JAMES S. JAFFE RARE BOOKS LLC

OCCASIONAL LIST: WINTER 2016 RARE BOOKS, MANUSCRIPTS & LITERARY ART

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We will be happy to provide images and additional information for any items on this list.

1. AGEE, James & Walker EVANS. Let Us Now Praise Famous Men. Three Tenant Families. 8vo, illustrated with photographs by Walker Evans, original black cloth, dust jacket. Boston: Houghton Mifflin Company, 1941. First edition of “one of the great photography books of the 20th century” – Roth, The Book of 101 Books, p. 17. Parr and Badger, The Photobook Volume 1, p.144. Dust jacket price clipped and very slightly rubbed, otherwise an exceptionally fine copy, with absolutely none of the fading that invariably mars the spine of the dust jacket on this book. Extremely rare in this condition. $12,500.00

2. ARENDT, Hannah. A group of 7 books by Arendt from the collection of Franz M. Oppenheimer, including presentation copies of The Origins of Totaliarianism, Eichmann in Jerusalem, and Von der Menschlichkeit in Finsteren Zeiten. Gedanken zu Lessing, and a signed copy of Fragwürdige Traditionsbestände im Politischen Denken der Gegenwart. Together, 7 volumes, 8vos, original cloth or unprinted wrappers, dust jackets. Various places: Various publishers, 1951-64. First editions. Apart from varying signs of use (including pencil underlining and notes and occasional marginal strikes in The Origins of Totalitarianism and in the presentation copy of Eichmann in Jerusalem), the books are in very good to fine condition. $15,000.00

3. [ARION PRESS] ASHBERY, John. Self-Portrait in a Convex Mirror, with a new foreword to the poem by the poet, an essay on the poem by Helen Vendler printed as liner notes on the jacket of a record album of the poet reading the poem, whose cover has a full-scale color reproduction of the sixteenth- century painting by Parmigianino, “Self-Portrait in a Convex Mirror”, and with original prints by Richard Avedon, Elaine de Kooning, Willem de Kooning, Jim Dine, Jane Freilicher, Alex Katz, R. B. Kitaj, and Larry Rivers. A portfolio of 40 leaves, with separate 33 1/3 LP, loose in an 18-inch diameter stainless steel “Hollywood” movie canister with a convex mirror on the lid. , CA: Arion Press, 1984. Limited to 150 copies printed letterpress in Cochin type on handmade round Twinrocker Mill paper, the prints in various media including photogravure, lithography, etching and woodcut, the colophon signed by Ashbery, , the publisher, and Helen Vendler, who wrote the essay. Each of the individual prints is signed by the artist. A very fine copy. Johnson, Artists’ Books in the Modern Era 1870-2000, No. 173; Arion Press Check List 13. $12,500.00

4. [ARION PRESS] YEATS, W. B. Poems of W. B. Yeats. Selected and Introduced by Helen Vendler and with Six Etchings by . 4to, original quarter red morocco & dark green cloth, publisher’s matching cloth and board slipcase. San Francisco: Arion Press, 1990. First edition. One of 400 numbered copies signed by Diebenkorn. Fine copy of this handsome production. $4,000.00

5. [ART – BERMAN] BERMAN, Wallace. Radio/Aether Series 1966/1974. A portfolio of 13 two-color offset lithographs, each photographed from an original verifax collage, and printed on star-white cover mounted on Gemini rag-board, in original screen-printed fabric-covered box. Los Angeles: Gemini G.E.L., 1974. First edition. Limited to 50 copies, with 10 artist’s proofs, signed by Berman on the title- page. A very fine copy. $10,000.00

6. [ART – BRAINARD] BRAINARD, Joe. Original pen-and-ink, graphite and gouache tattoo drawing onpaper, 13¾ x 10¾ inches, signed and dated in pencil “Brainard – ‘71”. An exceptionally fine, large drawing, the tattoos drawn with blue pencil superimposed on a field of several male nudes drawn with black pencil. This drawing was included in the exhibition of Paintings by Joe Brainard at the Utah Museum of Fine Arts at the , May 13 – June 17, 1973, and sold to a private NYC collector in 1974 by the Fischbach Gallery, which represented Brainard from 1971-1975. The drawing is in fine condition. $10,000.00

7. [ART – CHAGALL] GOLL, Ivan. La Chanson De Jean Sans Terre. Poeme en 9 Chants. Dessin de Marc Chagall. 8vo, original pictorial wrappers. Paris: Editions Poesie & Cie, 1936. First edition. One of only six copies printed on Japon Imperial paper out of a total edition of 500 copies. Chagall contributed the design for the figure of the main character, which appears on the front cover. Fine copy. $750.00

8. [ART-CHAGALL] GOLL, Claire & Yvan. Love Poems. With 8 Drawings by Marc Chagall. Large 8vo, tipped-in frontispiece portrait and full-page illustrations by Chagall, original printed gold-foil wrappers. (New York ): Printed by Profile Press for Hemispheres, (1947). First edition, deluxe issue. One of 40 copies numbered in Roman on Vélin d’Arches signed by the authors and by Chagall (out of an entire edition of 640). Extremities of wrappers somewhat rubbed, light offset to title-page from facing frontispiece, ink ownership inscription on recto of rear free-endpaper, otherwise a fine, unopened copy. $2,500.00

9. [ART – FREILICHER] NORTH, Charles. Elizabethan & Nova Scotian Music. Drawings by Jane Freilicher. 4to, original illustrated wrappers, stapled as issued. (N. Y.): Adventures in Poetry, (1974). First edition, limited issue. One of 26 lettered copies signed by North and Freilicher. Fine condition. $1,500.00

10. [ART – HOCKNEY] HOCKNEY, David, and Wallace STEVENS. The Blue Guitar. The Man With the Blue Guitar. Small, square 4to, illustrations, original boards, paper onlay on front cover, dust jacket. (London and New York): Petersburg Press, (1977). First edition. Signed by Hockney on the title- page. Fox marks on edges of text block, otherwise a fine copy. $750.00

11. [ART – JESS COLLINS]. The original collages that served as the designs for the covers of Clayton Eshleman’s literary magazine Caterpillar, Issue 8/9, front and back covers, each collage measures approximately 5 x 6 3/4 inches, pictorial onlays mounted on pictorial backgrounds, ca. 1969. The collage designs are in fine condition, framed and glazed. $9,500.00

12. [ART – MARDEN] COOLIDGE, Clark. The So. Poems 1966. 4to, original illustrated wrappers, front cover by Brice Marden, stapled as issued. (N. Y.): Adventures in Poetry, (1971). First edition. One of 26 lettered copies signed by Coolidge and Marden (out of a total edition of 300). Some light dust-soiling to wrappers, otherwise a fine copy. $1,750.00

