Thomas A Goldwasser Rare Books

Catalogue 26 item 2 item 49

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Thomas A. Goldwasser Rare Books 5 Third Street, Suite 530 San Francisco, CA 94103 Tel. (415) 292-4698 Fax (415) 292-4782 [email protected] www.goldwasserbooks.com

1 1 Armitage, Merle. George Gershwin. New York: Longmans, Green, 1938. First edition. Original two -part black and yellow cloth binding, original glassine dust jacket slightly worn. Small bruise on edge, else a fine copy. Copy No. 1 of the special edition, signed by Armitage, printed on Broadcaster Text Paper. From the library of the dedicatee, Ira Gershwin.

With articles by Paul Whiteman, Olin Downes, Walter Damrosch, George Gershwin, Merle Armitage, Otto H. Kahn, Arnold Schoenberg, William Daly, Harold Arlen, Oscar Hammerstein II, Isamu Noguchi, David Ewen, Nanette Kutner, Lester Donahue, Isaac Goldberg, Erma Taylor, Gilbert Seldes, J. Rosamond Johnson, Rudy Vallee, Leonard Liebling, Alexander Steinert, Albert Heink Sendrey, Jerome Kern, DuBose Heyward, Henry A. Botkin, Sam H. Harris, Rouben Mamoulian, Eva Gauthier, Ferde Grofé, Louis Danz, Todd Duncan, Beverley Nichols, Irving Berlin, S.N. Behrman, George Antheil, Ira Gershwin, Serge Koussevitzky. $750

2 Baumgaertel, Karl A. “The Gayway”. Original chlorobromide print. San Francisco: [n.d., circa 1939]. 6-1/4 inches x 9-1/2 inches, matted. Signed and titled on the overmat. A multiple exposure montage of neon lights from The Gayway, which was the entertainment zone at the Treasure Island Fair: Golden Gate International Exposition. The Golden Gate International Exposition opened February 18, 1939 and ran until November, and opened again in 1940 from May through September. Prominently featured in the photograph is the sign from the Gayway’s most popular attraction: Sally Rand’s Nude Ranch. A rare modernist work from a photographer better known for his pictorialist landscapes and portraits. The reverse of the mat has the photographer’s sticker with his Buchanan Street, San Francisco, address, pencil notes, a stamp from an exhibition at the Seattle International and one at the California Camera Club in April 1939. $1,500

3 Beckett, Samuel. Waiting for Godot. New York: Grove Press (1954). First American edition. Black cloth, a fine copy in dust jacket, price-clipped and slightly darkened. First edition of Beckett’s own translation into English. $1,000

4 Berlin, Lucia. Safe & Sound. Illustrated by Frances Butler. Berkeley: Poltroon Press, 1988. First edition. Original black cloth, gilt, not issued in dust jacket. Fine. One of 200 copies, typeset by the author, with tipped-in color illustrations. Contemporary inscription from the author, to another writer. $750

5 Brautigan, Richard. The Galilee Hitch-Hiker. San Francisco: White Rabbit Press (1958). First edition. Original printed wrappers, an inner, red typographic cover, and an outer wrapper of light translucent vellum, with a reproduced drawing by Kenn Davis. One of 200 copies, printed by Joe Dunn. Brautigan’s first book, preceded by a rare leaflet. A fine copy. $2,750

2 6 Bridges, Robert. The Tapestry. London: Privately Printed, 1925. First edition. Marbled boards, spine label, 43 pp. Instead of the usual black slipcase, the slipcase on this copy is covered with the same marbled paper as the book. Fine. One of 150 copies, designed by Stanley Morison and Frederic Warde, printed at the Fanfare press, using, for the first, and one of the few times in a book, Morison and Warde’s original Arrighi type. Uncommon in this condition. $1,500

7 Burroughs, William S. Naked Lunch. New York: Grove Press [1962]. First American edition. Black cloth backed boards, light spotting on the top edge, a fine copy in lightly used first issue dust jacket. Inscribed by Burroughs on the title page. 3,500 copies were printed of this edition, fewer than of the Olympia Press first edition. It contains also the first book appearances of Burroughs’s “Deposition: Testimony concerning a Sickness,” and “Letter from a Master Addict to Dangerous Drugs.” Maynard and Miles A2b. $1,750

8 Butler, Eugenia (ed.). The Book of Lies Project. Volume III. [Conceptualized, organized and produced by Eugenia Butler]. Los Angeles: Artists’ (Floating, Invisible) Museum, 1997- 2004. First edition. Thirty-one folders (13-1/4 x 10-1/8 inches), one containing text about the project, each of the others containing an original art work, housed in a clamshell box, designed by Carolee Campbell and handmade by Judi Conant; folders printed letterpress by Carolee Campbell at Ninja Press. Carolee also made the brass plate containing a poem by Michael Hannon which is mounted inside the box. The other artists: Lynn Aldrich, Michael C. McMillen, Tom Marioni, Jill Giegerich, Rita Barnes, Gloria Graham, Sam Erenberg, Benji Whalen, Seth Kaufman, Eugenia Butler, Corazon Del Sol, Bruce Whiteman, Gloria Kondrup, Milt Jewell, Steve DeGroodt, Mary Rakow, Richard Haxton, William T. Wiley, Minoru Ohira, John Outterbbridge, Marvin Harden, Diana Jacobs, James Cobb, Madam X, Kim Abeles, Garth Erasmus, Jenny Watson, Bronislava Dubner, Janet Fitch, Kim McCarty, Xavier Fumat, Melissa Smedley, Biljana Bakaluka, Rhonda Saboff. One of an edition of 80 signed and numbered copies. Volumes 1 and 2 (1996-1997) each contained 21 works in portfolio, issued in editions of 80 copies, the projected final, fourth volume was never issued, due to the editor’s untimely death. $5,000

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3 9 Cather, Willa. Youth and the Bright Medusa. New York: Knopf, 1920. First edition. The rare limited issue, one of 35 unnumbered copies issued with all edges untrimmed, signed in full “Willa Sibert Cather” on the front free endpaper. Original green cloth, spine has small areas of spotting where the green pigment is lost; number in ink on upper cover; ownership signature at the bottom of the front endpaper (James R. Messenger, Emmy Award-winning documentary filmmaker and sometime contributor to the Willa Cather Newsletter). A very good copy preserved in a clamshell box. As these copies are taller than the trade issue, and special binding cases had to be made, it’s unlikely they were issued in dust jacket.

