believed that we two had killed a boy in a gang rock fight. No, we looked just the same as ever that day, or perhaps a little paler, for we were conscious of the crime we had committed. For days we trembled if there was an unexpected knock at the door. The police were constantly on our minds. Fortunately none of the gang knew we were responsible for the killing. We were intelligent enough to keep our mouths shut. Besides, it was an accident and not a deliberate killing. As soon as it happened we had sneaked away. We didn’t feel very heroic about it either....” Rust marks from paperclips; else about fine. (300/500)

128. Miller, Henry. Jimmy Pasta - 22 page typescript essay with holograph corrections about Miller’s childhood friend. 22 page typescript essay, with holograph corrections, about Miller’s childhood friend, Jimmy Pasta, and school & young adulthood memories of his Brooklyn neighborhood. Accompanied by a carbon copy of the same. No place: [1976] Pasta attended P.S. 85 with Miller in Brooklyn, and later got him a job at the office of the Brooklyn Park Commissioner, where he began writing and eventually earned enough money for his passage to Paris. Pasta appeared as Tony Marella in Miller’s Plexus & Nexus, and is referred to many times in Miller’s notebooks of outlines for The Rosy Crucifixion. Holograph corrections are generally in the form of crossing out last names of people from Miller’s youth that he is slandering (pedophiles, homosexuals, lusty female teachers at P.S. 85, etc.). He describes, as a 21-year old, hearing lectures given by Emma Goldman which changed the course of his life, his first marriage (rarely talked about) to his piano teacher: “I married her not because I was in love with her but to escape the draft. We quarreled almost from the very beginning. Sometimes we rolled on the floor struggling with one another. It was truly disgraceful the life we led...” (She eventually joined a nunnery after he left her for June). He details extra-marital affairs, asking his first wife to let his mistress come live with them (she said no), meeting and shacking up with June, June and Jean Kronski’s lesbian affair, their collective pennilessness (“It was a cold winter and I had chopped all the furniture to pieces to make firewood...”), meeting Pasta on the street and getting a job with the Parks Commissioner, June and Jean leaving him for Paris, and the following years in brief. Rusty paperclip marks, else near fine - a well-written memoir. (400/600)

MEMOIR OF LONGTIME FRIEND JOE GRAY 129. Miller, Henry. Joe Gray - 44 page holograph manuscript for a chapter in Miller’s Book of Friends. 44 page holograph manuscript for a chapter in Miller’s Book of Friends. Accompanied by two 33-page typed photocopies. No place: c.1976 Lengthy memoir of Miller’s longtime friend, Joe Gray, whom Miller met in Los Angeles after he had returned from Europe. Full of sex, mischief, boxing, and adventures, Miller describes with zeal his friend’s life, and of course his own in the process: “...For a man who had had no great eduation it was amazing how keen his judgement of authors was. His great favorite was Byron, followed closely by Keats and Shelley. He even named his dog Byron. For a man who could so easily ingratiate himself with women, it was amazing to observe the affection he bestowed on Byron. Byron came first in everything. Of course this lavish affection for a dog came about through some heart- breaking setbacks with women. He had been betrayed three or four times, with the result that he was absolutely adamant as regards showing any further affection toward

Page 64 the other sex. All his attention now centered on Byron, his dog, and me. He couldn’t avoid fucking the women occasionally but he could never fall in love again...” Miller discusses many aspects of Gray’s short life (he died in his late forties) and his love for him. Fine. (1000/1500)

130. Miller, Henry. J’suis pas Plus con Qu’un Autre - photocopy of Miller’s holograph text, plus typed drafts. 63½ pages of photocopies of Miller’s holograph text, and added to the end of that are 2½ holograph pages by Henry Miller. On the photocopied part are many holograph corrections by Dominique Robertson in blue and pink ink. Also includes a carbon typed copy with holograph corrections, a typescript dated 4/10/75 and a photocopy of the same, and a typescript with holograph corrections. Attached to the last is a short ALs with Henry Miller’s initials about filing this particular archive. Holograph corrections presumably all by Robertson. No place: [1976] Dominique Robertson was charged with making corrections in the text regarding spelling and correct French usage of words. Miller asked that this book never be translated into English. Some rust marks from paperclips; else fine. (200/300)

131. Miller, Henry. Letter to the Editor of the Los Angeles Times. 4 page holograph letter/article, signed twice, on Henry Miller’s personal letterhead. A response to an article published a few days earlier regarding polygamy. Accompanied by a 4 page carbon typescript of Millers above letter, and a TLs from Roderick Mann at the LA Times to Henry Miller, in 1978. No place: 2/14/76 Miller comes out in favor of plural marriages in his letter to the editor: “...As I see it, there is no real conflict between this ancient idea of plural marriage and the new modern one of living your own life. This man and his `wives’ were doing it of their own accord and not at the biddance of the church. Indeed, I believe he was excommunicated from the Mormon church because of his behavior and beliefs. It’s also interesting to me that this sort of thing only seems to happen in the Far West, never in the Mid-West or the East. I must confess that I strongly doubt the members of the Women’s Liberation Movement can come up with such kindly, cheerful faces!... Unless the man or the woman is sufficient unto herself, she or he cannot give love. One has to be free of fear and anxiety, devoid of jealousy, as capable and potent as one’s partner, for a match to survive any length of time, particularly under monogamy. The gentleman with eight wives is so right - monogamy, at least for men and women, is unnatural. It may be o.k. for the birds or the wild beasts. But not for sophisticated civilized men and women.” About fine. (400/600)

The Buyer’s Premium will be 20% for bids up to $100,000 and 15% for that portion over $100,000. Page 65 MILLER’S HIGH SCHOOL FRIEND GEORGE WRIGHT 132.  Miller, Henry. Max Winthrop (George Wright) - 6 page holograph manuscript. Includes: 6 page holograph manuscript. * 20 page first draft carbon typescript with small holograph corrections, with photocopy. * 19 page second draft carbon typescript with holograph corrections, with photocopy. No place: [1976] A memoir of Miller’s high school friend, with whom he helped form the Xerxes Society (of which Wright was the president). Miller describes him at length in his book, Plexus. The manuscript was originally titled “George Wright” but was later changed to “Max Winthrop” to protect the name of his friend. Each of the drafts is quite different, describing variant events of the personalities involved. The two remained friends after high school, when George became a school teacher: “As [a] school teacher he was already screwing all the good looking girls in his classes. He took terrible risks but managed never to get caught red- handed. Even later, as principal, he was dating the most attractive students....” Miller waxes nostalgic for the time in his life when he was in his early twenties: “It was the time of the trolley car, of Trixie Fraganza and Elsie Janis, of George N. Cohan and Charlie Chaplin, of the great dance halls, the marathon and little bunches of violets for your sweetheart. There were great wrestlers, like Jim London, for example, or Earl Caddock, the man of a thousand holds, not phonies like today. There were great fighters, like Fitzsimmons, Corbett, Jim Jeffries, Jack Johnson. There were singers, like Caruso and Tetrazzini. There were six day bike riders and world famous pugilists....” He writes of the spring he spent with George Lot 132 on a New Jersey farm where George was convalescing from pneumonia (a passage that is included in Plexus) - the sex, love, the cold, the jokes and stories told. He even compares the prostitutes of his youth to the ones today. An interesting essay in near fine condition. (1000/1500)

133. Miller, Henry. Mother, I Love You! - 22 page holograph manuscript. 22 page holograph manuscript, accompanied by photocopied typescript. No place: [1976] Eventually printed in Miller’s Mother, China and the World Beyond, printed in 1976 by the Capra Press. A bizarre imagined meeting and conversation between Miller and his mother in the afterworld, with many insights into Miller’s chilhood & lukewarm relationship with his mother. Fine. (300/500)

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Page 66 134. Miller, Henry. Things are Getting Better - 3 page holograph article, signed. 3 page holograph article written by Henry Miller and signed with his initials. Written for the Yale Daily News. Accompanied by a 2 page carbon typescript (with small note in Miller’s hand) and the TLs from the Yale Daily News requesting the article. No place: 1976 Miller was chosen by the Yale Daily News as the “Most Interesting Person of 1976” and was asked to write an article entitled either “Things are getting better” or “Things are getting worse.” Miller takes up the challenge by answering to the first statement, avering that 1977 “will be the American dream come true. Evil, for example, will be eliminated once and for all. There will be no distinction between good and bad. In other words, we will all be as angels, only angels with sex. That is to say, not only male and female, but homosexual and bisexual, so that, generally speaking, we will all be buggering each other indiscriminately. As a consequence there will be no need for marriage and divorce, nor for wars or revolutions. The vices such as greed, hatred, envy, jealousy will die out utterly....” Miller continues on in this vein, creating a science fiction of America without poverty, war, transportation (astral projection only), or government. Rust from paperclip; else about fine. (500/800)

135. Miller, Henry. Marie Corelli - two 5 page carbon typescripts, each with holograph corrections. Two five page carbon typescripts, both with holograph corrections. Lost Pleiad Press: 1977 A critical biographical essay of the author, Marie Corelli. Rust from paper clipse; else very good. (200/300)

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Page 67 MEMOIR OF BROTHER-IN-LAW BEZALEL SCHATZ 136. Miller, Henry. Bezalel Schatz - holograph memoir and other materials including an archive of correspondence from Schatz to Miller. 18 page holograph memoir of Miller’s Israeli friend, brother-in-law, and illustrator of Into the Night Life. Accompanied by a 16 page original typescript, and photocopy, as well as a holograph letter from Miller to Schatz (signed), and a large archive of correspondence from Schatz to Miller. No place: [c.1977] Of his long friendship with Schatz, Miller writes, “...it was in Big Sur that I first met him. He came to me on my birthday, beaming all over, and fill [sic] of a project which he was determined to interest me in. It became the Night Life book which we did together. A beautiful and most unusual piece of collaboration, if I may [say] so myself. As with , I was immediately taken by Lilik...It was Lilik who did the major work. Not only did he do the illustrations and the lay-out, but he did all the silk screen pages by himself. I think it took him almost two years to complete the job...During this period at Big Sur I had a number of Jewish friends. They all got to know each other but I can’t say they fell in love with one another. Each one was unique and outstanding in his own way. I was a friend with all of them. Often, in fact, I was taken for a Jew. All my life, as I have remarked again and again, I seemed to be surrounded by Jewish friends to whom I have always been greatly indebted. Only a Jewish physician, for example, would say to a patient, a Goy like myself, that I need not pay him anything for his services and could he perhaps lend me a little cash?...” Miller’s memoir contains a long passage describing his trip to Europe with his wife, accompanied by Schatz and his wife: “...I believe we went directly from Brussels to London and thence to Wells to visit my old copain Alfred Perles...Every time I accompanied Alf to purchase wine we were obsequiously greeted by the owner of the store, a typical Englishman who always called Alf Mister Perles and who was obviously impressed by the fact that Mister Perles was a writer who had lived in Paris many years. Watching the Lot 136 two exchange greetings I saw my old friend in a new light. He was no longer the clown, the rogue, the scoundrel, but an English citizen, a man of standing in the eyes of his townfold. Of course as soon as we got out of the wine shop we would burst into guffaws. ‘The old fart!’ Fred would say. ‘They’re all like him here, Joey.’” Miller goes on to describe the trip back to Paris, where he and Schatz met the artist Vlaminck (“There he sat in his armchair a huge hulk of a man weighing over 225 pounds at least...looking at his girth and his huge ass, I wondered how he ever managed to sit on a narrow Brooks saddle...His home was now in Normandy where he owned a large farm and raised horses. He introduced us to his two daughters, very healthy, buxom teen-agers who could put away a tumbler of pure alcohol without blinking an eye...”), and down to the south of France where they met Joseph Delteil (“Needless to say Delteil and his wife treated us like royalty. We stayed several days in Montpellier going back and forth to Les Tuileries [sic] and sampling the excellent ‘vins d’ami’ in his cave...”), who accompanied them to Spain for the final leg of their journey. An interesting narrative of a long friendship between the two men, and their travels together, illustrated also by the many lengthy letters from Schatz to Miller over the years included in this lot. Fine. (3000/5000) Page 68 137. Miller, Henry. Anaïs Nin - Venus Anadyomene - tribute to Nin on her 75th birthday. Lot includes: 6-page holograph manuscript tribute to Anaïs Nin on her 75th birthday (her last), on personal notepaper, initialed at end. * 4-page holograph manuscript. * 3-page carbon typescript, with holograph corrections. * 2-page holograph letter from to Henry Miller, requesting use of a transcription of the audio-tape of Miller’s tribute. * Printed program of the birthday celebration. * Several signed release forms for use of Miller’s audio tape for the celebration. Various places: [1977] A laudatory tribute to Anaïs Nin on her 75th birthday. Miller wrote on the envelope from Ferlinghetti: “No, don’t want tape published! HM.” Thus this tribute has never been printed. About fine. (700/1000)