13. [ART – MITCHELL, HARTIGAN, GOLDBERG, LESLIE] ASHBERY, John, et al. The Poems by . Prints by Joan Mitchell [with:] Permanently by . Prints by Alfred Leslie [with:] Odes by Frank O’Hara. Prints by Michael Goldberg [with:] Salute by James Schuyler. Prints by Grace Hartigan. Four volumes, folio, illustrated with original screen-prints, original cloth-backed illustrated paper over boards, acetate dust jackets, publisher’s cloth slipcase. N.Y.: Tiber Press, (1960). First edition. One of 200 numbered copies signed by the authors and the artists from a total edition of 225 (the 25 contributors’ copies were not signed). Each volume includes five original color prints on ivory wove handmade Hahnemühle paper made directly on the screens by the individual artists. “Abstract expressionist artists . . . were not particularly involved with printmaking or encouraged to create artists’ books. . . . Another significant and undervalued exception . . . are four oversize books by the New York School of poets, each paired with large, colorful screen-prints by four second- generation abstract expressionist artists. . . . Each bound volume in the untitled boxed set contains five screen-prints, including the title page and covers. This is Hartigan’s only book illustrated with original prints.” “These four volumes – The Poems, Permanently, Salute, and Odes – were a collaboration between four leading artists of the second-generation of abstract expressionist painters and four of their poet friends of the New York School. The screen print medium that was chosen was the perfect vehicle to convey painterly gesture and saturated color. Along with 21 Etchings and Poems (1960) published by the Morris Gallery, N.Y., these four volumes published by the Tiber Press were the only distinguished artists’ books containing abstract expressionist works created during the 1950s.” – Robert Flynn Johnson, Artists’ Books in the Modern Era 1870-2000. The Reva and David Logan Collection of Illustrated Books. (London): Thames & Hudson, Fine Arts Museums of San Francisco, (2001), pp. 43, 226-227; item 142. Jerry Kelly, Riva Castleman, and Anne H. Hoy, The Best of Both Worlds: Finely Printed Livres d’Artistes, 1910-2010 (N. Y.: & Boston: The Grolier Club & David R. Godine, (2011), item 38. A very fine copy. $30,000.00

14. [ART – MURRAY] ASHBERY, John. Who Knows What Constitutes A Life. Illustration by Elizabeth Murray. 8vo, frontispiece, original wrappers with printed label. Calais, VT: Z Press, 1999. First edition. One of only 26 copies with the original seven-color linoleum cut frontispiece signed by the artist and the colophon signed by the poet out of a total edition of 226 copies printed in Bembo type on Zerkall and Fabriano paper by The Grenfell Press. As new. $1,000.00 15. [ART – NOGUCHI] FORD, Charles Henri. Om Krishna III: Secret Haiku. Drawings by Isamu Noguchi. 8vo, original iridescent gold linen. (N. Y.): Red Ozier Press, (1982). First edition. One of 155 copies signed by Ford and Noguchi. Peich Red Ozier 42. As new. $1,250.00

16. [ART – ONO] ONO, Yoko. Penny Views. Small 8vo, illustrated by the author/artist, original boards with polished copper spine lettering, in original printed paper envelope. (Santa Barbara, CA: Turkey Press, 1995). First edition. One of 125 numbered copies (the entire edition) and signed by Yoko Ono. A hand-printed artist’s book consisting of 24 letter-press drawings by Yoko Ono on black mingei and kakishibu (a handmade persimmon-washed kozo) Japanese paper, and bound by hand. As new. $1,500.00

17. [ART – PHILLIPS] Uranian Memories, acrylic on canvas, approximately 20” wide by 24” vertical, framed and glazed, (1972). Exhibited at Phillips’ show at The Gemeentemuseum, Den Haag, in 1975. Provenance: formerly in the collection of the poet, . $25,000.00

18. [ART – PORTER] PORTER, Anne. The Birds of Passage. Large 8vo, glossy illustrated wrappers after a design by Fairfield Porter. N.Y.: The Groundwater Press, (1989). First edition. One of 26 lettered copies, signed by the author, out of a total edition of 100. About fine copy. $350.00 19. [ART – RIVERS] KALLMAN, Chester. Storm at Castelfranco. Small 8vo, original cloth-backed boards, glassine dust jacket. N. Y.: Grove Press, (1956). First edition. One of only 15 copies, signed by Kallman, and containing an original drawing signed by Larry Rivers tipped-in as a frontispiece. Offsetting to title-page from the original drawing, otherwise a very good copy. $7,500.00

20. [ART – RAUSCHENBERG] OPPENHEIMER, Joel. The Dancer. 8vo sheet folded to four panels, with an abstract drawing by Robert Rauschenberg. Black Mountain, NC: Printed by The Sad Devil Press at , 1951. First edition. One of 150 copies printed on Bristol card stock (the total edition). Save for a hint of age-toning at the edges, a fine copy in the original printed mailing envelope which is dust-soiled and split along one fold. Issued as Jargon Two. $4,000.00

21. [ART – SCHNABEL] SCHNABEL, Julian. Works on Paper 1975-1988. Edited by Jorg Zutter. With essays by Brooks Adams, Donald Kuspit, and Jorg Zutter. 4to, illustrated, cloth with original signed painting by Schnabel on front cover, dust jacket. (Munich): Prestel, (1990). First edition, with English text. One of 100 numbered copies with an original painting by Schnabel on the front cover, inscribed to the reader and signed by the artist. Fine copy, with publisher’s note laid in. $2,000.00

22. [ART - SMITHSON, Robert, et al] GILDZEN, Alex, editor. Six Poems / Seven Prints. Poems by John Ashbery, James Bertolino, Gwendolyn Brooks, , Steven Osterlund and . Black and white prints by Robert Smithson, Grace Hartigan, Alex Katz, Fairfield Porter, Harvey Quaytman, Otto Piene, and Mary Ann Begland Sacco. 4to, 14 loose sheets laid into paper portfolio. Kent, OH: Kent State University Libraries, 1971. First edition. One of 50 sets signed by the authors and by Smithson, Porter, Quaytman, Sacco and Piene, out of a total edition of 500 sets produced. Kermani C198. Fine copy. $4,500.00

23. [ART – TUTTLE] BERSSENBRUGGE, Mei-mei, and Richard TUTTLE. Sphericity. Large, square 8vo, illustrations, original illustrated wrappers. [Berkeley]: Kelsey St. Press, 1993. First edition, deluxe issue. One of 50 numbered copies, signed by the author and the artist, in an entire edition of 2000. An original hand-colored drawing, signed by Tuttle, is bound in at the back of the book. Lower fore-corner of wrappers and text-block lightly bumped otherwise a fine copy. $1,750.00