Youth and the Bright Medusa was the first of Cather’s books to be item 9 published by Knopf, who would remain her publisher thereafter. $4,500

10 (Christo) Christo Javacheff. Draft Environmental Impact Report for Running Fence. Foster City, Calif.: Environmental Science Associates, October, 1975. 11 x 8-1/2 inches, wrappers, with plastic spiral spine. viii, 6, 265 pp., numerous folding plates. Fine condition, with samples of the nylon fence material. From the library of Peter Selz, the project manager for Running Fence, with a few notations. $375

COBURN’S RAREST BOOK, INSCRIBED TO HENRY JAMES - With Six Original Platinum Prints -

11 (Coburn, Alvin Langdon). The Cloud. By Percy Bysshe Shelley. With photographs by Alvin Langdon Coburn. Los Angeles: C.C. Parker, 1912. First edition. Quarto, 9-1/2 x 13 inches. [31] p. (on double leaves), [6] leaves of plates. Number 28 of an intended but not completed edition of 60 copies, signed by Coburn. The book contains six original 7 x 5 inch platinum prints, printed by Coburn. Text printed in brown ink on french-folded sheets of Strathmore Japan paper. Original canvas backed boards, paper label on front cover. Marginal dampstaining on the first few pages does not affect any text or image. In the rare original heavy paper dust jacket, printed on the front only, expertly restored. The only book of Coburn’s illustrated with original prints. OCLC locates only five copies.

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4 Inscribed on the colophon “To/ Henry James|with best wishes from | Alvin Langdon Coburn | 2. VIII. 1912”. James responded graciously to the gift in a letter dated on August 18, in which he praises the artfulness and beauty of the clouds and the elegance and charm of the publication. James thought Coburn had combined the artistry of photography with aviation, believing some of the photographs could only have been taken from an “aeroplane” (Summary of an uncollected letter in the Papers of Henry James, University of Virginia). Coburn was James’s preferred photographer, and of course had in 1906-1907 provided the 24 frontispiece photographs for James’s Collected Works (the New York Edition). He devotes a chapter of his autobiography to that collaboration.

Coburn arranged for publication of The Cloud at the time of his exhibition of 50 California photographs at the Blanchard Gallery in Los Angeles. He was an acknowledged master of the gum-platinum print technique, a complex process in which a platinum photograph is twice exposed to the negative. Coburn wrote that “[i]t was in the nature of platinum prints that the shadows were somewhat weak - by superimposing a gum image they were intensified. The whole process added a lustre to the platinum base comparable to the application of varnish, at the same time preserving the delicacy of the highlights in the platinum print.” He added, “[c]louds are especially good subject matter for the photographer.... The patterns of moving clouds and water are never the same from now to all eternity, and these patterns are ever moving to our continual delight. I have made hundreds of photographs of clouds and never tire of them. Once I made a little book illustrating Shelley’s Ode ‘The Cloud’ with six original platinum prints. Only sixty copies were to be printed and even all these were not made. I only know of one surviving copy in addition to my own, so this is doubtless my rarest book!” Alvin Langdon Coburn Photographer. An Autobiography (Gernsheim ed., Dover, 1978), pp. 18, 46.

John Szarkowski wrote in Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art (New York: Museum of Modern Art, 1973): “Clouds were a particularly good subject for an artist like Coburn who sought the broad poetic view of things. Granted that no two clouds are the same nevertheless, their meanings (except to farmers and meteorologists) were sufficiently imprecise and generalized to allow Coburn to use them as abstract visual elements. Coburn used the skies as children and poets use them, and as Leonardo used stained old walls: as an analogue model of imaginary worlds”. $75,000

5 12 Crane, Stephen. Signed photograph. Cabinet card. Ca. 1890. A fine early portrait of Crane in his military school uniform, by W. H. Stauffer of Asbury Park, N.J., inscribed to Odell Hathaway, his schoolmate at Claverack College. Albumen print, mounted on photographer’s card. Inscribed on the reverse, “To Odell with kindest regards / Stephen Crane / Syracuse, N.Y., Jan 12th, 1897”. 6-1/2 inches x 4-1/8 inches, scalloped and gilt edges, photographer’s advertisement on verso, lower left corner slightly bent, otherwise very good, strongly toned. From 1888 to 1890 Crane attended Claverack College and Hudson River Institute in the Catskills, a military preparatory school where he was taught by retired General John B. Van Petten, whose reminiscences became the basis for The Red Badge of Courage. The inscription on the photograph was written only a week after Crane’s rescue from the wreck of his boat, The Commodore, while he was attempting to smuggle contraband to Cuban rebels, an event that inspired his “The Open Boat”. Wertheim and Sorrentino’s edition of The Correspondence of Stephen Crane (Columbia University Press, 1988) records only five signed images of Crane, all but one in institutional collections, making this the sixth known example, one of item 12 two still in private hands. $17,500