HENRY MILLER ON CENSORSHIP 138. Miller, Henry. Censorship - 10 page signed holograph manuscripts. 10 page holograph manuscript, signed. Accompanied by a 6 page original typescript with holograph corrections by Miller. No place: 12/17/77 Miller begins his piece on censorship by recalling a trip to the police station as a child because of his foul mouth. He continues, “Later on, after I had written the ‘infamous’ Tropic of Cancer I had another brush with the authorities. It was over the French version of Sexus. Apparently with this book I had gone just a little too far, as they put it. Fortunately again I was given a hearing, a sort of pre-trial in a court for which we have no equivalent. I was questioned for a good half hour by a judge who was obviously a literary man himself. His last question was, ‘Monsieur Miller, do you honestly believe that a writer has the right to say anything he pleases in a book?...Today more than ever there is the danger of falling into a rut. Everything has become mechanized, pasteurized, etc. It is men’s dream that perhaps one day the machine will replace the human laborer. (Myself I think the idea is far-fetched, to put it mildly.) However, there is no doubt that the more improvements we make the lazier the individual tends to become...It is therefore of the utmost importance that the artist in our midst be nourished, that his work be cherished. For he is one with the creative spirit Lot 138 which animates the universe....” Rust from paperclips; else fine. (1500/2000)

139. Miller, Henry. Some Other Women in My Life (Preface) - 3 page holograph manuscript. 3 page holograph manuscript, accompanied by 2-page typescript with small holograph corrections, and photocopy. No place: [1977] A surprising admission from Miller that women mean much more to him than just sex, written just after his 86th birthday. Fine. (200/300)

Page 69 140. Miller, Henry. The Mystery of the Japanese Woman - 8 holograph pages on yellow legal-sized paper. 8 holograph pages on yellow legal-sized paper (12½x8) headed with the above title, and containing red holograph corrections. No place: [1977] Published by Lost Pleiade Press in 1977 in Miller’s Gliding Into the Everglades. Fine. (300/500)

141. Miller, Henry. Emil White - 21 page holograph manuscript memoir. Original 21-page holograph manuscript memoir of Miller’s friend Emil White. Accompanied by White’s 5 pages of holograph corrections and notes, photocopies of original and corrected typed texts, and 13 original letters (most holographed) from White to Miller. No place: [c.1977-1978] Miller begins his piece in honor of his friend Emil White thus: “You look into his eyes and you sense a profound, an inexplicable sadness. Yet he is a jokester of the first water and a racon- teur who keeps you laughing and crying. Which side of him is it that attracts women to him so easily? I have never decided this question, despite a long and intimate friendship. One can only shake his head and secretly envy him. For, even in remote Big Sur, his house is like a half-way station for transitory females, Orientals especially...With Emil it is a curious mélange of audacity and respect. You may arrive with your wife, your sweetheart or the woman you are hoping to lay. No matter. In the space of a few minutes Emil has taken her to one side or invited her to look at his petunias or whatever, and right under your very nose he is kissing her and hugging her. Absolutely unabashed and seemingly behaving in all innocence. We got into the habit of referring to it as his `European way.’” Describing his first meeting with White, Miller writes, “I was in Chicago, visiting Ben Abramson at his Argus Book Shop. I had never heard of Emil White. As I’m walking along Michigan Boulevard a man suddenly darts across the street to greet me...Emil knew me inside out, from reading my books... The sequel to our chance meeting was an invitation to have lunch with him and a few of his friends at his flat. I accepted readily, having realized quickly that this was no ordinary fan, but more of a blood brother. And so I went. To my surprise there were several young attractive women already seated at the table. They were for me, as Emil put it. Very much as if he were offering me a bouquet of red and white roses...I took it for granted that the girls were all bedmates of Emil’s in addition to being Henry Miller fans. They were all at my disposal, accord- ing to Emil....” Later, Emil paid an extended visit to Henry in Big Sur: “During the lonely evenings I would often get out my water color set and begin painting. Emil used to watch me work very attentively. After a time he got the notion that he too could paint, if he tried. He began by cooperating Lot 141 with me on a joint endeavor. If I made a tree, for example, he would embellish it with more bark and more leaves and branches, somewhat like Douanier Rousseau. Sometimes he would add a figure, a nude. The result was usually a monstrosity but it gave Emil courage to- gether with a little conceit...In the early days of my stay in Big Sur I had many female visitors, all fans. Once I happened to remark to Emil that there were too many coming, that they interfered with my work. His ready response was: `Send them on down to my place!’ Which I did to the

Page 70 satisfaction of all concerned. Indeed some of the more romantic fans would write me, after a sojourn at Anderson Creek, thanking me for introducing them to such a charming host as Emil White....” About fine - an interesting and nostalgic memoir, with White’s letters illuminating his side of the story. (2000/3000)

142. Miller, Henry. Autograph letter, signed from Miller to “Irving” (Stettner, editor of Stroker Magazine). 11 page ALs from Henry Miller to Irving Stetner. Accompanied by 3 photocopies of a typescript of the letter. Pacific Palisades: Dec. 21, 1978 Miller begins his letter rather pessimistically, stating, “...It’s also ironic that someone like myself cannot find an outlet in an American magazine of any repute. To be sure, our one time good mags have all disappeared. Everything of value is disappearing today in `the greatest country in the world.’ ( would have framed it differently.) So would Céline and Cendrars.” He goes on to philosophize about poetry & to discuss Mohammed Mrabet, Hermann Hesse, and Isaac Bashevis Singer (who had recently won the Nobel Prize). About Hesse, he writes, “...In my latter years I have gone over the same ground in my mind. Who the hell do I think I am? But, Irv, no matter how I argue, I am what I am and no one can take that away from me; moreover, I know who I am, which is another way of saying `Fuck you, Jack, I’m not joining your band-wagon. Not even if you are a Zen Buddhist.’ Hesse gave me Siddhartha, for which I am eternally grateful. And because of that wonderful book, I not only killed in me the Jesus, the Buddha, the Mahomet, but the guy I once thought I was and who was just another horse’s ass. In short, I became myself.” His letter ends in typical Miller style: “This letter was not dictated by any fucking Xmas or Hannukkah spirit but just by a strong feeling of friendship. Ever yours, Henry.” A few smudges on page 1; else fine. (500/800)

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Page 71 MILLER RECALLS THEATRE OF CHILDHOOD & YOUTH 143. Miller, Henry. The Theatre - 15 page holograph manuscript, signed. 15 page holograph manuscript, signed. Accompanied by a 10 page original typescript with holograph corrections by Miller, and a 2 photocopies of the same. No place: [c.1978] Miller recalls the theatre of his childhood and youth, with vivid details of his colorful memories: “My earliest remembrance of any theatre is that of the vaudeville house called `The Novelty’ not far from out home on Driggs Avenue, Williamsburg. Every Saturday my mother would give me a dime to buy a seat in `Nigger Heaven’, as the gallery was called. I was then seven or eight years old. If there were any comedians in those days I don’t recall them, or else their jokes were over my head. Mainly there were acrobats, trick cyclists, magicians and such like... It’s during my adolescence (12-15 years of age) that I become aware of all the theatres there are or were in Brooklyn. By this time we are living in the Bushwick section, not so very far from Evergreen Cemetery, and Trommer’s Beer Garden...I discovered that in the East New York section there were several 10-20-30 theatres, featuring shows like `Bertha the Sewing Machine Girl’ or `The Two Orphans.’...The Neighborhood Playhouse had the same authenticity but was more sophisticated and could afford well-trained actors. I recall vividly my first visit - they were giving a play by a well-known British author who had encouraged Joseph Conrad to be a writer and to write in English rather than Polish or French. It happened that night that the leading actress was the beautiful, mature wife of the well- known Richard Bennett. The scene which electrified me was of her sitting in her boudoir before her make-up table, dressed rather scantily and glorious to behold. What got me was that she sat there, looking at herself in the mirror and never uttering a word. Everything that passed through her mind was registered in her facial expressions. Shadows flitted across her face, her eyes flashed, her teeth shone white and bright, her hands made gesticulating movements. It was hallucinating. I had never seen such acting before. And so, when I arrived home, I sat down and wrote her a eulogistic letter. I must have put a return address on the envelope because in short order I received a most gracious invitation from her to come visit her in her dressing room....” Fine - a great, lengthy piece containing some of Miller’s sweetest childhood Lot 143 memories. Near fine. (2000/3000)

144. Miller, Henry. Miriam Painter - holograph manuscript and related materials. Includes: 4 page holograph manuscript of the work. * 3 page typescript with holograph corrections. * 1 page of holograph notes by Miller to his secretary and son. [Pacific Palisades]: [1979] Fine. (200/300)

Page 72 MEMOIR OF LONGTIME FRIEND ALFRED PERLES 145.  Miller, Henry. Mon Ami Alfred Perlès - various manuscripts and typescript drafts (with holograph corrections). Includes: 29 page holograph manuscript of Part I. * 18 page typescript of Part I, with holograph corrections. * 43 page holograph draft of Part II. * 25 page typescript of Part II, with holograph corrections. * 2 page holograph of “Conclusion to Epilogue.” * 2 page typescript of same, with holograph corrections. * 1 page holograph statement “Fred’s X-mas day.” * 5 pages of holograph notes about the essay. No place: [1979] A loving portrait of a fellow writer who befriended Miller during his early, hungry years in the Paris of the 1930’s, and who remained a friend and correspondent for the remainder of Miller’s life. Perlès was identified by Miller as the closest male companion he ever had. The memoir contains many anecdotes of their early years in Paris together, with June, Anaïs Nin (“When I became acquainted with Anaïs Nin, Joey naturally fell madly in love with her”), numerous other women (and his Madonna/whore complex/theory), numerous cockroaches & vermin, seedy hotels, petty thefts (“It was always a collaborative event. While I engaged Michael Fraenkel in hearty discussion of this or that Joey would remove the wallet from the inside pocket of Fraenkel’s coat...”), practical jokes, homesickness, writing Tropic of Cancer (“At last it was finished. But before thinking about a publisher I knew it had to be edited, trimmed down especially. I looked about me in vain for editorial guidance. Anaïs Nin was out of the question. It was not her type of book. One day, perhaps at Fred’s own suggestion, I asked him if he would help me...”), Lawrence Durrell (“During the period that Durrell and his wife stayed in Paris - a year or two - most every night was a gala night...”), a white wine-induced menage … trois with Miller, Perlès, and a raven-haired friend, an evening of bar-hopping with Blaise Cendrars, and many other great escapades. Miller ends poignantly, “I wind up this chapter about him with tears in my eyes. He was a friend indeed, an unfogettable one.” A wonderful Lot 145 and valuable memoir. Rust marks from paperclips; very good. (2500/3500)