24. [ART – WARHOL] BERRIGAN, Ted, editor. “C,” A Journal of Poetry. I:1-10; II:11, and 13 (of 13 published). Edited by Ted Berrigan and occasional guest editors, Joe Brainard and Ron Padgett among others. 12 issues, tall legal format, mimeographed and stapled in printed wrappers, and in pictorial wrappers with cover designs by Joe Brainard, and one issue (I:4) with a silk-screen cover design by Andy Warhol. : Lorenz Gude, et al, May 1963 through May 1966. Poet, contributor, and guest-editor Tony Towle’s run of this important magazine, with various issues signed and inscribed by Warhol, Berrigan, Joe Brainard, Edwin Denby, Dick Gallup, Gerard Malanga, Ron Padgett, and . Inscribed and signed numbers are as follows: I:3 is inscribed by Berrigan on the inner front wrapper, “I love you - / Ted Berrigan” and is signed by Joe Brainard on the title-page; I:4, the Warhol issue, bears brief presentation inscriptions to Tony Towle from Warhol, Berrigan, Edwin Denby, Gerard Malanga, and John Wieners; I:5 and I:6 are signed by Brainard on the front cover; I:9 is inscribed by Berrigan on the title-page: “This issue was guest-edited by Tony Towle / Ted Berrigan” and is signed again by Berrigan on the same leaf; II:13 is signed by Berrigan, Brainard, Ron Padgett, and Dick Gallup on the title-page. Reva Wolf in her study of Andy Warhol, Poetry, and Gossip in the 1960s discusses Warhol’s cover to this issue at considerable length, particularly its political purpose and implications within the context of the art world of the time, specifically Warhol’s resentment of Frank O’Hara’s attitude toward him: “Warhol was not only aware of O’Hara’s disdain for him, but was apparently also familiar with O’Hara’s conception of art criticism as rumor or gossip (gossip being one of Warhol’s own favorite activities, as he liked to point out). . . . And it is exactly this power of the image – the product of an effective combination of subject matter and style – that Warhol would use to get back at O’Hara for his cruel treatment of Warhol. Moreover, when Warhol took O’Hara on, he did so in the poet’s own terms: through the use of gossip. Warhol’s piece of visual gossip took the form of two double portraits of the poets Edwin Denby and Gerard Malanga in which a relationship between them is implied by their poses. In the first portrait, Malanga stands behind the seated Denby and holds Denby’s hands; in the second portrait, he leans over to kiss Denby. These two images, in effect, served to spread a rumor that Denby was in some way intimately involved with Malanga. . . . Denby represented a model of gentility and urbanity, Malanga represented one of crudity and sexual indiscretion. And Malanga’s association with Warhol – who had hired him as his silk screening assistant in late spring of 1963 – would have served to confirm O’Hara’s low opinion of the young poet. It is easy to see why an image of Malanga kissing Denby would have displeased O’Hara. . . . For Warhol, the C cover served multiple purposes. Aside from provoking O’Hara, it was a way for Warhol to insinuate himself into O’Hara’s circle of poets when O’Hara himself would not allow the artist in. The C portraits intimated that Warhol had the “inside scoop” on Edwin Denby’s personal relations. The fact that Warhol took the Polaroids for these portraits at Denby’s apartment – Denby’s personal space, that is – rather than, say, Warhol’s studio (this was a few months before he moved into the space known as The Factory), can be understood as Warhol’s way of providing visual evidence that he had gained a certain degree of intimacy with a venerated member of O’Hara’s group. . . . The C portraits of Denby and Malanga functioned like verbal gossip.” Reva Wolf’s Andy Warhol, Poetry, and Gossip in the 1960s (Chicago: University of Chicago Press, 1997), pp. 19-25. Condition, by issue, is as follows: (I:1) dust-soiled with a few detached leaves; (I:2) some very faint discoloration to the title-page, title of one poem underlined in ink, a couple leaves detached; (I:3) a few leaves detached, final leaf worn; (I:4) light to moderate edge-wear; (I:5) fine copy; (I:6) fine copy; (I:7) fine copy; (I:8) fine copy; (I:9) fine copy; (I:10) short marginal tear in final leaf; (II:11) fine copy; (II:13) soft vertical crease in front cover. All told, a very good run. $22,500.00

25. [ART & LITERATURE] WILLIAMS, Jonathan. Jonathan Williams Second Holograph Book [with:] Jonathan Williams Third Holograph Book [with:] Jonathan Williams’ Signature Book for Jargon Press publication parties and related events, 1960-1997. 4tos, full chocolate brown morocco, spine in 6 compartments, covers paneled in gilt, a.e.g., by Sangorski & Sutcliffe; marbled endpapers, full gray morocco, spine in 6 compartments, covers paneled in gilt, a.e.g., by Sangorski & Sutcliffe; and unprinted green wrappers. Jonathan Williams kept several holograph books over the course of his life as guest books that recorded the visits of his friends to his homes in Highlands, NC and Corn Close, Umbria, as well as a record of guests at various public events hosted by . The present holograph books contain not only signatures but also original art works, drawings, photographs, and poetry by the contributors, who include Ansel Adams, Don Anderson, Leonard Baskin, Lyle Bongé, Stan Brakhage, Wynn Bullock, , John Cage, Aaron Copland, Guy Davenport, Jim Dine, Ephraim Doner, , Ian Hamilton Finlay, Sandra Fischer, Claude Fredericks, John Furnival, Suzi Gablik, Thomas George, Victor Hammer, Michael Harper, Lou Harrison, Dave Heath, David Hockney, Robert Indiana, Ernst Jandl, Pierre Joris, Bill Katz, Robert Kelly, Hugh Kenner, R. B. Kitaj,

René Laubies, James McGarrell, Ralph Eugene Meatyard, Raoul Middleman, Darius Milhaud, Thomas Merton, A. Doyle Moore, John Jacob Niles, Claes Oldenburg, , , Gerhard Rühm, , Joe Tilson, Gael Turnbull, Ian Tyson, Stan Vanderbeek, Diane Wakoski, Alan Watts, Minor White, and Emmett Williams, among many, many others. A complete list of contributors to the holograph books, including original art works, is available. The third volume, primarily a signature book, marks the publications of several Jargon Society books, including Mina Loy’s The Last Lunar Baedeker (1982), and contains hundreds of signatures, a majority being writers and poets. The holograph books and the signature book are in fine condition; the signature book is rubbed along the spine and slightly hand-soiled consistent with its use. $45,000.00

26. [ARTIST BOOK] ROBINSON, Aminah. Journey: Collection of Drawings, Field People, Vol. 1. (No place): Brenda Lynn Robinson, 1979. Unique Artist’s Book. 4to, 121 loose original pen, watercolor, pastel and pencil illustrations in two hand-sewn leather pouches with bead decorations, both in hand- made leather portfolio with hand-tooled lettering. With original hand-made object: a little figure made of clay and buttons attached to a carved wooden stick. [Together with:] Everyday Life and History of Afro-Amerikans: Pages in History - Series I. 100 Studies. Vol. 2. (No place): Aminah Brenda Lynn Robinson, 1982. 4to, 38 loose signatures and pages of original pen and colored pencil illustrations, some pages with various buttons sewn on with yarn and thread, all laid into hand-made suede portfolio, elaborately decorated with hand sewn designs, appliqués, buttons, cowry shells and beads, laid into covers made of two panels of wood with hand-carved reliefs and lettering, connected by two metal hinges. Unique Artist’s Books. Aminah Robinson’s diverse body of richly textured, colorful multimedia works, range from drawings and woodcuts to complex structures composed of a wide array of found objects and natural and synthetic materials. Brilliantly colored, heavily adorned and painted, Robinson’s art draws its vitality and appeal, in part, from the artist’s imaginative engagement with history and community. Robinson received a MacArthur “genius” award in 2004. Her work has been shown at many museums and galleries. The Columbus Museum of Art originated a major retrospective in 2002. The two works here are in fine condition. $8,500.00

27. [AUDUBON] TYLER, Ron. Audubon’s Great National Work. The Royal Octavo Edition of The Birds of America. 4to, illustrated, original green cloth-backed paste-paper boards, matching green linen folding box with printed spine label. Austin, TX: W. Thomas Taylor, (1993). First edition. Limited to 225 copies, with two original prints (with their accompanying texts) of the Whip-poor-will from the first and second octavo editions of Audubon’s Birds, bound in wrappers and laid in at the back of the box. The definitive history of one of America’s greatest illustrated books. As new. $1,500.00

28. AUSTER, Paul. Autobiography of the Eye. 8vo, photographic frontispiece by Karin Welch tipped-in, original string-tied French-fold unprinted wrappers, printed paper label, publisher’s envelope. (Portland: Printed at The Beaverdam Press for Charles Seluzicki, 1993). First edition of this poem. One of thirty- five copies printed (the entire edition). Fine copy. Rare. $850.00

29. BARNES, Djuna. Nightwood. 8vo, original purple cloth, dust jacket. London: Faber and Faber Ltd, (1936). First edition of Barnes’ celebrated roman à clef set in Paris in the 1920s. Presentation copy, inscribed on the front free endpaper “To John Hayward, with love, Djuna Barnes.” Laid into this copy is a brief autographed card signed by Barnes to Hayward, reading: “A Very Merry Christmas & a Good New Year – Would write Tom but he’s away, Always, Djuna.” John Hayward, (1905-1965) literary editor and critic, bibliophile and bibliographer, was for many years T. S. Eliot’s closest friend, the poet’s archivist, editor, and literary executor. Hayward and Eliot shared a flat at Carlyle Mansions in Chelsea for eleven years from 1946 until 1957, and it is to “Tom” Eliot that Barnes refers in her note. A classic of lesbian literature, Nightwood was rejected by American publishers, and at the instigation of T. S. Eliot, a director of the firm, was first published in by Faber and Faber. Harcourt, Brace published the first American edition, with an introduction by Eliot, in 1937. Both editions were slightly bowdlerized, and the original text was not published until Dalkey Archive Press brought out an unexpurgated edition in 1995. A few small chips at lower fore-corner of the dust jacket, a tiny bit of edge-wear elsewhere, otherwise a fine copy of a rare book, an exceptional association copy, and the only inscribed copy we have handled. $9,500.00