DEDICATEE’S MANUSCRIPT

13 Cullen, Countee. “Advice to a Proud Lady (Sydonia’s Poem)”. Autograph manuscript signed, dated Indianapolis, Feb. 25, 1927. One page, excellent condition. Inscribed by Cullen to the woman for whom the poem was written, Sydonia Byrd. It was published in Copper Sun as “Advice to a Beauty,” with the dedication intact; the book did not appear until August 1927. Sydonia Byrd, originally from Indianapolis, was a student at the New England Conservatory of Music, Cullen dated her before his 1928 marriage to Yolanda DuBois. This manuscript shows that the published reading “walked” in the penultimate line is an incorrect reading of “walled”. Early Cullen manuscripts rarely appear for sale. $4,750

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6 14 Cunard, Nancy and George Padmore. The White Man’s Duty. Manchester: Panaf Service Ltd, 1945. Second edition, enlarged. Original printed wrappers slightly creased, very good condition. This edition contains a new foreword by Cunard, as well as two new chapters dealing with postwar consitutional changes in the British colonies; it is considerably scarcer than the first. $300

15 Detambel, Régine. Les écarts majeurs. Paris: Julliard, 1993. First edition. Wrappers, fine. Copy I of nine roman numeralled hors-commerce copies (one of 39 copies printed on Arjomari chiffon Rivoli paper, the tête de tirage). Cloth case. $350

item 14 16 Disney, Walt. Signed photograph. 7-1/2 inches x 9-1/2 inches, double weight gelatin silver print. Side margins trimmed slightly close, traces of tape at top and bottom margin pinholes at corners. Fresh, bright image in excellent condition. $3,000

17 (Dubuffet, Jean) Arnaud, Noël.Le Petit Jésus. Journal Intime. Paris: Noël Arnaud, 1951-1964. 11 numbers in 9 issues, all published. N° 1 (mai 1951)-n° 7/9 ([oct. 1953]). N° 10 (été 1963). 12e année, n° 11 (1964). Issue 10 is entirely devoted to Jean Dubuffet’s L’Hourloupe. With an announcement for issue 7-8- 9. Wrappers, 15-21 cm. Some light fading, else fine. Subjects include popular language, ‘pataphysics. The supplement to 4/5 is devoted to Marcel Béalu on “quarante & quelques sortes de OUI avec le façon de les prononcer”. $1,250

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7 INSCRIBED TO A PRINCETONIAN

18 Fitzgerald, F.Scott. This Side of Paradise. New York: Scribner’s (1920). First edition. First edition of Fitzgerald’s first novel and greatest success. The first printing consisted of 3000 copies; two reprints were called for within a month. Inscribed to a member of the Princeton class of 1920: “For Jerry English -- (Remember now its a solemn promise about June) F. Scott Fitzgerald - April Fools day 1920 -- Cottage Club, Princeton.” It was in the library at the Cottage Club that Fitzgerald began writing This Side of Paradise; in it he described the club as “an impressive mélange of brilliant adventurers and well- dressed philanderers”. April 1, 1920 was six days after the novel’s publication. Fitzgerald had returned to Princeton to be there for the event; eight copies are known that were inscribed at Princeton at the time (Bruccoli and Broughton, F. Scott Fitzgerald in the Marketplace (2009)). Two days later Scott and Zelda were married in New York. Original green cloth, very good, hinges tightened, unobtrusive ring mark on cover. Full morocco clamshell case. $35,000

item 18 UNPUBLISHED DRAWING

19 Geisel, Theodore (“Dr. Seuss”). Original drawing, signed. 1949. This fine finished drawing was intended for Bartholomew and the Oobleck (1949), but was not used. 12-1/2 Inches x 10-1/8 inches, black crayon on white wove paper, layout mark in blue pencil. Signed “Dr. Seuss”. $3,000

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8 20 Gilman, Charlotte Perkins. Suffrage Songs and Verses. New York: The Charlton Company, 1911. First edition. Original yellow wrappers, printed in red, with a portrait of Gilman on the front. 24 pages, 15 cm. Lightly faded and used very good. This pocket-size song book contains 25 songs, some reprinted from In This Our World (1898); others, including Gilman’s “Song for Equal Suffrage”, had only appeared in periodicals. The Charlton Company was organized to publish Gilman’s works and arrange her lectures. Its name was probably formed out of hers. Neat inscription in Hungarian referring to English feminist literature on title page, dated 1/1/ 1915. Although copies are held by several major institutions it is very rare in commerce, and even such collections as the Lisa Unger Baskin collection at Duke and the Dobkin family collection of feminism lack copies. $5,000 item 20 21 Ginsberg, Allen. Autograph letter signed. July 26, 1967. To Frank Lauria. One page, with original envelope. In 1967 writer and musician Frank Lauria was an editor for Bantam Books and contacted Ginsberg attempting to secure aCollected Poems. Ginsberg replies that he already has arrangements with Grove Press and Cape for a Collected Poems, and that there would be a Penguin paperback edition. None of this ever happened. This letter was written on the day of the incorporation of Cape Goliard which would publish Ginsberg’s T.V. Baby Poems in September, 1967, and three days before Ginsberg’s LSD experience during which he wrote “Wales - Visitation”. Ginsberg says he can think about what he might offer when he returns to New York. He was “too preoccupied” to return Lauria’s phone call, but suggests that he contact Sterling Lord regarding Jack Kerouac’s unpublished works: Some of the Dharma and the “complete 450 pp” Visions of Cody. $500