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Page 73 ARCHIVES AND OTHER MATERIALS 146. Miller, Henry. File folder containing Henry Miller’s holograph & typed drafts of letters from Miller to various friends & professional acquaintances the world over requesting their written support for his nomination to receive the Nobel Prize for Literature in 1978/79. File folder containing Henry Miller’s holograph & typed drafts of letters from Miller to various friends & professional acquaintances the world over requesting their written support for his nomination to receive the Nobel Prize for Literature in 1978/79, with his holograph list of people to whom the letters were sent, and the replies. Approximately 46 letters written to and received by Henry Miller from Miller’s friends, editors and acquaintances in response. 1978-1979 Response letters from such people as Kay Boyle, Elmer Gertz, (Grove Press), Albert Maillet, (Olympia Press), Hans Reitzel, John Killinger (Dean, Vanderbilt University), J. Rives Childs (American Ambassador), Lawrence Shifreen, Raoul Bertrand, William S. Burroughs (xerox), William Targ, Noel Young (Capra Press), and many others. Very good. (500/800)

147. Miller, Henry. Astrological information about Henry and Hoki Miller. File containing astrological information on both Henry & Hoki Miller: 16 pp. computer generated natal chart dated 3-3-70 of Henry Miller. * 13 pp. computer-generated natal chart dated 11-8-71 of Henry Miller. * 2pp. T.L.s. from astrologer Carl Tobey, dated2-6-66. * Miller’s horoscope in ink on 24x18” page, folded, initialed by Henry Miller. * 3pp. photocopy of letter from astrologer Howard Wuff to Miller, dated 6-18-68. * 1 p. T.L.s. from Roger Bloom on Missour State Penitentiary stationary with 7 pp. horoscope of Bloom by Erhard Scholtz. * 5 pp. horoscope of Hoki Miller’s with hand-detailed chart. 1966-1971 Rust from paper clip; else fine. (250/350)

148. Miller, Henry. Correspondence between Miller and Shigeo Tobita, a Japanese man who wrote Henry Miller’s Philosophy of Acceptance and also acted as his Japanese translator. Folder full of correspondence between Miller and Shigeo Tobita, consisting mostly of carbon typed letters, many of which are signed with Miller’s initials. Also many ALs from Tobita to Miller, as well as TLs with holograph corrections, and many original envelopes. Various places: [c.1971] File contains signed carbon typed letters from Miller to Tobita, and numerous let- ters from Tobita to Miller. Many of Miller’s letters describe his background, philoso- phies, Japanese connections, etc. In one letter, Miller writes, “You write that two more (!) translations of my Capricorn have now been published - by Kodansha and Kadokawa. I can not understand these re- publications and re-translations. How can the original publisher (Shincho-sha) permit these deals? Don’t these new publications detract from the sales of Shinco-sha’s own edition? It’s difficult for me to understand the practices of Japanese publishers. They seem to be cutting one another’s throats...I am enclosing a yellow card which in typi- cal, vulgar American fashion sums up my Zen. I don’t know why it is but every time I read those words I chuckle to myself. It’s the word ‘bum’ which gets me. That little word contains so many connotations, especially when applied to someone like Lot 148 Page 74 myself. Even now, as my 80th birthday approaches I think how true that ‘bum’ business is. I am still a bum - perhaps you might say a ‘spiritual bum.’...” Many with rust from paperclips; very good - and with interesting material. (1200/1800)

CORRESPONDENCE WITH LITERARY AGENT 149. Miller, Henry. Documents and correspondence between Miller and his literary agent Agence Hoffman. 15 file folders filled with papers between Miller and Agence Hoffman in Paris, ranging from 1961 to 1976. Various places: 1961-1976 Includes numerous signed contracts, carbon letters from Miller to Michael Hoffman and original letters from Hoffman to Miller (including some contentious wrangling from time to time), royalty statements, copy letters from other publishers, etc. Very good or better - an important group of material. (2500/3500)

Lot 149

150. Miller, Henry. File containing ephemera and documents relating to Henry Miller and Hoki Tokuda’s wedding. 2 manila folders: 1 folder contains approximately 20 pages of original and photocopies Japanese and American clippings, along with 31 telegrams from well wishers. 1 folder contains financial documents and correspondence regarding Hoki and Henry, including 8 cancelled checks written by Miller to Hoki, notes on the transactions, bills, tax returns, etc. Various places: 1967 and 1974-75 Hiroko (Hoki) Tokuda Miller, Henry’s fifth wife was a Japanese singer and pianist in a Chinatown restaurant. The wedding of course caused a bit of sensation, as the “aging, white- haired” Miller was at least 75, while Hoki was reportedly anywhere from 23 to 29 to 32, and the marriage was so sudden that Hoki’s parents could not even attend. The Japanese newspaper clippings show candid photos of the couple. Letters from lawyers detail immigration problems concerning taxed. Materials are very good to fine. (200/300)

151.  Miller, Henry. File of correspondence between Henry Miller and his major publisher, Grove Press. Correspondence includes contracts and royalty statements. Various places: Various dates Includes a 2 page holograph letter, signed, from Miller to Barney Rosset at Grove Press trying to get his paperbacks back on supermarket shelves, photocopies of contracts for various books, including ’s Mailer on Miller, Sexus, Plesux, The World of Sex and Quiet Days in Clicy, motion picture agreements, etc. Very good. (400/600) Page 75 LAWSUIT OVER “OBSCENE” FILM 152. Miller, Henry. File regarding the film of and lawsuit over Quiet Days in Clichy. File includes letters from Miller’s lawyer, a few carbon letters from Miller (signed), one in particular to his lawyer detailing reasons the film should not be judged obscene and with numerous holograph additions by Miller; newspaper clippings, film monetary accounts, telegrams, reports of international openings and censorships (particularly in Canada - Scandinavia seems to have embraced the film the most), signed film rights between Miller and Knud Thorbjornsen; a TLs from Hans Reitzel to Miller regarding the film; signed carbon letters between director Jens Thorsen and Henry Miller (including one in which Miller criticizes the film’s actors), publicity, etc. Various places: [c.1970-1975] The film version of Henry Miller’s Quiet Days in Clichy was seized by U.S. Customs when it arrived in the Port of Los Angeles and impounded to await a trial on the charge of . That trial was held on July 6, 1970 before Federal Judge William P. Gray, who ruled that the film was not obscene, and was soon released to arthouse theatres around the country. Very good. (1500/2000)

Lot 152

153. Miller, Henry. Folder of correspondence, photographs and ephemera relating to the film rights and publicity for Just Wild About Harry. Folder includes the signed film agreement between Henry Miller and Robert Bushnell (as well as 2 signed addenda), foreign contracts, proposals, etc. Also contains 7x9½ (out of focus) color photograph of the cast, their names on verso in ink, a flier for the production, and a typescript of a play by Miller in French. Various places: c.1968 Interesting look at materials relating to the film rights, publicity, etc. for Just Wild About Harry, adapted from Miller’s book A Smile at the Foot of the Ladder. Fine. (600/900)

Page 76 154. Miller, Henry. Group of 5 original photographs of sites from Miller’s childhood in Brooklyn. 5 original photographs, holograph captions on versos describing their places in his novels. The images are: formal portrait of Miller’s father, Heinrich, aged 50, in 1916 (inscribed by him on verso, dated 1916, 1063 Decatur St., Brooklyn, NY). * “Police Station - Bedford Avenue - 14th Ward, Brooklyn. (Sexus or Plexus).” * “’The Fountain’ - Bedford Avenue (14th Ward) Brooklyn. (Black Spring).” * “Lutheran Church mentioned in ‘Sexus’.” * “Scene of opening pages of ‘Plexus’ - ‘The Japanese Love Nest’, 91 Remsen St., B’klyn.” Last 4 are snapshot size. Various places: Various dates Fine. (300/500)

155. Miller, Henry. Henry Miller’s card catalogue of personal addresses, mostly written in his secretary Connie’s or his own hand. Containing hundreds of 3x5 note cards with addresses written in ink, filed in alphabetical order in a small metal filing box. No place: No date Addresses include those of numerous publishers, as well as artist Sam Francis, actress Marilyn Kim Novak, Mr. & Mrs. Eddie Albert, Tony Bennett, Gyula Brassai, John Cassavetes, Sammy Davis Jr., Milos Forman, Ava Gardner, Ben Gazarra, Buddy & Sherry Hackett, Elia Kazan, and many others. With some additions in Miller’s hand. Very good. (300/500)

156. Miller, Henry. Membership certificate to the National Insitute of Arts and Letters. Certificate awarded to Henry Miller. 9x11¼ with bright gold seal, and signed by Malcolm Cowley and Louise Bogan. New York: 1957 Crease from folding; else near fine. (700/1000)

Lot 156

157. Miller, Henry. Numerous ephemeral pamphlets, booklets, fliers and more for shows, books, films and readings by Henry Miller. Items include The Henry Miller Literary Society Newsletter, No. 8, 1961; Minneapolis Morning Tribune offprint on Tropic of Cancer, 1961; prospectuses for Lawrence Durrell and Henry Miller: A Private Correspondence, Collector’s Quest, Henry Miller Titles from Capra Press; “I Defy You” (Offprint from Playboy); numerous other offprints from magazine & newspaper articles; Press release for Just Wild About Harry; Film promos for Henry Miller Asleep & Awake; Henry Miller Recalls and Reflects, etc., etc. Various places: [c.1950s-1970s] Fine. (500/800) Page 77 158. Miller, Henry. Original black and white photograph of Henry Miller with wife Hoki and others. 8x10 original black and white photograph of Miller standing with his wife Hoki and others. Taken by Baylis Glascock. Los Angeles: [c.1970s] A nice image of Miller during one of his briefer marriages. Fine. (200/300)

PHOTOGRAPH OF THE XERXES SOCIETY 159. Miller, Henry. Original oval photograph of the Xerxes Society, including their secretary Henry Mill in 1910 - plus related ephemera. Original oval photograph of the Xerxes Society (a club made up of several like- minded young male contemporaries) 1910, including their secretary, Henry Miller. Taken by Pedlar’s Photo Studio, Brooklyn (with their stamp to verso), in original glassine envelope with photographer stamp. Brooklyn: 1910-1912 Together with: Copy photograph of the same, with lenthy holograph note to verso by Miller; group of 3 printed alumni cards from the Xerxes Society, listing quotes from members, incl. Miller & certain others who were later represented by characters in Miller’s The Rosy Crucifixion and possibly Tropic of Cancer (like William Dewar). One card illus. with reproduction photograph of the group, incl. a very young Henry Miller. Also with the club ribbon in fine condition, in a Nassau Nat’l. Bank, Brooklyn envelope. Brooklyn: 1910-12. Likely one of the earliest photographs known of Miller in his youth. Miller was the Secretary of the club, and there are long passages about the Xerxes Society in Plexus and The Books in My Life. Photograph is near fine with only mild silvering to edges; other material is in very good or better condition - rare early Miller ephemera. (1500/2000)

Lot 159

HENRY MILLER’S MANY GIRLFRIENDS 160. Miller, Henry. Photographs of Miller’s numerous girlfriends, including several nude and lingerie shots. In a manila folder labelled “My Girlfriend Folder,” are housed hundreds of photographs of Henry Miller’s girlfriends, including several nude and lingerie photographs. Sizes range from 2x2 (usually cut from another photograph) to 11x8½. Some photographs include Miller. Various places: 1935-1975 Most inscribed on versos to Miller or captioned by him on versos. Subjects include Erica Jong, Renate Gerhardt, Tullah Hanley, Flo Dudley, Sarah Goldberg, Zofia, Fumiko Kurimoto, Sandra Scott, Lisa Lu, Minroo Javan, June Lancaster, Maggie Lidchi, Grace Oyama, Mara Guimaraes, Elke Sommer (!), Cleo Usher, Letitia Roman, Susanna Cramer, Janie Wald, Jennifer Jones (taken by Roddy McDowall, 1966), , etc. Very good - quite a selection. (400/600)