30. BECKETT, Samuel. Company. With 13 Etchings by Dellas Henke. Folio, thirteen full-page original etchings by Dellas Henke, original quarter black morocco, black morocco fore-tips, and paste paper over boards, speckled endpapers by Bill Anthony, publisher’s slipcase. (Iowa City: Iowa Center for the Book at The , 1983). First edition thus. One of 52 press-numbered copies (the total edition) signed by the author and the artist, the book printed by hand on dampened Arches Cover paper by Cheryl Miller, L.J. Yanney, K.K. Merker and Cynthia Rymer. Berger 80. A fine copy. Rare. $9,500.00

31. [BENJAMIN, Walter] Deutsche Menschen. Eine Folge Von Briefen.Auswahl und Einleitungen von Detlef Holz. [German Men and Women. A Series of Letters. Selected and Introduced by Detlef Holz.] 8vo, original cloth. Luzern: Vita Nova Verlag, 1936. First edition of this pseudonymously published anthology of letters with Benjamin’s commentaries, published by the anti-Fascist publisher and secret agent Rudolf Roessler. One of 2000 copies printed. Brodersen C5; Nordquist, p.13. Presentation copy, inscribed on the front half-title to the avant-garde filmmaker “Hans Richter, als ein erstes Pariser Gastgeshenk, Walter Benjamin.” An important association copy, the inscription refers to this copy of Deutsche Menschen as “one of the first presents from Paris”, essentially “one of the first gifts from my Parisian exile.” Amos Elon, in his brilliant history The Pity of It All (N. Y.: Henry Holt, 2002), recounted the publication of the letters that were to make up Deutsche Menschen in the Frankfurter Zeitung: Benjamin’s selections and his annotations amounted to perhaps the greatest compliment to and saddest epitaph for German humanism ever made by a German Jew. Benjamin chose letters written between 1783 and 1883 that he had collected over the years from archives and rare books. He believed that by publishing the excerpts at that moment, he was, like an archaeologist, uncovering a lost, underground tradition, one that had first been enunciated during the Enlightenment but that had never fully taken root even though many of the best minds had spoken for it. There was nothing snobbish about his choices. The letters were written not by the proverbial Dichter and Denker – poets and philosophers – but by obscure friends, relatives, and admirers, modest, virtuous men who embodied decency, rectitude, and Bildung: not Kant but his brother Johann Heinrich, not Goethe but his friend Friedrich Zelter, not Nietzche but his friend Franz Overbeck. It is perhaps no accident that all but one of the letters in this anthology were written before the foundation of Bismarck’s muscle-flexing great Reich. . . . The anthology reads like the catalog of an exhibition documenting a buried civilization, conjuring up its ethos, mourning it: Benjamin’s collection was a warning that “not even the dead” would be safe if the Nazis won. The last installment appeared on May 31, 1932, two months before the Reichstag elections.” Elon notes, contrary to Eiland and Jennings, that “In 1936, Benjamin published the anthology in Switzerland under a pseudonym so that it could be sold in Nazi . It found scarcely any readers there and was pulped. . . . In the copy he sent (Gershom) Scholem, Benjamin wrote: “This is an ark I built when the fascist flood was beginning to rise.” – Elon, pp. 387-388. A rare and important association copy. Buff linen lightly soiled, otherwise a very good copy. Inscribed copies of Benjamin’s books are rare. $27,500.00

32. [BOOKS ABOUT BOOKS] ANDREWS, William Loring. Bibliopegy in the and Kindred Subjects. 8vo, frontispiece and color and b/w illustrations, engraved chapter-titles and vignettes, original gilt-stamped vegetable parchment over boards, silk ribbon marker, dust jacket. New York: Printed by The Gillis Press for Dodd, Mead and Company, 1902. First edition, deluxe issue, of this important account of early American . One of 36 copies printed on Imperial vellum “from the Imperial Government Mill” out of an edition of 177 copies printed. Neat two-inch hairline split in the joint near the spine of the front cover, leather book label of Francis Kettaneh on verso of front free endpaper, otherwise a fine copy in dust jacket which is sunned at the spine panel. $875.00

33. [BOOKS ABOUT BOOKS] Roger Eliot Stoddard At Sixty-Five, A Celebration. 8vo, tipped-in plates, plain wrappers, dust jacket. (N. Y.): Thornwillow Press, 2000. First edition. One of 300 numbered copies, with addenda laid in. With contributions by Anne Anninger, Marcus A. McCorison, W. H. Bond, Luke Ives Pontifell, Rodney G. Dennis, Andre Jammes, Hugh Amory, Michael Winship & Peter X. Accardo. Fine copy. $75.00

34. BRODSKY, Joseph. Verses on the Winter Campaign 1980. Translated by Alan Myers. 12mo, original unprinted wrappers, dust jacket. (London): Anvil Press Poetry, (1981). First edition. One of 250 copies signed by Brodsky and Myers (out of a total edition of 500 copies). Presentation copy, inscribed by Brodsky to his friend, the poet Mark Strand, on the title page: “for Mark and and [sic] J[udith] with requited love Joseph Brodsky [drawing of a winged cat] Sept 20, 1981, New York, The day Mark came to the city”. With Brodsky’s corrections in verses I (line 12: “siezed” corrected to “seized”), V (line 2: “carelessly piled up”, then a crossed out word, then “silence”) and VII (line 6: “repeat”, then crossed out words, then “in their whiteness”, then crossed out word and then “cheekbones”). Fine copy. $1,250.00

35. BURROUGHS, William S. Ghost of Chance. Written by William S. Burroughs. Illustrated by George Condo. Folio, with 3 original etchings and several tipped-in color illustrations, pictorial endpapers, original black cloth, matching slipcase. (N. Y.): Library Fellows of the Whitney Museum of American Art, 1991. First edition. One of 160 copies printed on Hahnemuhle etching paper by Leslie Miller at The Grenfell Press and signed by Burroughs and Condo. As new. $1,750.00

36. CERAVOLO, Joseph. Fits of Dawn. 4to, original illustrated wrappers (front cover after a design by Rosemary Ceravolo), stapled as issued. (New York): “C” Press, 1965. First edition of the author’s scarce first book. Presentation copy, inscribed by Ceravolo to the poet Frank Lima and his wife on the dedication page: “To Frank & Sheila / Remember 108 [degree] / weekend / Love Joe”. Wrappers lightly to moderately soiled, otherwise a fine copy. $2,250.00

37. CALVINO, Italo. Le Cosmicomiche. 8vo, original pale green cloth, dust jacket. Torino: Einaudi, 1965. First edition. Presentation copy, inscribed by Calvino to William Weaver, the English translator of Cosmicomics; with a number of discreet pencil annotations by Weaver. Fine copy in dust jacket with a few short tears. $4,500.00

38. [CARROLL, Jim] RIVERS, Larry. Living at the Movies. Original color lithograph on RFK Rives paper, the image 20 x 26 inches on paper measuring 24.5 x 34 inches. [N. Y.: Marlborough Graphics, 1974]. First edition of the lithographic design that was used to illustrate the cover of the first edition of Jim Carroll’s book Living at the Movies, published by Grossman in 1973. Presentation copy, inscribed by Rivers to Joe LeSueur, Frank O’Hara’s lover: “For JoJo in Bliss / Larry R.” Signed by LeSueur on the verso. Limited to 175 numbered copies, this copy unnumbered and likely one of the artist’s copies and hors commerce. Very light foxing to the borders, a few handling light creases, otherwise a fine copy. $3,500.00