22 Ginsberg, Allen. Four autograph letters signed, to Ken Stuart, 1974-1976.On postal cards. Ken Stuart, Editorial Director at Schirmer Books (a division of Macmillan), wrote after attending a Ginsberg reading at St. Mark’s in the Bowery. He asks Ginsberg to write a preface to a forthcoming reprint of Eric Sackheim’s The Blues Line. Ginsberg replies, “the [Sackheim]... book shakes the bastions of all Academy & should destroy old white versification & re-establish the Classic oral transmission of Poetics by blacks & whites as integral to scholarly Anthology & versification. How all that great poetry got shunted aside in America is a tale of imperial idiocy & redemption by the meek & despised, just like the bible.” He talks about his forthcoming Rags & Blues and his desire to make a Blake songs book with tunes. In his second card, mailed from North San Juan, California, where he is building a cabin, he says he hasn’t time to write the preface, but his remarks on the first card can be used as a blurb. Ginsberg’s blurb duly appeared on the paperback edition of The Blues Line. The third letter apologizes for a year’s delay in replying, caused by his absence. He has finished taping his First Blues recordings with John Hammond Sr, “using some of Dylan’s Rolling Thunder musicians. Sounds OK for

9 Xmas”. Mentions a song show, a Buddhist retreat, and a trip to Berlin. The fourth letter (dated 10/4/1976, on a postcard with portrait of Neal Cassady) was written while on a Buddhist retreat in Wisconsin with Chogyam Trumpa’s group. Stuart’s “Goodwill and energy are so refreshing - some kind of innocence”. He’s finished recording ten tunes with Hammond. Hammond’s forthcoming autobiography will be big & long. “Some tale he told of long early virginity sounded honest.” With copies of Stuart’s letters to Ginsberg, and an in-house memorandum to Stuart discussing terms for the offer to Ginsberg. $1,750

23 Ginsberg, Allen. The Rune. Oakland, California: Archer Press, 1977. First edition. Broadside poem with drawings by Ginsberg reproduced in red and musical notation. 17 inches x 22 inches. Pencil signed by Allen Ginsberg beneath his lithographed signature. Numbered on the verso “T[rial] P[roof] 3/3” and initialed by the printer Charles Gill. One of an edition of 75 copies, printed on Rives paper, with the publisher’s name blind stamped in the lower corner. Most copies were issued as part of the set of five poets’ broadsides titled “Five / I / 77”. Bookplate on verso, otherwise fine. These proofs are not recorded by Morgan. Morgan AA27. $250

24 Ginsberg, Allen and Peter Orlovsky. Autograph letter signed. To Martin Baer and Nadia Piakowski. Two page autograph note, on a small piece of lined paper, 15.5 x 10 cm (6 x 4”). It reads “Martin - Death is a bright madness!! I came by too late to wake you! Be good to your babes in Fosters - love Allen.” Beneath this Orlovsky has added: “P.S. Am leaving here now, sad not to see enough of your smiling white cloud hair - am going back to N.Y. to my baby-crib. Love Peter.” On the verso Ginsberg wrote: “Leaving for NYC Tomorrow morning adieu Nata auf Wiedesehn + ever. (drawing of a heart) Meow Allen”. Peter adds: “How about the pair of false teeth you owe him?” The San Francisco couple, painter Martin Baer and photographer Nadia Piakowski, were friends of many artists and writers. $250

25 (Ginsberg, Allen) Nagler, Richard (photographer). Allen Ginsberg in his Studio, New York City, November 1996. Gelatin silver print. Matted to 13-1/4 inches, x 8-3/4 inches. Archivally framed, signed, titled, and dated. Inscribed by the photographer to art historian and curator Peter Selz. Selz wrote the introduction to Nagler’s 2010 book Word on the Street, which would have been written by Ginsberg, had he not passed away. Fine condition. $1,500

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10 26 Hammerstein 2nd, Oscar and Jerome Kern. Show Boat. An All American Musical Comedy. Adapted from Edna Ferber’s novel of the same name. Music by Jerome Kern. Book and Lyrics by Oscar Hammerstein 2nd. Vocal Score. New York: T.B. Harms, 1928. First edition. Quarto, 268 pages. Original illustrated wrappers, cloth spine. Some minor wear and staining. The scarce first edition of the original Broadway version, published in April 1928, with the title page dated “MCMXXVIII”. This edition is the only one that contains the Act II reprise of “Why Do I Love You?” which was replaced with “Dance Away the Night” for the London (and subsequent) productions. item 26 Show Boat was the first and defining “book musical”, a musical play in which the songs and dances were integrated with a serious story. This score was in the library of George and Ira Gershwin, unfortunately without ownership marks. $1,250

27 Harrod, Frances (Frances Forbes-Robertson). What We Dream. London: Duckworth & Co., 1903. First edition. Original olive green cloth blocked in red and copper, lightly rubbed, a very good copy. Frontispiece portrait of the author after a painting by H. de T. Glazebrook. Inscribed by the author “To Henry James in the hopes that he will read it from Frances Harrod. And send her a little word? After all she is a failure!” A scarce title, (two copies in the U.S. according to OCLC). Frances “Frankie” Harrod, née Forbes-Robertson (1866-1956) was the sister of the great Shakesperean actor and theatre manager Johnston Forbes-Robertson. She was trained at the Royal Academy and at the Slade School under Frank Brangwyn. She gave James a copy of her 1902 novel Mother Earth (Edel and Tintner, p. 37). She was a close friend of both James and Oscar Wilde, who gave her as a wedding present one of the twelve japan vellum copies of The Importance of Being Earnest, and she was the mother of the economist Sir Roy Harrod. $2,000