Page 78 161. Miller, Henry. Tropic of Cancer - folder with correspondece from director Joe Strick and others discussing the film. Includes multiple ALs and TLs from director Joe Strick, TLs from Attorney Edward Blau regarding legal matters, typed letters from Paramount, clippings regarding controversy of the film, etc. Various places: 1967-1969 Technical and legal correspondence relating to the film version of the controversial book. Joe Strick writes in a letter to Miller dated April 25, 1969, signed “Joe”: “Your misgivings concerning the alteration of sequences and transpositions is certainly justified from the overall vision that you have of the book. My vision has to be quite separate since the form is different. As you say, reading a book is quite different from seeing the film...You are absolutely right that the amount and nature of the narration is very dangerous. I can only defend it by saying I think I can make it work and I’ll throw it out if it doesn’t...The sections that you have called “diatribes” when we’ve talked, are terribly important to me...I would like your role on the film to be twofold: most important, to help us in the conception of the film by suggesting ways to do things...I don’t expect you to sit down and write scenes by your notions could be terribly helpful to us...”. This file is of letter-size material, and there is a reference to other legal documents that are no longer included with the archive. Very good. (300/500)

162. Miller, Henry. Tropic of Cancer - collection of film contracts, rights and negotiations. 2 legal-sized folder containing carbon copies of typed letters, contracts, etc. as well as photocopies of the same, and of payment notices, checks, etc. Various places: 1969-1970 Papers include contracts signed by Henry Miller, letters from studio executives and agents, check stubs, publisher quitclaims (Grove Press), and much more - an interesting archive, should be seen. Very good. (600/900)

MILLER’S HANDPRINTS FOR ANALYSIS 163. Miller, Henry. Two handprints by Miller (right & left hand). Two handprints by Miller (right and left hand) on separate 8x11 paper, each initialed & dated by him 9/57. Together with photocopies and copy of a 1966 report on Miller by handwriting analyst Dorothy Sara, with Miller’s holograph filing instructions attached. No place: 1957 and 1966 The handwriting analyst found Miller to be “a man of good taste, intellectual quality of mind, and the ability to translate his ideas into words and action...he has a broad- minded attitude toward people and situations...He has a quick wit, he likes being with people who have alert minds so there can be a stimulating exchange of ideas....”An interesting lot - the two signed palmprints would look great framed. Very good. (1200/1800) Lot 163

Page 79 164. Miller, Henry. Vintage theatre and vaudeville programs from Brooklyn theatres that Henry Miller attended in his youth. File folder filled with old theatre and vaudeville programs from Brooklyn theatres that Miller attended in his youth and saved, as well as his clippings of theatrical announcements and bills. Brooklyn: 1898-1920s A wonderful collection of original programs from shows Miller attended as a child and young man living in Brooklyn, including theatres such as the Alcazar, Amphion, American Music Hall, Casino, Folly, Gayety, Columbia, Payton’s, Brooklyn Music Hall, Watson’s Cosey Corner, Bronx, Park, and Grand Opera House. An important archive from a significant time in Miller’s life, which he harked back to nostalgically in many of his autobiographical writings as some of the happiest and also most difficult memories of his life. Some browning and extremity chipping, else good to very good. (500/800)

165. Miller, Henry. Two folders containing documents relating to Miller’s donations to UCLA between 1948 and 1971. Approximately 130 pages of carbons and originals, mostly acknowledging receipt of donations or deposits of Henry Miller’s materials at The University Library. Various places: Various dates A nice group of documents chronicling Miller’s bequests to the Henry Miller Collection at UCLA. Also includes a folder (date unknown) listing in detail The Bern Porter Collection of Millerana, which Porter gifted to the library from 1946-1948. Several of the documents have ink & pencil notations in Miller’s hand. Very good. (700/1000)

CORRESPONDENCE WITH LITERARY & MOVIE AGENCIES 166.  Miller, Henry. Three folders containing papers between Miller and 3 different literary/movie agencies. Correspondence between Henry Miller and the following: Halsey Agency (L.A.), Lawrence Pollinger (London) and Scott Meredith Agency (New York). Includes carbon letters from Miller (some signed) and actual letters from agencies, some with Miller’s holograph notes and additions. There are 5 holograph signed letters of various lengths (1-3 pages) to Scott Meredith from Miller expressing frustration and interest in ongoing projects, eventually attempting to terminate their agreement. Various places: 1960s-1970s A fine and interesting group, with the 5 holograph letters being among the highlights. Fine. (2000/3000)

BOOKS BY HENRY MILLER 167. Miller, Henry. The Cosmological Eye. Cloth, dust jacket. First Edition. Norfolk: New Directions, [1939] Shifreen & Jackson A23a. Heavy chipping to jacket spine ends, milder chipping to jacket corners, short tears with creases to jacket extremities, flaps clipped; offset to pastedowns, foxing to cloth spine, else about very good. (200/300)

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Page 80 WITH SILKSCREENS BY HIS BROTHER-IN-LAW 168. Miller, Henry and Bezalel Schatz. Into the Night Life. Color silkscreen illustrations and text throughout by Schatz. 14¾x11¾, decorative blue cloth, slipcase. No. 306 of 800 copies. First Edition. [Berkeley, CA]: [1947] Signed on verso of last serigraph by Miller and Schatz. The book is a beautiful production, printed entirely in serigraph and silkscreen and bound in a decorated blue cloth from a design by Israeli Palestinian artist Bezalel Schatz, the text a facsimile of Miller’s holograph, a chapter from Black Spring. Bezalel, Miller’s brother- in-law at the time, conceived the project and created the silkscreens, taking nearly two years to complete the work while living in Big Sur. Most of the 800 copies were destroyed by rats or suffered water damage. Three leaves with small worm holes, which occurred before the book was bound and are present in many copies; else fine in near Lot 168 fine (slightly rubbed) slipcase. (1500/2500)

169. Miller, Henry. Of By & About Henry Miller - inscribed. Wrappers. One of 1000 copies, of which only 750 were for sale. First Edition. Yonkers, NY: Alicat Bookshop Press, 1947 Inscribed on inside front wrapper in French, to Hans Reichel (his close friend and collaborator), signed and dated 7/17/47. A few holographic corrections to the text by Henry Miller within (on pages 20 and 35). Some faint creasing along edges of wrappers; else fine. (400/700)

ONE OF ELEVEN COPIES 170. Miller, Henry. Order and Chaos chez Hans Reichel. Introduction by Lawrence Durrell. Morocco-backed silk over boards, dust jacket, slipcase with cork board applied labels, in the original cardboard shipping box. Lettered “L” out of 11 copies. The numbering of this edition spells out H-E-N-R-Y M-I-L-L-E-R. New Orleans: Loujon Press, [1966] Signed and dated by Henry Miller in red ink at rear, dated 9/5/66. Additionally there is an inserted holograph letter entirely in Miller’s hand, on his letterhead, addressed to the publisher Jon Webb, in which Miller advises on matters related to this book’s production and distribution; dated 9/28/66 and signed by miller in full, folded twice, as issued. Also included is the promotional sheet from the publisher, inscribed in red ink. Each of the 11 copies is unique and are extremely rare. Tiny chip on jacket’s spine heel; else fine. (1200/1800) Lot 170

Page 81 171.  Miller, Henry. Order and Chaos chez Hans Reichel. Introduction by Lawrence Durrell. Stiff wrappers, dust jacket, slipcase. First Edition. One of 1399 copies of this “Cork Edition.” New Orleans: Loujon Press, [1966] Jacket with some spots of yellowing and faintly creased at some edges; else fine. (200/300)

PRINTER’S DUMMY OF TRIBUTES TO HENRY MILLER 172. Miller, Henry. Printer’s dummy of Bern Porter’s book of tributes to Henry Miller, used by Miller as a notebook, and containing early outlines of The Rosy Crucifixion. Printer’s dummy of Bern Porter’s book, The Happy Rock, inscribed and signed by Porter to Miller on rear free endpaper, dated 1945. Most of the 160-page book was left blank, so Miller used it as his notebook for very early outlines of The Rosy Crucifixion over the next few years, writing in holograph on 68 pages. No place: 1945 Section titles include: “Notes for Plexus” (which contains many reminiscences of Clinton Street and New York with June, et al.), “Notes for Nexus”, & “The Rosy Crucifixion” which contains the following headings for lengthy notes: “Mad Characters”, “Eccentrics”, “Lovable Ones, Important Characters, New Names”, “Painters and Paintings”, “Old, Vague, Remote Ones”, “To Caricature”, “The Lovers”, “Places not to forget”, “Excerpts from Books”, etc. These are many pages of notes about the trilogy, with important revelations of which characters represented real-life friends & acquaintances of Miller, brief characterizations of their personalities for the book, plot details, etc. In his “Notes for Nexus” section, Miller writes: “1. Begin by wind-up-en-bloc of all leading to cellar life at Henry St. & Love Lane. Long dissertations on books, music, painting, art and rapid-fire conversations - crazy yet purposeful, with June, Jean, Cohen etc. Develop Jean’s pseudo-pregnancy and results of Cohen’s examination. Develop morbid hysterical love for June - possessiveness - and wind up with attempt at suicide. Jean raises money for move to Henry St...” Also with some notes about other books, including “Orders for ‘Big Sur & the Oranges of H.B.’” and other books, and a list of visitors Miller had in 1945, with many famous names. Vintage map of Paris laid in to rear! Rubbing to extremities, soiling (from Lot 172 Miller’s hands), else very good - with great content. (2000/3000)

173. Miller, Henry. Reunion in Barcelona: A letter to Alfred Perlès from Aller Retour New York. Wrappers. No. 54 out of 500 copies. First Edition. [Northwood, UK]: Scorpion Press, 1959 Signed by Henry Miller on the half title. Near fine. (300/500)

Page 82 174. Miller, Henry. Scarce book on the making and production of Into the Night Life. [28] pp. Printed in black, red and blue. Illustrated from the book. 11x8½, pictorial stiff yellow wrappers. First Edition. [Los Angeles]: [George Yamada], [c.1950] While the original edition of Into the Night Life was published in 1947, this book contains a quote from an article dated Dec. 1949, so it was likely printed c.1950. The opening statement reads, “The purpose of this publication is to give you the salient features of Into the Night Life - how it was made, what it is about, its role in book production - together with a few testimonials from individuals qualified to appraise its merits.” Fine. Scarce. (200/300)

175. Miller, Henry. The Smile at the Foot of the Ladder. Biography of Henry Miller by Edwin Corle. Illustrated from artworks in the collection of Merle Armitage. Cloth-backed decorative boards designed by Merle Armitage, later slipcase. New York: Duell, Sloan & Pearce, [1948] Signed by Miller in purple ink on the preliminary flyleaf, dated March 30, 1949. Spine lettering a bit rubbed, and a few other very faint marks; very good. (300/500)

176. (Phonograph Recordings) Miller, Henry. Henry Miller Recalls and Reflects [and] Just Wild About Harry. Two sets of records including: Henry Miller Recalls and Reflects: Recorded in Conversation with Ben Grauer, New York; April, 1956. Two 33 and 1/3 RPM phonographic recordings in original glassine sleeves, and board covers, with cloth “spine” hinge. * Just Wild About Harry. Two 33 and 1/3 RPM phonographic recordings in original glassine sleeves, and board covers. New York: Riverside Records, 1956 [and] 1962 Together two album titles, each with two records. The first with cloth hinge peeling away, and some wear to boards; else near fine. (300/500)