39. CHATWIN, Bruce. In Patagonia. 8vo, illustrated, original boards, dust jacket. London: Jonathan Cape, (1977). First edition of Chatwin’s first book which won the Hawthornden Prize and the E. M. Forster Award. Fine copy. $750.00

40. CHEEVER, John. We are pleased to offer over 100 letters from John Cheever to his daughter Susan, over 100 pages, New York, September 20, 1960-April 23, 1970, all unpublished. In these chatty, conversational letters to his daughter Susan, written over a period of almost ten years during which time Susan was often away at school – [Susan Cheever was 17-27 years old during this period] – John Cheever reports the daily routines and activities, social engagements, travels, and domestic matters of the Cheevers, their friends, family, and pets. The biographies of Cheever by Scott Donaldson (1988) and Blake Bailey (2009) and The Letters of John Cheever (1988), edited by Cheever’s son Benjamin, make no mention or reference to the letters of Cheever to his daughter Susan, with the single exception of a one letter from 1979 (Bailey, p. 587). Only recently discovered at Cheever’s house in Ossining, NY, and hitherto unknown to scholars, these letters represent a rich and important resource for further research into the life of one of America’s most important short story writers. A more complete description with price is available to interested institutional libraries.

41. CHESTERTON, G. K. A Short History of England: the author’s original corrected typescript, signed, with extensive holograph corrections, interpolations and additions throughout, 272 quarto leaves, rectos only. 4to, bound in red crushed and polished levant, lettered and bordered in gilt, elaborately gilt dentelles, and marbled endpapers by Rivière and Son, cloth slipcase. [London: Chatto & Windus, 1917). Gilbert Keith Chesterton (1874-1936) was one of the most prolific and popular writers of his age, ranked among the great wits of the period alongside Oscar Wilde and G. B. Shaw, who called him a “man of colossal genius.” Best known for his series of detective stories featuring the priest Father Brown, Chesterton considered himself primarily a journalist, and produced an extraordinary number of essays on a myriad of subjects, invariably with humor, profundity and paradox. In an age of intense and divisive politics that saw the rise of Soviet communism, European fascism, and English and American capitalism, Chesterton believed in “distributism”, a theory of society that grew out of Catholic social aspirations, and that advocated widespread distribution of property, and rejected the evils of capitalism, state socialism, plutocracy, and corporatocracy. Chesterton was enormously influential, his works inspiring individuals as diverse as Mahatma Gandhi and Michael Collins, Marshall McLuhan, Jorge Luis Borges and Neil Gaiman. Light wear along joint of the front cover, light soiling to the typescript consistent with use, otherwise in fine condition. $25,000.00

42. CHOPIN, Kate. The Awakening. 8vo, original decorated light green cloth, t.e.g., others untrimmed. Chicago and New York: Herbert S. Stone & Co., 1899. First edition. BAL 3246. Originally entitled “A Solitary Soul”, The Awakening was published in April 1899 to a chorus of moralistic and censorious reviews, including a rather conventional one by a twenty-three year old Willa Cather in the Pittsburgh Leader. Although Cather praised Chopin’s “flexible iridescent style”, she deplored wasting “so exquisite and sensitive” a style on a story that she considered merely “a Creole Bovary.” The Awakening remained dormant, out of print, for more than fifty years until it was republished in Per Seyersted’s edition of Chopin’s Complete Works in 1969. Since then, The Awakening has achieved the status of an American classic. Emily Toth, Chopin’s biographer, considers it “the most radical American novel of the 1890s.” – Unveiling Kate Chopin (Jackson, MS: University of Mississippi Press, 1999), p. xxii. Elaine Showalter called The Awakening “a revolutionary book. Generally recognized today as the first aesthetically successful novel to have been written by an American woman, it marked a significant epoch in the evolution of an American female literary tradition. Chopin went boldly beyond the work of her precursors in writing about women’s longing for sexual and personal emancipation.” – Elaine Showalter, “Tradition and the Female Talent: The Awakening as a Solitary Book”, in Kate Chopin. Edited by Harold Bloom. (N. Y.: Bloom’s Literary Criticism, 2007), p. 8. The first edition of The Awakening is extremely rare in collector’s condition, usually surviving in shabby condition. The present copy is virtually as new, an extraordinary copy; preserved in a half-morocco slipcase. $17,500.00

43. [COLOR PLATES – VENICE] QUADRI, Antonio. Il Canal Grande Di Venezia Descritto Da Antonio Quadri . . . E Rappresentato In XXXXVIII Tavole. Oblong folio, illustrated with 48 hand- colored engravings, original quarter red morocco and printed boards. Venezia: Dalla Tipografia Armena Di S. Lazzaro, 1838. Second edition of this beautiful book, which depicts in 48 panoramic views the architecture, including villas, palaces, churches and gardens, along the canals of Venice. Aside from some slight rubbing to the covers, the present copy is in fine condition. $15,000.00

44. CORMAN, Cid. Clocked Stone. Poems. Drawings by Hidetaka Ohno. Square folio, illustrated with collotype plates, original burlap. (Kyoto, Japan: Origin Press, 1959). First edition. One of 210 copies signed by Corman and the artist. Fine copy of one of Corman’s scarcest books. $1000.00

45. CRANE, Hart. The Bridge. A Poem. With Three Photographs by Walker Evans. 4to, original white printed wrappers, original glassine, in publisher’s silver-gilt paper covered slipcase. Paris: Black Sun Press, 1930. First edition of Crane’s masterpiece. One of 200 numbered copies printed on Holland Paper. Schwartz & Schweik A2. Minkoff A32. Connolly 100, 64. A touch of discoloration to the glassine where the slipcase accommodates finger pulls, original silver foil slipcase edge a little cracked at head of spine, otherwise an exceptionally fine copy, preserved in a black half-morocco slipcase. $15,000.00

46. CREELEY, Robert. Life & Death. 8vo, illustrated with seven original photogravures after paintings by Francesco Clemente, gilt-stamped Japanese tea chest paper, in black paper chemise. N. Y.: Grenfell Press, 1993. First edition of these seven poems inspired by seven black and white paintings by Clemente. Limited to 70 copies (the entire edition) printed accordion-fold on Arches, signed by Creeley and Clemente. Mint copy of this exquisite book. $6,500.00

47. [CULINARY] ROMBAUER, Irma S (1877 – 1962). The Joy of Cooking. A Compilation of Reliable Recipes with a Casual Culinary Chat. 8vo, illustrated by Marion Rombauer, original cloth, pictorial dust jacket. St. Louis, MO: A. C. Clayton Printing Co., 1931. First edition, privately published by the author in an edition of 3000 copies, and illustrated by the author’s daughter, Marion Rombauer Becker, who also designed the dust jacket depicting St. Martha of Bethany, the patron saint of cooking, who took up a mop to fend off the dragon Tarasque. The Joy of Cooking is the only cookbook to be included in the New York Public Library’s list of 150 Influential Books of the Century. The first edition of The Joy of Cooking is scarce, and copies in the original dust jacket are extremely rare, with the jackets, as with the vast majority of vintage cookbooks, almost inevitably found worn and stained when found at all. The dust jacket is of particular interest; in the six short paragraphs of text printed on the inside front flap of the jacket, Rombauer presented her thoughts and intentions in publishing The Joy of Cooking: “In this book every effort has been made to add variety and interest to everyday fare, as well as to provide dishes for special occasions.” Acutely aware of the economic depression into which she is casting her book, Rombauer goes on to note that “The Zeitgeist is reflected in the Chapter on Leftovers and in many other practical suggestions.” These comments do not appear in the one-page Preface to the book, and they are not printed elsewhere. The present copy, a miraculous survival, is virtually as new in the dust jacket, showing only the faintest of toning to the spine of the book and the dust jacket. Enclosed in a cloth folding box. $40,000.00