28 (Hayter, Stanley) Reavey, George. Nostradam. A Sequence of Poems. Paris: Europa Press, 1935. First edition. Original black wrappers, with cover engraving by Stanley William Hayter. 30 pages. Fine. Copy III of 20 copies numbered and signed by Reavey and Hayter, printed on Japon impérial paper, illustrated with an engraved frontispiece by Hayter, from a total edition of 277. Number 1 in the Europa Poets series. With the neat ownership signature of Reavey’s Cambridge friend, the scientist, poet, and polymath Jacob Bronowski. $1,000

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11 29 Hellman, Lillian. The Children’s Hour. New York: Knopf, 1934. First edition. Brown cloth, very good. Hellman’s first play. Inscribed to the Gershwins, “For Master Ira and Mistress Leonore with love / Lillian”. $1,500

30 Hirschfeld, Al. The American Theatre as Seen by Hirschfeld. New York: George Braziller, 1961. First edition. Cloth, fine in lightly used dust jacket, unpaginated (almost all black and white illustrations). Inscribed by Hirschfeld to Ira and Leonore Gershwin. $250

31 (James, Henry) Sargent, John Singer. Original silver bromide photograph of John Singer Sargent’s celebrated portrait of Henry James, 10-1/2 inches x 13 inches (image), 15 inches x 18-3/4 inches (image & mount), signed on the mount by both James and Sargent. One of 300 copies. Matted and framed. Fine condition with minimal fading of the signatures. Sargent’s portrait was commissioned in 1913, by a group of James’s English friends, in honor of his seventieth birthday. James agreed to sit on condition that the portrait would be given to the National Portrait Gallery (if they would accept it, which they did). James later arranged for one of these prints to be sent to all those who had donated to the celebratory event. $7,500 item 31 MULTIPLE ARTISTS’ MULTIPLE

32 Johnson, Ray, R.B. Kitaj, J. Nutt, S. Arakawa, George Brecht, Öyvind Fahlström, Allan Kaprow, Alison Knowles, G.E. Simonetti, Wolf Vostell. Pictures to be Read / Poetry to be Seen (multiple). Chicago: Museum of Contemporary Art (1967). First edition. Twelve objects and pamphlet in a two-part acrylic box with printed label, 10 x 4 x 2-1/2 inches. One of 500 numbered copies. This multiple was created for the supporters and artists who participated in the opening exhibition at Chicago’s newly-founded Museum of Contemporary Art. Museum Director Jan van der Marck invited twelve artists to designate a small object with no intrinsic value “that would somehow be expressive of your likes and ideas”. The museum staff acquired 500 of the selected items and placed one of each in a acrylic box along with a small brochure reproducing the artists’ correspondence. The box contains a comb (Ray Johnson), crayon (R. B. Kitaj), candy cigar (Jim Nutt), miniature bar of soap (Shusaku Arakawa), safety

12 pin (Gianfranco Baruchello), photograph (Mary Bauermeister), mustard seeds glued on a wooden stick (George Brecht), a pair of small dice (Öyvind Fahlström), a large screw (Allan Kaprow), a bottle cap (Alison Knowles), a fishing lure (Gianni-Emilio Simonetti), and a light bulb (Wolf Vostell). $3,000

item 32 33 Kesey, Ken. Sometimes a Great Notion. New York: Viking (1964). First edition. Original cloth, a fine copy in fine dust jacket, with faint rubbing on the spine. $500

34 King, Stephen. The Shining. Garden City: Doubleday, 1977. First edition (first printing). Cloth backed boards, upper corners slightly bumped, otherwise fine. Dust jacket spine slightly faded. Inscribed and signed “For Ray Dulin with best wishes ... and shine on” and signed by King, dated 6/11/88. $2,000

35 Kingsley, Charles. Alexandria and Her Schools. Four Lectures. London: Macmillan, 1854. First edition. Original wine-colored cloth, corners and edges worn, covers faded and marked, internally very good. 19.5 × 13cm, xxiv + 172pp + 16pp ads item 34 dated June 1854, yellow endpapers with ads for the publisher’s series of Theological Manuals. Colbeck describes his “first state” copy as having a November catalogue, however he notes that “first edition sheets sold slowly, and were bound up on several occasions.” Our copy does have the leaf of “Works by the same author,” tipped in before the half-title, which Colbeck erroneously thought did not appear in early copies.

13 This copy is inscribed to John Ruskin by Frederick James Furnivall, on the half-title: “J.R. from F.J.F. Nov 17, 1854”. It carries a further inscription on the endpaper recording its gift in 1868 “from Mr Ruskin” to Julia Richmond, daughter of the painter George Richmond (the last surviving follower of William Blake); another inscription dated 1890 records her gift to her daughter, Iona F. Robinson. Occasional pencil or ink marks of emphasis in the margins. Furnivall, a philologist and co-founder of the New English Dictionary was one of the Christian Socialists who founded the Working Men’s College in 1854, where Furnivall taught English grammar and soon recruited Ruskin to teaching elementary and landscape drawing. Kingsley too had signed the articles of incorporation of the college, and was one its first teachers. The four lectures by Kingsley, on the Ptolemaic school, neoplatonism, and the Christians, were delivered at the Philosophical Institute in February and draw on Kingsley’s researches for Hypatia, his first historical novel, which had begun publication in Fraser’s in January 1852, and appeared in book form in 1853. $950

36 La Farge, Oliver. Laughing Boy. Boston: Houghton Mifflin, 1929. First edition. Yellow cloth, fine copy in slightly edge-worn first printing dust jacket. Small name stamp on endpaper. Winner of the Pulitzer Prize for Fiction. $750

INVENTOR OF THE CYCLOTRON - SIGNED BY TEN NOBEL LAUREATES

37 [Lawrence, E.O.] Childs, Herbert. An American Genius. The Life of Ernest Orlando Lawrence. New York: Dutton, 1968. First edition. Inscribed by the author at the opening event of the Lawrence Hall of Science, in Berkeley on May 20, 1968. This copy was also signed by more than 40 scientists, veterans of the Manhattan

item 37 Project, laboratory staff, officials, including ten Nobel Prize winners, , and Lawrence family members. Cloth, very good copy, in dust jacket. The recipient was a friend of physicist Edwin McMillan and his family, and accompanying the book is a 1978 aquatint etching portrait of McMillan by his son, Stephen.