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Page 83 LETTERS TO HENRY MILLER FROM SECOND WIFE JUNE 177. Corbett, June Mansfield [Miller]. 29 autograph letters signed to Henry Miller from his second wife, June. 29 ALs (mostly one page) to Henry Miller from his second wife, June (represented by his characters “Mona” & “Mara”, among others, in his novels), who was with him and Anaïs Nin in Paris during the time Miller was working on Tropic of Cancer. Forest Hills, NY: [1966-1972] Many of the letters complain of ill health & poverty, some delve into the past, a few are difficult to read because of ink bleeding. From one: “When I left with you for [Paris?] I was running away from a situation that had reached its peak...” From another: “Henry - this is to explain more that I simply acted as a buffer of the world surrounding you - I tried at the time to explain - I could not understand Anais or anyone’s influence - I could not & still do not understand your ---...I still am unequipped to write and explain anything - for me the world dropped. I sat through the nights with a stranger who assumed a p-- of nonsense, who used the excuse of making love to me but lacked the understanding - all...” From yet another, “I tuned in to Merv Griffin and heard and saw you, and you looked younger, more beautiful than anyone on the program. It confirms all my beliefs, that you are the saint, the master that I believed in....” From the last, “I really have no idea. I hope that you make sense of all that has happened. I don’t. All my love, always, June.” Accompanied by a 1-page T.L.s. from Bill Allen, Dept. of Social Welfare, & 4 letters (2 typed, all signed) from Annette & James Baxter, all long-time friends of both Henry and June, regarding June’s welfare, & discussing Henry’s continuous financial support of her, 1971-72. A fine, important archive of letters from the woman who aided and abetted Miller’s and Nin’s genius in their early Paris years - both wrote often about June. Near fine. (4000/6000)

Lot 177

Page 84 THREE LETTERS FROM LAWRENCE DURRELL 178.  Durrell, Lawrence. Holograph signed letter from Durrell to Miller on printed newstand headline advertisement reading “Fernandel est mort!”. With drawings around letters by Durrell in purple and pink pen. 19¼x13. Geneva: No date The letter to Miller reads, “Dear Henry - in Geneva last week I stole this off a newstand and though it might make a wall decoration for your studio. It is not so much a man who has vanished but a whole epoch of cinema in the personality of this great comic, who was too intelligent to be a clown. Love, Larry.” A great, showy piece, with a couple short tears to extremities and creasing from folding, else very good. (700/1000)

179. Durrell, Lawrence. Two-page typed letter signed, to Henry Miller about wine, women and song. 2 page TLs on personal letterhead, and with holograph corrections by Durrell. 10½x8½. Sommieres: Sept. 25, no year A wonderful, lyrical letter espousing the virtues of women and the grape harvest: “Dear Henry: your marvellous long letter arrived this morning to chime with the great vendange which is in full swing; under my garden wall groups of sharpshooter-looking Spanish, Italian and French girls move, got-up like parrots, plucking the grape harvest. The moon is full to heartbreak point these days and autumn is striking like a great big gong...” Durrell goes on to describe two loves of his life, but adds, “Anyway, I think you are right about badly aspected marriage houses - and yet you keep on marrying them. But I think that now with this marvellous Ambassadress you have struck oil, a real geyser. She is a magnetic girl with the distinction of Vega at full, burning blue and steadfast up there...While I was in Paris my tracks crossed with another super woman, Miriam Woorms who adores you. I always thought her the most beautiful creature of all and was quite knocked out when that bomb went off and shot out her eye; now with a black patch she still looks fine. I wish to hell I had had an affair with her, but she adores and is faithful to her husband, who is a sweetie and worth it. And so life runs on...Yesterday it was so sunny I swam in the pool and then decided to go to Avignon. I picked up a tall willowy dark girl, auto stopping, on the run from some awful boyfriend. I took her to Avignon to put her on the train but suddenly she decided she would like to stay with me a day or two. What luck for an vieux monsieur...” A wonderful letter encompassing so much of Durrell’s personality. Fine. (800/1200)

Lot 178 Lot 179

Page 85 180. Durrell, Lawrence. One-page typed letter signed, to Henry Miller, with 3 holographed red hearts and elaborate colorful drawings. 1 page TLs with a large black ink drawing colored with yellow, red, orange, purple and blue marker. Sommieres: Dec. 15, no year Durrell wrote this letter around Christmas, reporting the usual interesting news & memories of the old days: “... Little Buttons sends her love for Xmas. She has re-emerged briefly and is just as mischevious as ever and still very pretty; what luck to tumble into her arms on a wet Saturday...Ghislaine is fixing up a flat in Paris. I think with some regrets but really we were not suited - her notion of a foyer was the salle des d‚parts at Orly. She wore me out with her gambols and expense...Just reading Brassai’s solid documented and thoughtful book about you and incidentally us. What he brings out so well is that our friendship and admiration for each other was so firm that it withstood every kind of harsh test like changing ideas, changing notions of good and bad writing - it was unique in that; down deep we firmly believed in each other as artists even when being critical and feeling that the other had taken a fausse route...What an epoch to live through. Now all that is left is senile seniority and ennui. Can we throb to Mailer and Roth? I can’t. Bellow yes. This Lot 180 is where one feels the arteries getting hard....” Fine. (1000/1500)

181. Fonda, Jane. Two holograph letters and one typed letter signed from Jane Fonda to Henry Miller. 2 holograph letters from Jane Fonda, signed. Plus one TLs from Jane Fonda to Henry Miller. California: 1976 Each letter is in regards to her fundraising efforts for a solar energy project in California. The two holograph letters were sent to Miller before and after an auction was held in 1976 (according to the postage stamp), one requesting art work or written work from Miller to be auctioned off, and the later one thanking him for his art work donation, which Fonda won at auction. One letter in original envelope. Fine. (200/300)

182. Insley, Joseph “Joey” J. Three autograph letters signed from Henry Miller’s childhood friend Joey, plus an original photograph of a 13 year old Miller with Joey and family. Lot includes: Original photograph (printed later) of a young Henry Miller (about 13 years old) with his father, mother, and his childhood friends Tony and Joey and their family, all in front of a large house in Bensonhurst resided in by Joey and Tony’s aunt and uncle’s family. 7x5. Bensonhurst, [c.1911]. * 3 ALs from Joey (of Miller’s chapter in Book of Friends entitled, “Tony and Joey”), one of which explains who each person in the photograph is. 2 letters in their original mailing envelopes. 1978. Various places: Various dates The letters from Miller’s long lost friend Joe Insley (misnamed Imhof in Miller’s Book of Friends), were written in 1978 when Joey was 89, detail where his and his brother Tony’s lives have taken them. Fine. (250/350)

Page 86 ERICA JONG & HENRY MILLER 183. Jong, Erica. Ten-page autograph letter signed, to Henry Miller. 10 page ALs in black and green pen, on personal letterhead. 11x8½. New York: May 10, 1974 A great letter that cover all sorts of ground: “...About `my triumph’ - I certainly am no stranger to horrible reviews - but I am not exagerrating at all when I say that Fear of Flying’s being published, by a commercial press, in 1973, owes everything to your bravery in Paris in the 30’s. I wonder if I would have had that courage to go when everything conspired to stop me, ban my books, destroy & defame them. I wonder. Part of what makes a writer is life-force & energy - which you certainly have in abundance. Somewhere in Tropic of Capricorn, you say that `one must write & write & write, even if everybody in the world advises you against it, even if nobody believes in you. Perhaps one does it just because nobody believes...’...Everything in our civilization conspires against the artist - & even when they flatter you and besiege you to `lecture’ & be `on’ television - it’s partly in an effort to destory or pervert your talent & your truth...” In describing a lecture by Ana‹s Nin that Jong went to, she writes, “One thing that surprised me was Anaïs Nin’s remark that she deliberately edited out the sexual parts of the diaries because she did not want to suffer the fate of Violet Le Duc. I love Nin’s work, admire her greatly as a writer, yet I’m surprised at her capitulation to male standards (in that regard). It is true that any writer who dares to use sexuality is still very severely censured in some quarters & women writers suffer doubly because of the double standard. Women who write freely about sex are presumed to be whores. (I get the most unbelievable phone calls in the middle of the night.)...People are astonished to find me likeable & reasonable because they assume that any woman who uses the words I use has to be a boiling bitch, a vagina dentata, a castrating shrew...I love what you say about my being sick of myself after Fear of Flying. I was so tired of Isadora & her Jewish suffering, so tired of her agonizing. I wanted to do something totally different. Like a small perfect novel. But I don’t know whether I have that kind of talent...” Jong goes on to discuss her writing, poetry, the fight between and Henry Miller, etc. Rust marks from paperclip on first page; else fine. (500/800)

184. Jong, Erica. Two-page typed letter signed, to Henry Miller about Fear of Flying, and other subjects. 2 page TLs from Erica Jong on her personal letterhead, to Henry Miller. With several holograph corrections and additions to letter in green marker. New York: August 7, 1974 Jong reports that “I’ve been slaving away on the screenplay of Fear of Flying so that I can have a rough first draft ready to take to California...I am as dubious about Hollywood people as anyone could possibly be. For all the talk about money, money, money, I’ve yet to receive a single check - I’m sure this can go on for months...I wish Fear of Flying could be done as a kind of modern female `Tom Jones.’...In general it seems to me that great novels make disappointing films and that mediocre novels make great films. It would probably be easier to write an original screenplay than to adapt Fear of Flying. I am so infernally tired of the book by now. Writers have a funny fate in relation to their public. When you are struggling and unknown and could really use a rousing cheer after you finish a paragraph, nobody’s there to give it. But when you are already through with a book and it seems years behind you, you are constantly meeting people who are reacting to it for the first time and for whom it really is brand new. There’s a considerable amount of frustration on either end of the process....” Fine. (500/800)

185. Jong, Erica. Two letters from Erica Jong to Henry Miller. Includes two separate letters from Erica Jong on variant personal stationery. The first is a 3 page ALs, and commends Miller for his performance on the Merv Griffin show. 11x8½. The second is a 2 page ALs and explains her plans to publish a French translation of Fear of Flying. 10½x7¼. New York and Malibu: Oct. 4, 1974 and Feb. 27, 1975 Paperclip marks to the first; else about fine. (400/600)

Page 87 186. Jong, Erica. Three autograph letters signed and 1 card from Erica Jong to Henry Miller. 3 ALs (2 in original envelopes). Plus 1 photographic announcing the birth of her daughter. New York: 1974-1980 Jong writes of wanting to return to California, and says, “I enjoyed meeting you more than I can say - & I love the signed print you gave me...I loved the whole Miller ménage: Twinka, Val, Connie, Tony...Dinner at the Imperial Gardens was a delight. Hoki later gave me a tape of her songs (I nearly wrote `poems’) & I was enchanted by it. It makes the whole `Insomnia’ story become realer somehow...I asked my paperback publisher - NAL - to send you 25 copies of Fear of Flying...Meanwhile, the TV networks (NBC, CBS, ABC) refuse to carry ads for Fear of Flying - & won’t give any explanation. Since I returned to NY, I’ve been talking to lawyers about censorship. Apparently, it’s thought to be a dirty book. How boring! (I thought those battles had been won years ago.)...” The 1978 letter is 5 holograph pages & encloses xeroxes of numerous typed poems by Jong. She begins, “Of course I’ll try to think of something persuasive to write the Nobel Committee. Who deserves it more than you? I fear, though, that because they recently gave it to an American (Saul Bellow), they won’t want another American so soon. Probably they are looking for some Latvian goatherd who writes obscure poems in a dialect spoken by only 3 (very elderly) people. Some of their selections are truly idiotic - & most of the greatest writers of all time have been neglected in favor of hacks....” Jong goes on to write about her newborn baby & future work. The last letter is really just a brief one, again regarding the Nobel Prize. A nice group from an important association late in Miller’s life Near fine. (300/500)