48. CUMMINGS, E. E. Tom. 8vo, frontispiece by Ben Shahn, original cloth, dust jacket. (New York: Printed by The Rydal Press for Arrow Editions, 1935). First edition. One of 1500 copies printed. Firmage A15. A very fine copy in the uncommon dust jacket in which there are a couple of short closed tears. Rare in this condition. $450.00

49. CUMMINGS, E. E. 50 Poems. 8vo, cloth, dust jacket. N. Y.: Duell Sloan & Pearce, (1940). First trade edition. One of 1000 copies. Firmage A18b. Very fine copy in dust jacket which is a trifle nicked near the head of the spine. Rare in this condition. $1,250.00

50. [CUMMINGTON PRESS] TATE, Allen. The Hovering Fly and Other Essays. 8vo, illustrated with woodcuts by Wightman Williams, original quarter calf and boards. (Cummington, MA): Cummington Press, 1949. First edition of one of the best of the Cummington Press’s books, with Wightman Williams’ striking portrait of Tate on the title-page. One of 140 copies of the regular unsigned issue on Arches paper. A fine copy of this beautiful book, common in poor condition, but very uncommon in fine condition. $750.00

ORIGINAL HOLOGRAPH MANUSCRIPTS OF FIVE BRIGADIER GERARD SHORT STORIES

51. DOYLE, Sir Arthur Conan. The Medal of Brigadier Gerard. Original holograph manuscript, 41 pages written on rectos only on ruled paper, revised and corrected, signed at the end “A Conan Doyle, 12 Tennison Road, South Norwood”; 7 x 9 inches, bound in contemporary three-quarter calf and marbled paper over boards, marbled endpapers, with a printed half-title; presentation inscription on a preliminary blank: “Presented to Herbert F. Gunnison with the warm regards of Irving Bacheller”; with the bookplate of Herbert Foster Gunnison on the front pastedown. [Together with:] “How the King held the Brigadier”, original holograph manuscript, 26 pages, folio and 8vo, revised and corrected, and signed at the end “A Conan Doyle, Belvedere Hotel, Davos Platz”; [Bound with:] “How the Brigadier slew the Brothers of Ajaccio”, original holograph manuscript, 24 pages, folio and 8vo, revised and corrected, and signed at the end “A Conan Doyle, Belvedere Hotel, Davos Platz, Switzerland”; [Bound with:] “How the Brigadier came to the Castle of Gloom”, original holograph manuscript, 21 pages, folio and 8vo, revised and corrected, and signed at the end “A Conan Doyle, Belvedere, Davos Platz”; [Bound with:] “How the Brigadier played for a Kingdom”, original holograph manuscript, 23 pages, folio, revised and corrected, and signed at the end “A Conan Doyle, Belvedere Hotel, Davos Platz, May 31/95”; the four manuscripts bound together in contemporary three-quarter calf and marbled paper over boards, marbled endpapers, 8 ½ x 13 ½ inches, with a printed half-title; presentation inscription on a preliminary blank: “Presented to Herbert F. Gunnison with warm regards of Irving Bacheller”; with the bookplate of Herbert Foster Gunnison on the front pastedown. Provenance: By descent from Herbert F. Gunnison. $115,000.00

52. DUNCAN, Robert and Jess (COLLINS). Caesar’s Gate: Poems 1949–50. 8vo, illustrated, original pictorial white wrappers, in marbled paper slipcase with pictorial label on front, and printed label on the spine. (Palma de Majorca, Spain): Divers Press, 1955. First edition. One of 10 copies with an original collage by Jess, and original manuscript poems by Duncan, signed by the poet and artist. The entire edition consisted of 213 copies, of which 200 were for regular circulation, and 13 special copies marked A to C and 1 to 10, for private distribution. Bertholf A8b. This is copy No. 8, with the poems “Show”, “Crown”, “Love”, “I am”, “Time” and “Dance” written out on a separate sheet of paper in Duncan’s hand and tipped in at the front; Jess’s original collage is tipped in facing Duncan’s poems. On one of the preliminary leaves, Duncan has also written: “the muscular and changing inspiration”. $12,500.00

53. DUNCAN, Robert. From the Mabinogion. 8vo, original printed stapled wrappers. (Princeton, NJ): Quarterly Review of Literature, (1959). First edition, an off-print from Quarterly Review of Literature Vol. XII, No. 3. pp. 184–195. Bertholf B67. One of a small number of special copies used as a Christmas greeting by Duncan, with an original drawing, signed “RD 63”, on the inside front wrapper. Louis Zukofsky’s copy, with his ownership signature dated 1963 at the top of the front wrapper. Fine copy. $1,250.00

54. DUNCAN, Robert. The Opening of the Field [with:] The Opening of the Field (a second copy). 2 volumes, 8vos, original printed wrappers. N.Y.: Grove Press, (1960). First editions. Ted Berrigan’s copies, with his ownership signature in pencil on the first blank leaf “Ted Berrigan 1962” of the first copy, with two lines of poetry in his hand on the last page: “The Shadow / What thwarts this fear / Teeth braced against it.” The second copy of The Opening of the Field bears Duncan’s presentation inscription to Berrigan on the first leaf: “Robert Duncan at Berkeley July 1965 for Ted and his great sonnets and .” Duncan’s poem “At the Poetry Conference: Berkeley After the New York Style” is a testament to his fondness for Berrigan, and the fun the two poets had at the Berkeley Poetry Conference, where Duncan sat with Berrigan and wrote imitation sonnets in homage to Berrigan during the readings: “They are crowding in the doors to hear / Ginsberg. But Duncan / Is writing Sonnets from the Portuguese / For T. Berrigan with run-on / Effusions of love and lines in rime . . .” – Nice To See You, pp. 12-14. In an interview with Waldman, Berrigan remembered how Duncan “was great actually. He knew my poems and by way of showing me he wrote these poems, eight sonnets that he wrote while Allen [Ginsberg] was reading, out of these things Allen was saying and he just showed me this thing on the stage. It was a very magical event.” – Talking in Tranquility, p. 129. There are scattered annotations throughout the text of the first copy bearing Berrigan’s ownership signature, but they appear to be in another hand; the title- page of this copy is detached (but present), with a red stain on the top edge, covers soiled and lightly rubbed. The presentation copy is in fine condition. $1,500.00

55. DUNCAN, Robert. The Years As Catches. First Poems (1939-1946). 8vo, original pictorial boards, dust jacket. Berkeley: Oyez, 1966. First edition, deluxe hardbound issue. One of 30 numbered and signed hors commerce copies with original handmade pen and ink endpaper decorations by Duncan (out of 200 copies comprising the hardbound issue). Bertholf A20c. Very fine copy in dust-jacket. $1,750.00 56. ELIOT, T. S. & Ezra POUND. Ezra Pound: His Metric and Poetry. 12mo, frontispiece portrait by Henri Gaudier-Brzeska, original rose boards. New York: Knopf, 1917. First edition of T. S. Eliot’s second book, a twenty-five page essay written anonymously by Eliot at Pound’s request. One of 1000 copies printed. Gallup TSE A2; Gallup EP B17. One of Pound’s retained copies, with his contemporary blind-stamped address “5, Holland Place Chambers, Kensington. W.” on the front free endpaper, and his holograph annotations to the bibliography at the back of the book. Ezra Pound: His Metric and Poetry was intended as a promotional piece to accompany the publication of Pound’s Lustra (N. Y.: Knopf, 1917). Gallup notes that Pound “went over the manuscript, making corrections and changes before sending it on to John Quinn for publication by Knopf.”-Gallup EP B17. Pound contributed the three- page bibliography at the back of the book and he has annotated it in this copy, adding the publication date of Pavannes and Divisions in 1918, and Instigations and Quia Pauper Amavi, both noted as published in 1919, although according to Gallup Instigations was not issued until 1920. Pound lived at Holland Place Chambers in Kensington from 1914-1920, when he left London for Paris. Top edge of boards near head of spine bumped, spine faded, otherwise a very good copy. $4,500.00