Signed by these Nobel laureates: Luis Alvarez, Carl Anderson, Melvin Cal­vin, Owen Chamberlain, Don­ald A. Glaser, William F. Giauque, Edwin M. McMillan, Glenn Seaborg, Emilio Segré, and Charles S. Townes. Other signers include scientists Raymond T. Birge, Hugh Bradner (inventor of the wet suit), Robert B. Brode, Donald Cooksey, Carl Helmholz, David L. Judd, Edward J. Lofgren, Alfred Lee Loomis, Burton Moyer, H. Wade Patterson, Duane Sewell, Edward Teller (the “father of the H-Bomb”), Robert Lyster Thornton and many others. $12,500

38 Lieberman, Elias. Paved Streets. Boston: Cornhill (1917). First edition. Cloth backed boards, very good. Inscribed by the author “For George Gerschwin (sic) with the best wishes of the author...Sept. 1921”. The first book by the Russian-born poet and eductor, who immigrated to the U.S. at the age of seven. It contains his most famous poem “I Am an American”. $500

39 Lowenfels, Walter. Apollinaire. An Elegy. Covers by Yves Tanguy. Paris: Hours Press, 1930. First edition. Original boards, illustrated with surrealist drawings by Yves Tanguy, leather spine. One of 150 numbered and signed copies, printed on the hand press. Light foxing to fore edge, otherwise a fine copy. $300

40 Malcolm X and Alex Haley. The Autobiography of Malcolm X. With the assistance of Alex Haley. New York: Grove Press (1965). First edition. Black cloth, faint offset on front endpapers, but a fine copy in price-clipped dust jacket, the orange spine lettering slightly faded. Inscribed by co-author Alex Haley in 1972. $1,250 item 40 41 Mann,Thomas. Autograph manuscript, signed, in English, quoting the culminating portion of The Magic Mountain. Two pages, 10 inches x 8 inches, matted and framed with a portrait of Mann. Some archivally repaired tears on verso. Mann here has clearly written in English 47 lines containing most of the climactic paragraph from the chapter “Snow” (using Helen Lowe-Porter’s translation), beginning “I hereby declare that I have a prescriptive right to lie here and dream these dreams” until “For the sake of goodness and love, man shall let death have no sovereignty over his thoughts. -- And with this -- I awake”. By his selection here Mann emphasized the centrality of these passages, and he would later point to “Snow” as the chapter that contained the heart of what his novel concerned, writing, “Perhaps you will read the book again....And perhaps you will find out what the Grail is: the knowledge and the

15 wisdom, the consecration, the highest reward, for which ... the book itself is seeking. You will find it in the chapter called ‘Snow,’ where Hans Castorp, lost on the perilous heights, dreams his dream of humanity....” (“The Making of The Magic Mountain”, The Atlantic, January 1953). Mann considered The Magic Mountain his greatest novel.

item 41

Original manuscripts donated by the authors (including this one) were awarded as premiums at rallies to the largest purchasers of war bonds. See List of Manuscripts Awarded by the Book and Author War Bond Committee 1943-1946 (Jamaica, N.Y.: Book and Author War Bond Committee / Queens Borough Public Library, 1946) where our manuscript is mentioned. It was Lowe-Porter’s translations that, for the most part, earned Mann distinction as one of the world’s greatest writers, particularly during the years after 1938 when he was not published in Germany. $12,500

42 Martin, Fred. Beulah Land: Fifteen Etchings by Fred Martin. Berkeley: Crown Point Press, 1966. First edition. Folio, 500 x 337 x 19 mm (19-11/16 x 13-1/4 x 3/4 inches). One of an edition of 25 copies. Cloth backed boards with etching set into front cover, matching slipcase. The etchings were printed by Kathan Brown, seven of which were hand colored by the artist. The letterpress was printed by Lawton Kennedy. Comprises 11 full-page etchings (numbered, 1-11; seven colored in part) and four smaller (vignette, colored in part, mounted on front cover; half- page colored vignette on title page; half-page dedication and vignette on table of contents, colored in part). All but the cover vignette are signed by the artist and numbered 13/25. Publisher’s binding, by Schuberth Bookbindery, of quarter cloth and purple paper boards, with double-page unsigned etching mounted as endpapers.

16 “In 1965-6, I condensed/confirmed the imagery of the 18 x 18 inch collages into a series of drawings and then etchings of Beulah Land, the place in John Bunyan’s Pilgrim’s Progress where the good go just outside the gates of Paradise to wait for final entry to Heaven. My book showed the way there, the objects and landmarks and emblems of the place, and the entrance to Arcadia (from Poussin’s Et in Arcadia Ego) at the end.... Throughout the book, I used nineteenth century ideas and images of California like the crockery I imagined my great aunts had that was decorated with California poppies and blue birds of happiness. I made the Poppy Cup a symbol of woman as well as the pot of gold at the end of the rainbow. It was nineteenth century California as the golden land of plenty.” From: The Art of Fred Martin: A Retrospective, 1948-2003, Oakland Museum of California. $3,000