187. Jong, Erica. Chatty 3-page typed letter signed, to Henry Miller about Jong’s life in general, and book fallout. 3 page TLs on personal letter head. 11x8½. New York: June 16, 1976 Jong writes about hating life in New York, missing Malibu terribly, a mutual friend with a drug overdose, and her book/film project: “...I think I am emerging from this long depression about the lawsuit and the movie. The worst part of it was that I was manipulated by con men who I really trusted (the lawyers and agents) and used as a pawn in a power struggle. I felt as if I had been shorn of all my own motivation, and I feel that I never should have gotten involved in the film or the lawsuit at all...My new book How to Save Your Own Life is in the works and will be published in March, 1977. It has been sold to an English publisher...and there is a lot of excitement about it. I would love you to read it, but I know your eyesight isn’t so hot...I think I am going to ask the publisher to send a galley to you. I would love to be able to use your comments - particularly the remark that it is too erotic....” Fine. (400/600)

188. Jong, Erica. East-West Blues: A New Yorker Goes West - 23 page carbon typescript. 23-page carbon typescript of the piece Jong wrote for Four Visions of America, published by Capra Press. No place: No date Inscribed and signed by Jong to Henry Miller on the front page, and additionally signed by her at the end. Holograph note in Miller’s hand to upper left corner. Fine. (200/300)

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Page 88 NORMAN MAILER ON HIS BOOK ABOUT HENRY MILLER 189. Mailer, Norman. Two-page typed letter signed from Norman Mailer to Henry Miller. 2 page TLs from Norman Mailer in regards to his book about Henry Miller called “Genius and Lust.” 11x8½. No place: May 8, 1976 Mailer begins by explaining his reasons for titling the book as he did (“I think of you more as a monarch than a demiurge...”) and his hopes that the book will interest youth in Miller: “You’re tremendously admired in the colleges, and I know what I’m talking about because I must have lectured to make my living (I’m in a miserably opposite situation financially from your own, which is that I make as much as two thousand dollars a year, year after year, and never have a cent, and now owe the government one hundred thousand bucks, owing not only to my disorder and hoggishness but to the comprehensible lack of mercy in my five ex-wives and my seven splendid children - you’re one of the few people in the world who will perceive the epic, the comedy, and the grind of such finances)...I’m working on my novel now and don’t dare go too near other novels when I write. It’s lack of a skin to protect myself against other people’s styles and ideas, particularly if they’re good. Besides, what a fearful novel I’m into. Its about Egypt in the Twentieth Dynasty, about 1140 B.C. In the language of rock climbers I feel as if I’m in a chimney which is a mile high and am working Lot 189 my way up inch by inch. Piles of soot, tons of Egyptian bat shit. Cheers, Norman.” Rust from former paperclip, else near fine, with Miller’s small “File” note to upper corner; near fine. (1000/1500)

190. Mailer, Norman. Two-page typed letter signed, to Henry Miller, with holograph corrections. 2 page TLs from Norman Mailer to Henry Miller, with holograph corrections by Mailer. In original typed mailing envelope. Brooklyn: Dec. 23, 1977 Mailer writes to greet Miller at Christmas & New Year’s, and to discuss the paperback design of Genius and Lust: “I hope you like the print of Ingres on the paperback since that was my choosing. They were going to put on a painting of a half-nude babe that would have left the book indistinguishable from five hundred other schlock paperbacks and I said, `Let’s try that old conservation Monsieur Ingres.’ To my surprise, they went along. Of course, you may not like it particularly...Incidentally, Norris Church (the red-headed lady who did that portrait of you for the hardcover) and I are going to have a baby in April. The will make my eighth kid and my sixth wife - married and unmarried. We’re not alike in many ways, but a similarity here and there, perhaps....” Creases from folding; else fine. (500/800)

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Page 89 LETTERS FROM MARCEL MARCEAU WITH MANY DRAWINGS 191. Marceau, Marcel. Holograph letters signed from Marcel Marceau with many drawings to Henry Miller plus a typed letter in response from Miller. Lot contains what appears to be two separate ALs from Marcel Marceau to Henry Miller, each with many doodles and drawings (clowns, faces, flowers, sun and moon, etc.). One is a 15 page letter, the other is an 8 page letter. Also includes a typed copy of a letter to Marceau in response from Miller, and signed at bottom with his initials. March 13 and March 21, 1973 The 15 page letter from Marceau dated March 13, 1973 begins with “Dear Great Man.” That first page has a mad-hatter type character doodled into the letter. There are many drawings within the pages of each letter. In the two letters he invites Miller to his performance at the Schubert in May, and Miller, in the 1 page TLs responds that he will likely attend with a “distinguished Chinese actress, Lisa Lu...” Miller’s holograph note on the first page of Marceau’s 8 page letter. Fine - drawings are a must see! (500/800)

192. Miller, Barbara. 16 original photographs of Barbara, Henry Miller’s first child. 16 original photographs of Barbara, Henry Miller’s first child, most of her as a very young child in Brooklyn (including one of her on the running board of a car with 2 men, one of whom may be Miller) and as a teenager; a couple later. Various place: [c.1922-1960] The very early photographs of Barbara that Henry Miller held on to throughout his life show that perhaps it was not as easy to leave his first family as is commonly thought. A few labeled on versos, some in Henry Miller’s hand. Very good or better. (200/300)

193.  Miller, Eve. Four autograph letters signed, plus one typed letter signed from Eve, Henry Miller’s 4th wife, to Henry. 4 ALs from Eve (1 to 3 pages each) and 1 TLs. Also includes a group of 21 original photographs and 1 slide of Eve (some with friends, child, etc.) 8x10 or smaller, a couple labled on versos in Miller’s hand. Big Sur: [c.1950s-1965] Friendly letters regarding family members, particularly Henry Miller’s guardianship of his retarded sister Lauretta, along with a copy of a letter from Henry Miller to about Lauretta. The photographs show Eve mostly during the years of her marriage to Miller (though one shows her at age 17 or 18). One was used in a publication The Intimate Henry Miller. Very good to fine. (700/1000)

194. Miller, Henry. Numerous ephemeral pamphlets, booklets, fliers, and more for shows, books, films and readings by Henry Miller. Items include “Henry Miller Asleep and Awake” film prospectus & postcard; “Titles Available and Unavailable” list of Miller books for sale by him, 1957; “Henry Miller Recalls and Reflects” audio record prospectus, 1956; “The Henry Miller Literary Society Newsletter” 1961; Here’s a Little Guessing Game by Sydney Harris. promoting Miller; A Dream of a Book, booklet about Into the Night Life; “Water Paintings by Henry Miller” broadside with quotes; various offprints of newspaper articles on censorship of Tropic of Cancer and other Miller-related news (incl. Why I Wrote Tropic of Cancer, 1963); Exhibition of Water Colors, Henry Miller catalogue from Jerusalem Artists House; offprint of Henry Miller and Friends by Milgram & Genesis of the Night Life by Bufano; postcards printed by Miller advertising his various books; “The Henry Miller Odyssey” flier; Playboy’s Choice: The Bulletin of the Playboy Book CLub, Apr. 1972, featuring Miller; 18- page prospectus for Catalogue Raisonn‚ of Henry Miller’s Prints, 1948-1973 in English & Japanese; prospectuses for Miller’s books, incl. Order & Chaos chez Hans Reichel, To Paint is to Love Again, Henry Miller - Between Heaven and Hell, Book of Friends, Reflections on the Death of Mishima, First Impressions of Greece, Life in Big Sur by Val Miller, etc., etc. Various places: [c.1950s-1970s] Fine. (500/800) Page 90 195. Miller, Lepska. Three brief autograph letters signed to Henry Miller. 3 short ALs from Henry’s third wife, Lespka. Each regarding a loan. Altadena: 1972 Very good. (200/300)

196. Moore, Thomas H., editor. Bibliography: Henry Miller - with additions laid in. 32 pp. Pink wrappers. No. 854 out of 100 copies printed by Ad Art Advertising. First Edition. Minneapolis: Henry Miller Literary Society, 1961 Heavily annotated by Henry Miller in margins and around entries. “Do not lose this - very precious!” written in another hand on front cover. An important copy with Miller’s corrections. With laid in addendum sheet, additions sheet, and short note written in another hand. Near fine. (500/800)

197. Moore, Tom. Henry Miller Chronology (from April 1959 to Aug. 1, 1963) - typescript with holograph corrections, plus photocopy, plus autograph letter signed from Tom Moore. Lot includes: 3 page typescript with holograph corrections. * 4 page photocopy of a variant (apparently earlier) draft of the typescript. * 2 page ALs from Tom Moore, an early Miller bibliographer, written to Henry Miller on The Henry Miller Literary Society letterhead, and dated 8/9/63. 1963 The letter from Tom Moore touches on a few subjects. He points out an error in Miller’s dates (“One mistake, 1961, at end of that year, where you say Emil Schnellock & Joseph O’Regan died. Schnellock died in 1958.” He mentions that “Capricorn is selling well here in paper. I hear Grove will publish all 3 in one soon.” Near fine. (500/800)

PHOTOGRAPHS OF ANAIS NIN 198. Nin, Anaïs. Eleven original photographs of Anaïs Nin and 1 photograph of a drawing of her. Each 8x10 or smaller. Various places: 1935-1971 The photographs cover a long stretch of time, from a copy-photograph of Nin in the 1930’s, to 1940’s-era snapshots of her in a bathing suit, a picture of Nin seated in Henry Miller’s living room (with his paintings behind her), a large photograph of her in a vault with her diaries, and several of Nin in Los Angeles, 1971. One signed & labeled by Nin on verso, most others with verso notations in Miller’s hand. Fine. (600/900)

199. Nin, Anaïs. Two-page carbon typed letter to Henry Miller, unsigned but with note in Miller’s hand “From Anaïs Nin” at end. 2 page TL. Unsigned by with holograph note at bottom that reads “(From Anaïs Nin).” No place: 1933 Nin writes to Miller (though not actually addressing him) about a visit she had with Dr. , with whom she studied psychoanalytic techniques: “...What I needed was the high challenge, the acid test, and I got it. And where Rank stands after thirty years of struggle, research, etc., there I stood equally firm, firmer I’m telling you, despite all contradictions in my soul. It remains a fact that I conquered, and not the least important fact that I consider the conquest a victory over myself. And if this contains anything of revelation, of wisdom, of real vision, take it as a gift which only you have made it possible for me to offer. You have been the teacher, not Rank. Not even Nietzsche, nor Spengler. All of these, unfortunately, receive the acknowledgement, but in them lies the dead skeleton of the idea. In you was the vivification, the living example, the guide who conducted me through the labyrinth of self to unravel the riddle myself, to come to the mysteries....” A wonderful, important letter with early insights into Nin’s relationship with herself and with Henry Miller. Touch of rubbing from paper clip; very good. (600/900)