57. ELIOT, T. S. (Four Quartets). East Coker. Burnt Norton. The Dry Salvages. Little Gidding. 4 volumes, thin 8vo, original printed wrappers. London: Faber & Faber, (1940-1942). First editions of the separate appearances of Eliot’s Four Quartets. Gallup A36c, A37, A39 and A42. Although the three later sections are not particularly uncommon, East Coker is scarce in the first edition. Wrappers very slightly soiled, otherwise a fine set. $1,750.00

58. EVERSON, William. Single Source. The Early Poems (1934-1940). Introduction by Robert Duncan. 8vo, original quarter leather and boards, dust jacket. Berkeley: Oyez, (1966). First edition. One of 25 numbered copies specially bound and signed by Everson. As usual with copies of this issue, the text is in the second, corrected state, with “language” on p. ix. Very fine copy in dust jacket. $1,000.00

59. EVERSON, William. Tendril in the Mesh. 4to, original quarter leather and paste-paper over boards. (Aromas, CA): Cayucos Books, 1973. First edition. One of an unspecified number of lettered copies (this is copy “N”) in a total edition of 250 copies signed by Everson printed by Clifford Burke at the Cranium Press on Wookey Hole Mill paper. Presentation copy, inscribed by the author to Gary Snyder on the front free endsheet: “‘Don’t piss on the trail’ / To Gary Snyder / who never does / Bill Everson / March 30, 1973”. Spine ends and fore-tips very lightly rubbed, faint offset from binding adhesive along gutters of endsheets, otherwise a fine copy with the publisher’s prospectus laid in. $1,250.00

60. FAULKNER, William. New Orleans Sketches. Introduction by Carvel Collins. Original typescript of Collins’ contribution, 160 pages, including copies of the pieces from Mirror of Chartres Street that were used for the book, annotated and corrected by Collins throughout; with the long galley proofs for the book, 45 long folio galley sheets, with numerous corrections by Collins throughout. New York: Rutgers University Press, 1957. From the great Carl Petersen Faulkner collection, and inscribed by Collins to Petersen in 1963. Item A48.1 in the Serendipity Books catalogue of the Petersen collection, in which it was priced $2,000 (Berkeley, CA: Serendipity Books, 1991). $4,500.00

61. FERLINGHETTI, Lawrence. Endless Life. [English Text with Italian Translations by Lucia Cucciarelli. Illustrated with 11 drypoint etchings and aquatints by Stephanie Peek]. Folio, loose sheets in decorated wrappers, in publisher’s folding box. San Miniato, and Berkeley, CA: Edizioni Canopo, (1999). First of this edition. Limited to only 35 copies printed on Magnani paper in Atheneum type by Franco Palagini in San Miniato, Italy, and signed by the poet and artist. Very fine copy of this beautiful book. $1,500.00

62. [FINIAL PRESS] OSTERHUBER, Magda. The Onus of Existence. Narrow 4to, illustrations, original Japanese paper over boards, printed paper label on front cover, by Elizabeth Kner. Iowa City: The Finial Press, 1960. First edition of the first book from A. Doyle Moore’s Finial Press. One of 50 numbered copies in Arrighi type on Asahi paper signed by the author (the entire edition) who designed the book as part of her MFA degree from the University of Iowa. Moore’s illustrations are from type, printers’ ornaments, dingbats, and old commercial cuts. Some light rubbing at the extremities of the spine and covers, otherwise a fine copy. Rare. $750.00

63. [FINIAL PRESS] WILLIAMS, Jonathan. Five From Up T’Dale. Square folio, loose sheets in portfolio. (Corn Close: Finial Press in Great Britain, 1974). First edition, illustrated with prints by A. D. Moore, the printer. Limited to only 50 numbered copies signed by Williams and Moore. Fine copy. $450.00

64. GINSBERG, Allen. and Other Poems. (With an introduction by William Carlos Williams).12mo, original printed wrappers. San Francisco: City Lights Pocket Bookshop, (1956). First edition. One of 1000 copies printed letterpress at Villiers Publications Ltd. in England. Cook 4. Presentation copy, inscribed on the title-page by Ginsberg to the poet Jack Gilbert: “For Jack Gilbert, In Memory of your – my BEARD, , Sept 1956.” Gilbert has handwritten missing words in the ellipses, and made a few additional revisions, throughout the book. An important association copy. Printed cover label lightly soiled, otherwise a fine copy. $15,000.00

65. GINSBERG, Allen. Original photographic portrait of and Natalie Jackson in front of a movie theater on Market Street in San Francisco, the couple embracing beneath a marquee featuring The Wild One starring Marlon Brando, 11 x 14 inches (image size), inscribed in the margin below the image: “Neal Cassady conscious of his love, Natalie Jackson soon to die, San Francisco Market Street 1955. Allen Ginsberg.” (No place; no date, but circa 1985). Ginsberg’s inscription alludes to the fact that Natalie Jackson died, a suicide, the same year as this photograph was taken. Purchased by the current owner from the Holly Solomon Gallery in 1985. This image was used as the cover design for the Reality Sandwiches Fotografien, edited by Michael Köhler, (Berlin: Nishen, 1993). Framed and glazed. $7,500.00

66. GINSBERG, Allen. Autograph Letter Signed (“Allen”), 1 1/2 pages, 4to, Newport, RI, November 4, 1975, to Beat collector, bibliographer, and photographer Marshall Clements about visiting Kerouac’s grave with Bob Dylan, , and a film crew. In early November 1975, Ginsberg, Dylan, and Orlovsky visited Kerouac’s grave at Edson Cemetery in Lowell, Massachusetts accompanied by Dylan’s film crew who recorded the event. In this important letter, Ginsberg, thanking Marshall Clements for supplying a map used by the crew and for his suggestions of texts for reading at the gravesite, chronicles the event: “we surveyed most sites – and today with Dylan went to [the] grave – He had film crew there – we stood by grave, talked – I pointed out Sam Sampas’ stone – we read poems & lines out of Mex[ico] City Blues, then sat down w/ Peter [Orlovsky], Dylan played my harmonium & we improvised a blues, trading words, to Kerouac – then he took out guitar & I improvised a long celestial blues – Jack in the clouds looking down on us w/ a big tear – then we went to the Grotto [illegible] & Dylan talked to Statue of Christ, & lit votive candles & we babbled about God – & then light faded (after many beautiful film scenes shot around the Catholic orphanage & playground overlooking Merrimac) & we came here. Other film crew made many shots of mills & redbrick as per yr. selection from Maggie Cassidy & Tony Sampas’& mine from Dr. Sax, & mine from [Mexico City] Blues – Dylan said he’d read the Blues book, & [Doctor] Sax, & [Visions of] Cody, among others – long ago the Blues – Thanks again for sending yr selection of images – As ever, Allen.” Ginsberg’s return address on the flap of the mailing envelope reads “c/o Rolling Thunder”. The Rolling Thunder Revue was Dylan’s concert tour of fall 1975-spring 1976 featuring various musicians and players; Ginsberg performed with the group. In his capsule biography of Kerouac in Photographs (Altadena, CA: Twelvetrees Press, 1990) Ginsberg sees Kerouac “inspiring Bob Dylan to renovate U.S. folk lyric.” Sean Wilentz, in a chapter of his Bob Dylan in America excerpted in The New Yorker on August 13, 2010 views Dylan’s involvement with the writings of Kerouac, Ginsberg, Burroughs, and others as a key link between the folk music movement and the . Folded for mailing, the letter and its original mailing envelope are in fine condition. $15,000.00