43 Martin, Fred. The Tarot of California. Redrawn from a nineteenth century Italian Pied- mont Deck. Palo Alto: 3 EP Ltd., 1981. First edition. A portfolio of six colored etchings and aquatints, drawn by the artist on copper and zinc plates, printed by Ikuru Kuwahara, signed, numbered, and dated by the artist. Overall size 22-1/2 inches x 27 inches, plate size 17-1/2 in x 22 in. Copy 19 of 20 numbered sets on Arches, plus six proof sets of which 3 were on Stonehenge paper. Fine condition in publisher’s folding linen case. Fred Martin’s works are held by numerous institutions, including The New York Museum of Modern Art, The Fine Arts Museums of San Francisco, The National Gallery, Washington, etc. An account of the development of his Tarot images is on the artist’s web site (www. fredmartin.net). $2,250

44 Marx, Harpo. Harpo Speaks! With Rowland Barber. Illustrated by Susan Marx. New York: Bernard Geis, 1961. First edition. Cloth backed boards, spine worn and faded; internally very good. Inscribed by Harpo Marx to Leonore and Ira Gershwin. $2,500

45 McCarthy, Cormac. Blood Meridian or The Evening Redness in the West. New York: Random House (1985). First edition. item 44 Red cloth, faint spots on front endpaper, but a fine copy in fine unfaded dust jacket. $2,250

46 Minegishi, Shinsuke. Good and Evil. A portfolio of ten materia medica wood engravings. Vancouver: Heavenly Monkey, 2003. First edition. Ten etchings of powerfully poisonous plants, most 2 inches x 1-7/8 inches, one 3 inches x 2-1/2 inches; leaves 6-3/4 inches x 4 inches. The engravings were made for the book Good and Evil in the Garden, by Barbara Hodgson, published by Heavenly Monkey in 2003. One of five portfolios of proofs printed by the artist with a burnisher on gampi paper, mounted on Rives BFK, each signed and numbered. Fine. $1,500

17 item 46

47 (Picasso, Pablo) Granz, Norman. Untitled [Para Pablo]. [Los Angeles]: Privately printed, [ca. 1973]. First edition. Photographic boards, 9 inches x 6-1/2 inches. [32] pages. A tribute by the jazz impressario Granz to Picasso. The book reproduces, sometimes in color, drawings and inscriptions Picasso made for Granz, who had named his last record label for the artist. One of an edition of 51 copies, of which 26 were for Picasso and 25 for Granz. OCLC records a single copy (as Para Pablo). Cover laminate peeled

along the spine, else fine. Inscribed by Granz to Ira item 47 and Leonore Gershwin. $1,250

48 Porter, Cole. Red Hot and Blue. A Musical Comedy. New York: Random House, 1936. First edition. Original red, white, and blue silk blocked in gilt, spine faded and rubbed, endpapers darkened at the hinge; otherwise a very good copy. Copy 167 of 300, signed by Porter. Although without indication of ownership, this copy is from the library of Ira Gershwin. $2,750

18 49 Ramsden, Mary Thirlwell, Adam. RadioPaper. London: Studio Leigh, 2016. First edition. 16-7/8 x 12 inches, 44 leaves, all but two with the fore edges uncut. Card covers, hand-painted by the artist, in a flourescent tinted Perspex box as issued. One of an edition of 30 numbered copies, plus two artist proofs, signed by the artist. Printed on the Indigo Digital Press by F.E. Burman, on 100 gsm Zerkall mouldmade paper. RadioPaper is a collection of abstract color lithographs by Mary Ramsden; the textured colors and her use of show-through give a sense of three-dimensionality. The title comes from one of the names used for electronic paper. There are five tiny stories by the two-time Granta award-winning novelist Adam Thirlwell, also partially hidden by the uncut pages. Mary Ramsden’s first artist book. A set of unbound, signed lithographs, edition of ten, is also available: please inquire. $1,500

ARTIST’S ALPHABET

50 Ray, Man. Alphabet for Adults. Beverly Hills: Copley Galleries, 1948. First edition. Cloth backed boards, fine condition. Inscribed by Man Ray. One of 500 copies printed by Lynton Kisler. $2,000

51 Roth, Dieter and Emmett Williams. Noch mehr Scheisse, eine Nachlese, by Dieter Rot. The book of thorn & eth, being footnotes to “Sweethearts” and other things, by Emmett Williams. Stuttgart: Edition H.J. Mayer, 1968. First edition. Original wrappers, browned as usual, one of 500 copies with the rubber-stamped signatures of both authors and Roth’s handwritten note. 99 item 50 pp. Inscribed by Emmett Williams, and with an interesting one-page t.l.s. from Williams, written on the back of a flyer for two fluxist actions by Williams and Robert Filliou: “Co-Erfinder des Spaghetti Sandwich” and “Rosaroten Ohrenpfropfen,” 1963 and 1964. $375

52 [Vivien, Renée, 1877-1909] Tarn, Pauline M. Chansons pour mon Ombre. Paris: Alphonse Lemerre, 1907. First edition, no mention of special paper copies. [4], 94, [1] pages; 18 cm. Original printed wrappers, front hinge split, slight wear to spine. Inscribed “pour Mrs. O’Connor amicale souvenir de Pauline M. Tarn”. This scarce, late, title is the only book that the poet issued under her birth name, Pauline Mary Tarn. From the library of Barbara Grier and Donna McBride, founders of Naiad Press, the lesbian publishing house. 1,250

19 53 [Waley, Arthur]. Chinese Poems. Printed by Lowe Bros., 1916. First edition. Original printed self-wrappers, stitched within a slate-grey paper wrapper (made from a Colnaghi catalogue cover), on which Waley has written in red the three Chinese characters “Ku Shih Chi”. With some pencilled corrections of misprints in the author’s hand. A fine copy, signed much later by Waley on the title page. Waley’s rare first book, privately printed in an edition of about fifty copies, the existence of which was unknown to bibliography until 1962. There are, as far as we can tell, eleven extant copies, of which we can boast of having owned six. Johns A1.