Page 91 LETTERS FROM ANAIS NIN DISCUSSING HER DIARIES 200. Nin, Anaïs. Group of 12, one to two-page typed and holograph letters, almost all signed, and 6 holograph postcards signed, to Henry Miller. 12 one to two-page typed and holograph letters, most signed by Anaïs Nin. One in original envelope. Post cards with Nin’s return address printed on rectos. Various places: 1966-1976 The letters and postcards from Nin to Miller discuss much about her diaries, and what could and could not be published of the correspondence in her Diaries, as well as mutual acquaintances, surgeries, current activities, and memories. From one letter, Nin writes, “I am winning my battle with man hating feminists. Kate Millet who wrote such a hate filled book against men, has paid me a tribute and changed considerably. I suppose you have heard that my papers will be with yours at UCLA but most of it goes to taxes. Unbelievable. I have been venturing out in spite of the hole in my stomach caused by radiation and which erupts at unexpected moments which kept me in the house for a year and a half...” From another, dated 1973, “Have been reliving the past so unfortunately left out of the Diary (compassion!) Xeroxing your personal letters for the day they can be published. I will of couse show you a copy. I did the job myself for privacy at a College xerox machine! An hour a day is all I could do. I hope this year there won’t be so many lectures. Deep down I don;t like the public life - prefer just to write and stay home but my horoscope gives me dependants....” There are also a couple of letters from a trip to Asia that Nin took in 1966, describing her travels, particularly in Japan: “My publisher entertained me royally, with Geisha dinner - and they are eager to do the same when you come. I feel at home with that mixture of deep meaning expressed in outward beauty - the immaculateness, the caring, the tranquility, the poetry - Nothing is literal. A garden is a representation of the eternal, it must always be green, no flowers, flowers die and disturb contemplation of eternity!....” A number of the letters have Anais’ last name holographed in Miller’s hand next to her signature. About fine. (3000/5000)

201. Nin, Anaïs. One-page autograph letter signed from Anaïs Nin to Henry Miller. 1 page ALs on International Hotel Okazaki (of Japan) stationery. 10x8. No place: April 13, 1969 Nin loved to gather stationary from worldly hotels to write letters on. The letter begins: “Dear Henry: Your film is wonderful and truly captured your personalities - all of them. It is moving and beautiful and natural. You are a natural actor - and what came through was the blending of humor and sorrow, of playfulness and gravity both. It is you....” Miller’s holograph note, “Nin” next to Anaïs’ signature. Fine. (1000/1500)

Lot 200 Lot 201 Page 92 NIN CHASTISES MILLER FOR LACK OF HUMOR 202. Nin, Anaïs. One-page typed letter signed, to Henry Miller regarding the editing of her diaries, with holograph corrections. 1 page TLs from Anaïs Nin, with her holograph corrections. No place: Nov. 16, 1968 Nin writes to Miller: “Dear Henry: I will make the changes you request, but I am astonished at them, for now that you are a beloved and respected person to the whole world, how can you not laugh at all these adventures, you with your great sense of humor who felt free to write anything, and free to let others write anything (Fred or Durrell)...It is the world who will be amazed. All that episode to me is highly comic, ironic. And the way you quote the part where you say you can’t do it anymore, and I say but what about me? We were both laughing. There was good humor, good feeling then...Yet in your letter about the entire diary there is not one moment of amusement, one moment of warmth, of friendliness...You who taught me detachment, to see beyond the personal as well. You who taught spontaneity and freedom and humor about our humanity. Diary 3 explodes the myths about all of us....” A fine and riveting letter about Miller’s Lot 202 censorship of Nin’s diaries. Fine. (1500/2000)

203. Nin, Anaïs. One-page typed letter signed, to Henry Miller, regarding male chauvanist pigs, specifically Gore Vidal. 1 page TLs from Anaïs Nin to Henry Miller. No place: Nov. 10, 1971 Nin’s letter begins, “Dear Henry: I have not forgotten that letter, or your attitude towards my work and towards me and I have said so in countless interviews. The intelligent women in the feminist movement understand. It is only the others, the hate hostile ones who don’t. I don’t like them any more than you do. They are hostile to me because I will not attack [a] man (who has done so much for me and taught me so much)...As for Vidal, that is another matter. He is a dangerous and destructive madman. Everyone now says so but I don’t know who will attack him. He attacked Mishima in a hideous low way, he hates you because you were successful with women, loved by women, and he is impotent. He now writes pretending we had an affair, and it is so ridiculous. Yet one can’t answer or it is demeaning, one would have to get on his vulgar level. His tying you with Charles Manson is all the more distorted when it is he who is a killer, a gunman for the New York Review of Books, and Lot 203 you have brought only joy and freedom to your followers...About publicity, I dislike it intensely, and we have had our share of hostilities, you and I. That goes with the love we get...” Miller’s holograph note “Nin” next to Anaïs’ signature, and small note in upper corner. About fine. (1000/1500)

Page 93 204. (Nin, Anaïs) Pole, Rupert. Two typed letters signed from Rupert Pole, Nin’s husband, to Henry Miller. Two TLs from Rupert Pole to Henry Miller, one reporting Nin’s grave condition in 1965 and one after her death, in 1977, which includes a xerox copy of a TLs from Lawrence Durrell to Pole, memorializing Nin. Los Angeles: 1965 and 1977 The first letter states that Nin is very ill, and asks Miller to not mention her diaries when speaking to her because a deal with Dartmouth College to house the archives (including Miller/ Nin correspondence) had fallen through and she was quite upset about it. The second letter thanks Miller for his words on Nin for the National Academy, and chattily mentions his dislike of Alice Walker: “...I hated her piece in Ms. Anais had been so good to her, writing a piece for each of her books - and then after meeting her only superficially at the Vonneguts, she accused Anais of ‘professional generosity.’ I guess meeting her in that New York literary jungle, she couldn’t believe Anais was real!...” One letter with small coffee (?) stain, the other with slight rust marks from paper clip; else near fine couple of letters, last in original envelope. (200/300)

205. Nin, Anaïs. Nuances. Hand-bound in Indian raw silk. No. 46 out of 99 copies. San Souci Press, [1970] Signed by Anaïs Nin on limitation page. Fine. (300/500)

206. Nin, Anaïs. Three volumes. 3 volumes, including: Winter of Artifice: Three Novellas. Illustrated by Ian Hugo. Cloth, dust jacket. Signed by Nin and inscribed to Sylvia and Ted on the front free endpaper. First Edition. Alan Swallow, [1948]. * Linotte: The Early Diary of Anaïs Nin, 1914-1920. Preface by Joaquin Nin-Culmell. Cloth-backed boards, dust jacket. Signed by Rupert Pole (Nin’s husband) and inscribed to Bob Kirsch on front free endpaper, with additional TLs from Pole laid in. First Edition. Harcourt, Brace, [1978]. * This Hunger... Illustrated with woodblocks by Ian Hugo. Pictorial boards. First Edition. Gemor Press, [1945]. Various places: Various dates The first two volumes are inscribed, one by Nin, the other by her husband Rupert Pole. Some wear to dust jackets; a few tiny stains to boards of This Hunger...; very good. (200/300)

207. Pasta, James. Five autograph letters signed from Jimmy Pasta to his childhood friend, Henry Miller. 5 ALs (of varying number of pages) from Jimmy Pasta to his childhood friend, Henry Miller, along with a photocopied brief memoir of Miller by Pasta. Woodhaven, NY: 1974-1979 Pasta attended P.S. 85 with Miller in Brooklyn, and later got him a job at the office of the Brooklyn Park Commissioner, where he earned enough money for his passage to Paris. Pasta appeared as Tony Marella in Miller’s Plexus & Nexus, and is referred to many times in Miller’s notebooks of outlines for The Rosy Crucifixion. These letters were written when both men were in their eighties, with news of old acquaintances and comments on Miller’s writing: “I have glanced thru Vol. 2 of ‘Friends’ - Henry, I think you are now beginning to show to the world the depth and warmth of your true self - your compassion and love for people and their struggles for a better and more fruitful life...” Fine - an important set of letters. (300/500)

Each lot is illustrated in color in the online version of the catalogue. Go to www.pbagalleries.com

Page 94 PHOTOGRAPHS OF AND LETTERS FROM ALFRED PERLES 208. Perlès, Alfred. Group of 41 original photographs, 1 postcard, and 1 original etching of Alfred Perlès. 41 original photographs, 1 postcard, and 1 original etching, of Alfred Perlès. 8x10 or smaller, some color, but most black & white. Various places: [c.1940s-1970] Photographs depict Perlès in the British Pioneer Corps in the 1940s, in a Fleet Street pub, with several women, with his new wife Anne in 1951, in Cyprus in 1965, with Henry Miller in the 1940s and again in the 1960s, portraits, etc. Most are labeled on verso in the hands of Perlès or Miller (a few perhaps in Anne Perlès’ hand). Very good or better - a nice group. (300/500)

209. Perlès, Alfred. Two typed letters signed, to Henry Miller. Two 1 page TLs from Alfred Perlès. Dorset: May 11th and July 12th, 1976 They remained life-long friends; each called the other “Joey.” The first letter begins, “...It feels good to be away from Cyprus and in an intelligible land again. Intelligible? The whole country around here is impregnated with Hardy’s spirit and his novels, which I don’t seem able to understand. It’s all very feudal still....” He goes on to discuss language differences between Chinese and Turkish, and things in general. The second letter regards Miller’s Book of Friends, of which he says, “Your former Rabelaisian lustiness seems to have given way to a new mood of nostalgia, don’t tell me you’re getting old, Joey. Is there any more coming? Surely you can’t end up with Alec Considine, the least sympathetique of your friends...Your sense of humour still comes through in patches, in such sentences as `As everyone knows, there is no more enjoyable fuck to be had than from a woman in tears.’ It’s the `as everyone knows’ that made me laugh....” Condition of both letters is good as they were written on flimsy post-office issued stationery; one with top section detached but present, the other with pieces of corners lacking (a bit of text lost). (600/900)

210.  Perlès, Alfred. One-page typed letter signed to Henry Miller. 1 page TLs. One blue paper that doubled as the mailing envelope. Dorset: 6th July, 1978 Letter to Miller from his good friend, describing an anguished visit with his wife to his native Vienna, which he hadn’t visited since 1947. Perlès gives a moving description of his sadness at seeing Vienna after so many years: “Anne and I went to Vienna last month, where we spent a week. It was my first visit to the place since 1947 when my home- town was still under the four- power occupation and the people were starving. Then I wept for the Viennese, but this time for Vienna. The place has changed almost beyond recognition from the days of Emperor Franz- Josef under whose reign I was born. Of course, much else has changed, too, in the last 81 years. Including myself. I wandered through the streets in a haze, they might as well have belonged to Philadelphia or Pittsburg [sic], Pennsylvania, where I’ve never been. I felt like an alien in my own hometown. But then I’m an alien no matter where I go...The city is very prosperous now, with a much harder currency than the English pound...I did take a day off and went all by myself to H tteldorf, where I’d spent the best years of my childhood and early adolescence. Great changes there, too. The garden of the house where we then lived and which, in memory, was the most beautiful garden in the world, more beautiful even than the Luxembourg, has been turned into a carpark! And the delicatessen shop across the street has given place to a supermarket. It was a pilgrimage-cum-swansong to the remote past to which I can never return. Walking through the old familiar streets I shed a few tears, just for good measure, and returned to town to meet my beloved spouse in an expensive Konditorei....” About fine. (500/800)

You can bid absentee directly from the item description in the online version of the catalogue at www.pbagalleries.com. Or bid during the auction using the Real-Time Bidder.

Page 95 211. Perlès, Alfred. One-page typed letter signed with holograph postscript, to Henry Miller. 1 page TLs, with holograph postscript at left margin, signed Fred. 9x7, in original mailed envelope. Accompanied by a 3½x5 black and white photograph of Perlès kissing a younger female lover, identified as Ceres (who died of a drug overdose the following year). Dorset: Dec. 4, 1978 Perlès addresses the subject of death, after having learned that their mutual friend Joseph Delteil had died: “...The news of his death came as a shock to me, though I knew all along that people do die eventually. And at our advanced age it shouldn’t be a surprise that old friends keep dying right and left. I wonder who’s next in line, but I don’t think it will be you, Joey. You’re too tough and too resilient to let a few physical infirmities gain the upper hand. And I remember your fortune teller (in Colossus of Maroussi) reassuring you that you’ll never die. That’s nonsense, of course, the man was either a clairvoyant idiot or simply illiterate. All living organisms are bound to die, else there could be no life...At any rate, I’ve no fear of death, nor even of dying. Can’t be too bad. And it’s useless to speculate on what comes after. Best attitude to take is to wait and see. Some happy days are still in store for you, Joey....” Fine. (200/300)

212. Perlès, Alfred. One-page typed letter signed to Henry Miller. 1 page TLs. 12½x6, on blue paper that doubled as the mailing envelope. Wells: 8/12/79 A friendly and funny letter from Miller’s longtime best friend, with whom he spent his early years in Paris. Miller wrote much about his love of “Joey” (which they both called each other) during his life. On having received from Miller a photograph of Miller and the young Brenda Venus, Perlès writes: “...But Venus is a beauty! Has she perchance a sister called Aphrodite and if so could she be shipped to me? Greek goddesses are in short supply here. My last one, Ceres (in charge of agriculture, cornflakes, etc.) died a few weeks ago at the age of 29. Overdose of some drug. Aphrodite would suit me fine. If she’s as lovely as your Venus I might turn myself into a male Scheherezade and tell her a thousand and one stories which I’m afraid I could no longer enact. (I always liked metaphors and don’t mind mixing them). Yes, the address sounds good, but you know Wells. It’s a narrow-minded town (pop. 8,000) that only prides itself on a cathedral less than a thousand years old and already in need of being propped up every now and then. Like us, really....” Air letter is fragile, with top 1/3 nearly detached, lower 1/3 is still attached to middle 1/3 at margin, else a good letter with interesting content. (200/300)

The Buyer’s Premium will be 20% for bids up to $100,000 and 15% for that portion over $100,000.

Page 96 213. Perlès, Alfred. One-page typed letter signed with 7-line holograph postscript. 1 page TLs with 7-line holograph postscript from Perlès to Henry Miller. One blue paper that doubled as the mailing envelope. 12½x6. Wells: Dec 17, 1979 Perlès was one of Miller’s best friends during his starving Paris years - the two shared an apartment when Miller first arrived. Perlès writes to wish Miller a happy birthday, saying, “Old friends keep dying right and left and I don’t want to be the sole survivor like Robinson Crusoe on a desert island without even a Man Friday. So hold on, Joey, will you please? It’s a small favour I’m asking you. Although you never sent me your JOEY book (can’t think why not), I ordered some copies from Capra Press. It’s a beautiful production and I take your `loving portrait’ of me as a handsome tribute. Many thanks, Joey, but does your portrait truly portray me? That’s the question. Of course, I realize that you talk of me as of someone fifty years ago, i.e. a different person from what I am now. People are subject to metamorphosis in less than fifty years, as you must know. And in your loving portrait I see myself like a faded photograph in an ancient family album. I don’t mind being called a clown and a scoundrel (I often call myself worse names), especially since I know I attracted you and you love me as such. As for myself, I both loved you as you were then and still love you as you are now, a different person....” About fine. Lot 213 (700/1000)

214. Singer, Isaac Bashevis. 1 page autograph letter signed on personal stationery to Henry Miller. 1 page ALs from Singer to Henry Miller agreeing to back his nomination for the Nobel Prize for literature in 1978/79. 10½x7¼. New York: September 7, 1978 In his letter, Singer writes that “I think that no writer alive has earned as much recognition, praise and high prizes as you both for your literary work and for your selfless fight for literary freedom. Of course I will write to the Academy. Just the same I feel that you are too great a man to ask for any prize. Whatever recognition you should get must come from the givers, not from you...Whatever the results, you will remain a pillar of literature and a most couragous fighter against any kind of censorship in literature. Yours with love and admiration, Isaac B. Singer.” Ironically, Singer himself was awarded the Nobel Prize for Literature that year. Fine, in original hand-addressed envelope with Miller’s holograph note to front. (300/500)

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Page 101 Page 102 Page 103 Page 104 CONDITIONS OF SALE The property listed in this catalogue will be sold by PBA Galleries, Inc. (hereinafter Galleries) as agent for others upon the following terms and conditions as may be amended by notice or oral announcement at the sale:

1. All bids are to be per lot as numbered in the catalogue.

2. As used herein the term “bid price” means the price at which a lot is knocked down to the purchaser and the term “purchase price” means the aggregate of (a) the bid price (b) a premium of twenty percent (20%) of the bid price payable by the purchaser, and (c) unless the purchaser is exempt by law from the payment thereof, any California state or local sales tax except where sold to a purchaser outside of California and shipped to the purchaser.The Galleries have been authorized by the consignor to retain, as part of remuneration, the 20% premium payable by the purchaser.

3. Property auctioned by the Galleries is often of some age.Prospective bidders should personally inspect such property to determine its condition and whether it has been repaired or restored.Any information provided by the Galleries or its employees is for the convenience of bidders only and should not be relied upon. ALL PROPERTY IS SOLD “AS IS” AND NEITHER THE GALLERIES NOR THE CONSIGNOR MAKES ANY WARRANTIES OR REPRESENTATIONS OF ANY KIND OR NATURE WITH RESPECT TO THE PROPERTY OR ITS VALUE, MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, OR WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS.IN NO EVENT SHALL THE GALLERIES OR THE CONSIGNOR BE RESPONSIBLE FOR CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE, AUTHENTICITY, AUTHORSHIP, COMPLETENESS, CONDITION OF THE PROPERTY OR ESTIMATE OF VALUE.NO STATEMENT (ORAL OR WRITTEN) IN THE CATALOGUE, AT THE SALE, OR ELSEWHERE SHALL BE DEEMED SUCH A WARRANTY OR REPRESENTATION, OR ANY ASSUMPTION OF RESPONSIBILITY.HOWEVER, notwithstanding this condition and subject to the further provisions of this paragraph as set forth below, property may be returned by the purchaser, the sale rescinded and the purchase price refunded under the following conditions: (1) printed books which prove upon collation to be defective in text or illustration (provided such defects are not indicated within the catalogue or at the sale), and (2) autographs which prove not to be genuine (if this can be demonstrated and if not indicated in the catalogue or at the sale).Printed books are not returnable for defects not affecting text and illustration, including, but not limited to, lack of half-titles, lists of plates, binder’s instructions, errata, blanks, or advertisements.No returns will be accepted unless written notice, by registered mail or receipted courier, is received by the Galleries within fourteen (14) days of the sale of the property and the property is returned in the same condition as it was at the time of sale.NO LOT IS RETURNABLE ON ACCOUNT OF PROPERTY INCLUDED BUT NOT SPECIFICALLY NAMED AND DESCRIBED IN SUCH LOT.LOTS CONTAINING THREE OR MORE TITLES, WHETHER NAMED OR UNNAMED, AND SELLING FOR ONE HUNDRED FIFTY ($150) OR LESS, EXCLUSIVE OF BUYER’S PREMIUM, ARE SOLD NOT SUBJECT TO RETURN FOR ANY REASON.

4.Photographs, prints and other fine art multiples are sold in compliance with California law, and the Galleries’ catalogue descriptions of such multiples conform to the applicable provisions of that law.

5. Any right of the purchaser under this agreement or under the law shall not be assignable and shall be enforceable only by the original purchaser and not by any subsequent owner or any person who shall subsequently acquire any interest. No purchaser shall be entitled to any remedy, relief or damages beyond return of the property, recision of the sale and refund of the purchase price; and, without limitation, no purchaser shall be entitled to damages of any kind.

Page 105 6. If we are prevented by fire, theft or any other reason whatsoever from delivering any property to the purchaser, our liability shall be limited to the sum actually paid by the purchaser.

7. Books and other property purchased are to be removed at the close of each Sale unless shipping instructions are received by the Galleries before such sale.If not removed, property will be held at the sole risk of the purchaser and no responsibility is assumed if such goods are lost, stolen, damaged, or destroyed.The Galleries will facilitate shipment of property to out-of-town purchasers at an additional packing charge plus carriage and insurance, but will not be responsible for any loss or damage resulting from the shipping thereof in excess of the amount of the insurance.

8. Payment terms:All items are to be paid for by (a) cash, (b) cashier’s check, (c)credit card, or (d) personal check with approved credit, and all accounts are due when bills are rendered. MERCHANDISE WILL BE SHIPPED AFTER PAYMENT HAS BEEN RECEIVED.

9. We reserve the right to reject a bid from any bidder.The highest bidder acknowledged by the auctioneer shall be the purchaser.In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in every respect.

10. Unless the Sale is advertised as a sale without reserve, each lot is offered subject to a reserve. MOST LOTS OFFERED BY THE GALLERIES HAVE A MINIMUM RESERVE OF ONE- HALF THE PRESALE LOW ESTIMATE .The Galleries do not accept reserves of more than the low estimate nor allow consignors to bid on their own items.

11. To prevent inaccuracy in delivery or inconvenience in the settlement of a purchase, no lot can be transferred.Each buyer must pay for the whole of his purchases before any lot can be removed.

12. As a service to clients unable to attend the Sale, we will accept absentee bids without charge in advance of the sale by telephone, mail, fax, email or in person.All bids must state the highest bid price the bidder is willing to pay.“Buy” bids are not accepted.Please check bid sheets carefully to make sure you have the correct lot numbers and that the sheet is legible.The Galleries reserve the right to refuse to undertake absentee bids, and shall in no event be responsible for failure to execute such bids or for any error that may occur when executing them.Unsuccessful absentee bids will not be acknowledged.

ALL SALES HELD BY PBA GALLERIES ARE CONDUCTED PURSUANT TO SECTION 2328 OF THE COMMERCIAL CODE AND SECTION 535 OF THE PENAL CODE OF THE STATE OF CALIFORNIA CONSIGNING BOOKS TO PBA GALLERIES The first step in consigning to PBA is to contact the Galleries, either by phone, fax, email or letter. It can then be determined whether the item or items under consideration would do well at auction. Following this, arrangements can be made for the delivery of the material to PBA. In the case of large consignments or libraries, a member of the staff may be able to view the books on location, and make arrangements for its transportation to PBA Galleries. Because of the costs involved, PBA discourages consignments with a total value of less than $1500. The frequency of auctions, and variety of subject matter, allows PBA Galleries to ensure quick turn-around time for items consigned. Books can appear at auction as quickly as 30 days and generally not more than 90 days following consignment. Commissions vary between 10% and 15%, depending on the selling price of an item.These commissions encompass all related costs including insurance, storage, cataloguing, illustrations, etc., except shipping. Payment is sent within 20 banking days of an auction.

Page 106 BId Sheet 133 Kearny Street, 4th Floor Sale #:______San Francisco, CA 94108 Sale Date:______Phone: (415) 989-2665 Fax: (415) 989-1664 www.pbagalleries.com

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1. PBA Galleries is hereby authorized to bid on the following lots up to the price stated. 2. All bids shall be treated as offers made subject to the Conditions of Sale. 3. These bids will not be executed unless this form is signed. 4. A 20% Buyer’s Premium will be charged on all lots sold.



Please charge my credit card for my purchase: Visa Mastercard Discover Credit Card #:______Exp. Date:______Signature______Please use this card for all future purchases

LOT NUMBER LOT NUMBER LOT NUMBER In numerical order BID AMOUNT In numerical order BID AMOUNT In numerical order BID AMOUNT

Bid Increments $00 to $200...... $10 $2000 to $5000...... $250 $200 to $500...... $25 $5000 to $10,000. . . . . $500 $500 to $1000...... $50 $10,000 to $20,000. . . $1000 $1000 to $2000. . . . $100 $20,000 to $50,000. . . $2500 Note: Bids not matching the above increments will be rounded down to the nearest increment.

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