At the British Museum, where Waley began working in June 1913, shortly after its formation, he had the job of creating the first index of Chinese and Japanese painters. He immediately began to teach himself Chinese and Japanese, and within three years produced this volume of 52 translations, ten of which he included in his item 53 first published book,A Hundred and Seventy Chinese Poems, published in 1918. A Hundred and Seventy Chinese Poems was cited by Cyril Connolly as one of the 100 Key Books of the Modern Movement. With the penciled signature of Robert Gathorne-Hardy who succeeded Cyril Connolly as Pearsall Smith’s secretary/companion, and inherited his library; Pearsall Smith’s name appears in Waley’s list of 61 people who were candidates to receive copy of this volume, along with writers such as Eliot, Pound, Yeats, Bertrand Russell, Clive Bell.

Waley’s authentic and musical translations infuse the stress-rhythms of Chinese poetic forms into English. His influence on later English poetry and scholarship was immense. But one must read this collection also as a product of its time and place,and the immediacy of the war and its effects. Rupert Brooke (who had died the previous year) had been a close friend of Waley’s at Rugby and King’s College, Cambridge, and Waley’s brother David (who had been a classmate of Julian Grenfell, killed in 1915) enlisted in August 1916. Although damage to an eye made Waley unable to serve in the military, and his close, private nature expressed little in the way of personal sentiment, the selection and order of texts give an insight into his thought. No fewer than a dozen of the poems included in Chinese Poems refer directly to war, from the first, Ch’ü Yüan’s “Battle” (included inThe Oxford Book of War Poetry, ed. Stallworthy, 1984), to the last, Wang Chi’s “On Coming to a Tavern” where Waley annotates the phrase “like drunkards,” as “indulging in their idiotic war” (the very last words in the book). More

20 than forty years later Kenneth Rexroth wrote “[Waley] has been the leading interpreter of the poetry of China, and much of its philosophy. All of his translations are valid poems in their own right. In fact they are among the most beautiful English poems of the twentieth century. His influence has been tremendous, and...it has been all for the good....In Dante’s phrase, he is ‘the better maker,’ the master of us all....His influence on my own work has been incalculable....He has made me a better poet and a better man.” $15,000

54 White, E.B. The Trumpet of the Swan. New York: Harper, 1970. First edition. Cloth, fine in dust jacket (price clipped). 1970 Honor Book Sticker on front cover. E.B. White presentation to “Cynthia, Susan, and Dan” pasted on half title page. Hall A31. $2,750

55 (White, E.B.). The New Yorker magazine foundry book for the issue of April 21, 1945. Proofs of the complete issue. 17-1/2 x 11 inches, covers of brown butcher paper. For most pages this contains one or two versions of each page, the first proof, often with corrections, on proofing paper, pulled prior to lockup, and a foundry proof on slick paper printed from the locked-up form before plating. The full-page advertisements have only the foundry proof page. The lead in to White’s “Notes and Comment” section for this issue was his obituary for Franklin Delano Roosevelt, who had died on April 12. This article has two or three versions of each page, each with pencil corrections or revisions by White. The issue also includes John Cheever’s story “Town House,” pieces by Edmund Wilson and others. Included with the foundry book are copies of the regular issue and the Armed Services edition of the issue. A unique production relic, in very good condition. $3,750

item 55

21 56 Williams, Tennessee. Tennessee Williams’ Letters to Donald Windham 1940-65. Edited and with comments by Donald Windham. Verona: Sandy Campbell, 1976. First edition. Wrappers, boxed, as new. One of 26 lettered copies, printed on blue Fabriano paper by Martino Mardersteig, signed by Williams and Windham, from a total edition of 526. Only these deluxe copies were issued signed. $1,250

57 Wodehouse, P.G. Bachelors Anonymous. London: Barrie & Jenkins (1973). First edition. Boards, fine in dust jacket. Inscribed by Wodehouse “To Ira [Gershwin] with more affection than I can express from Plum / P.G. Wodehouse / Christmas 1973”. $5,000

58 Wodehouse, P.G. Much Obliged, Jeeves. London: Barrie & Jenkins (1971). First edition. Boards, fine in dust jacket. The penultimate Jeeves and Wooster novel. Inscribed by Wodehouse “to Ira and Lee [Gershwin] with love from Plum / P.G. Wodehouse / Christmas 1971”. $5,500

59 Woolf, Virginia. Monday or Tuesday. Woodcuts by Vanessa Bell. Richmond: Leonard item 58 and Virginia Woolf at the Hogarth Press, 1921. First edition. Printed boards, cloth back, issued without dust jacket. Edges slightly rubbed, offset on front free endpaper, a nearly fine copy, containing four full-page woodcuts by Vanessa Bell. One of 1000 copies hand set, and printed (with Leonard Woolf’s assistance) at the Prompt Press. Kirkpatrick A5a. $2,000

60 Zukofsky, Louis. An Unearthing. Cambridge, Mass.: Printed by the Adams House and Lowell House Printers (1965). First edition. Orange printed wrappers, 8 pp. 3-1/2 x 4-3/8 inches, fine. One of 77 copies, numbered and signed. $450

22 Thomas A Goldwasser Rare Books

5 Third Street, Suite 530 San Francisco, CA 94103 Tel. (415) 292-4698 Fax (415) 292-4782 [email protected] www.goldwasserbooks.com

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