67. [GOGMAGOG PRESS] COX, Morris. Crash! An Experiment in Blockmaking and Printing. Illustrated with 8 double-page color prints. 8vo, original unprinted wrappers, dust jacket. London: Gogmagog Press, (1963). First edition. One of 65 copies in pale drab paper wrappers from a total edition of 80 copies printed. Chambers 11. Fine copy. $500.00

68. [GOGMAGOG PRESS] COX, Morris. Mummers’ Fool. Illustrated with a frontispiece hand-colored offset print and 6 double-page reverse/direct offset prints. London: Gogmagog Press, 1965. Chambers 13. Copy number 53 of 60 copies numbered and signed in ink by the author on the colophon. Printed on Barcham Green Roger Powell handmade paper, bound in quarter natural linen with paper boards containing actual dried grasses under transparent tissue paper. Fine copy, with the prospectus laid-in. $1,000.00

69. [GOGMAGOG PRESS] COX, Morris. An Impression of Winter: A Landscape Panorama, An Impression of Spring: A Landscape Panorama, An Impression of Summer: A Landscape Panorama, and An Impression of Autumn: A Landscape Panorama. 4 volumes, narrow 8vos, each volume illustrated with 3 embossed reverse/direct offset prints joined in continuous strip. London: Gogmagog Press, 1966. Chambers 14, 15, 16, and 17. Limited to 100 copies printed. A very fine set of what is generally regarded as one of the artist’s masterpieces, with prospectuses laid in. $3,500.00

70. [GOGMAGOG PRESS] COX, Morris. Intimidations of Mortality: Poems on Victorian Themes With Psychological Implications. Tall 8vo, original red-brown Mingei paper boards with black and white title and designs by Cox, publisher’s acetate dust jacket. London: Gogmagog , (1977). First edition. Copy number 58 of 90 copies numbered and signed in ink by the author on the colophon. Chambers 29. Printed on Hodgkinson’s and Japanese Mingei handmade papers. Fine copy. $375.00

71. GRAVES, Robert. John Kemp’s Wager: A Ballad Opera. 8vo, quarter parchment and patterned boards, plain dust jacket. Oxford: Basil Blackwell, 1925. First edition. One of 100 numbered copies printed on Kelmscott hand-made paper and signed by Graves. Higginson and Williams A13b. Superb copy, virtually as new in dust-jacket. $850.00

72. GRAVES, Robert. Autograph Letter Signed, 1 page, 4to, Islip, Oxfordshire, November 16 “or so”, [No year, but ca. 1920s?], to collector Alexander Greene of Chicago, thanking him for a letter and discussing present and future purchases of books and manuscripts. By the time of this letter Greene had already purchased from Graves the privately printed Treasure Box and Goliath and David, Graves’ rare second book. Graves writes: “Many thanks for your letter of Oct 19th. I never got your payment for the Treasure Box & Goliath and David parcel which left on Feb the 9th. Please tell me if it is still waiting to be claimed in my name at Oxford, or whether you sent a cheque, or how else.” Regarding Greene’s interest in Fairies and Fusiliers, Graves writes: “I am sorry that I have been unable to recover the MSS of Fairies & Fusiliers which Messrs Heinemann have lost, somehow. I still have hopes it will turn up: if so, I will quote a price. Yours, Robert Graves”. Folded from mailing, the letter and original mailing envelope are in fine condition. $750.00

73. GUEST, Barbara. Poems: The Location of Things, Archaics, The Open Skies. 8vo, original boards, dust jacket. Garden City, NY: Doubleday, 1962. First edition of Guest’s first regularly published book. Presentation copy, inscribed by the poet to Ted Berrigan: “For Ted and Sandra - in honor of C - Barbara”, with Berrigan’s ownership signature in pencil on the front free endpaper. “C” Magazine was the legal-sized mimeographed magazine that Berrigan edited after he arrived in New York City in the early sixties. Fine copy in slightly dust-soiled jacket in dust-jacket. $1,250.00

74. HALL, Donald. Kicking the Leaves. A Poem in Seven Parts with a Colophonic Boxwood Engraving by Reynolds Stone. Thin oblong 12mo, original wrappers. Mt. Horeb, WI: Perishable Press, (1976). First edition of one of the poet’s most important poems, which is in seven parts and each part is marked with a word/number, each in a darkening red through the progression. One of 125 copies (the entire edition) signed by Hall. Hamady 74. Mint copy. $450.00

75. [HARDY, Thomas] GIBSON, Wilfrid. Krindlesyke. 8vo, original tan boards, printed paper spine label, dust jacket. London: Macmillan and Co., Limited, 1922. First edition. Presentation copy, inscribed by Gibson to Thomas Hardy on the front free endpaper: “To Thomas Hardy / in homage / from Wilfrid Gibson / 1922”. Extreme fore-tips lightly bumped, offset on free endpapers delimited by jacket flaps, otherwise a fine copy in dust jacket, stained on the front panel. With Hardy’s Max Gate booklabel on the front pastedown. $750.00

76. HEANEY, Seamus. “Underground”. Broadside poem printed in black on lilac paper, measuring approximately 8 ½ x 11 inches, tipped into a dark blue deckle-edged still paper folder. (Washington, DC): Folger Poetry Board Reading, Nineteen Twenty-four F Street Club, April 7, 1991. First separate edition of this poem, which first appeared in Thames Poetry, February 1981, printed and distributed gratis at the Folger Shakespeare Library, where Heaney inaugurated the Poetry Board Reading Series with a reading of this poem. Number of copies unknown. Brandes and Durkan AA29. The bibliographers do not note the blue folder, which may have been specially made for the members of the Folger Poetry Board, nor do they call for the broadside to be signed by the poet, as this copy is signed. However, a similar copy was present in the Alan Clodd Library. Very fine copy. $850.00

77. HEANEY, Seamus. Commencement Address. The University of North Carolina at Chapel Hill. May 12, 1996. 12mo, original unprinted wrappers, dust jacket, stitched as issued. (Chapel Hill, NC: University of North Carolina, 1996). First edition. One of 100 numbered copies signed by Heaney, out of a total edition of 500 copies printed by the Stinehour Press. Fine copy. $1,000.00 78. [HEANEY, OLDS, STRAND, WRIGHT, ET AL] DANTE. Dante’s Inferno. Translations By Twenty Contemporary Poets. Frontispiece by Francesco Clemente. Introduction by James Merrill. Edited by Daniel Halpern. Afterword by Giuseppe Mazzotta. Small folio, quarter black calf and red silk over boards, slipcase, by Claudia Cohen. Hopewell, NJ: Ecco Press, 1993. First edition, deluxe issue. Limited to 125 copies signed by each of the translators and with an original etching signed by Francesco Clemente laid in. The translators include Heaney, Strand, Halpern, Kinnell, Clampitt, Jorie Graham, Charles Wright, Richard Howard, Stanley Plumly, C. K. Williams, Alfred Corn, Robert Haas, Sharon Olds, and Cynthia Macdonald. The text was set in Monotype Dante and printed letterpress by Michael and Winifred Bixler on Rives heavyweight paper. A handsome book, as new. $3,500.00

79. [HOGARTH & CRANACH PRESS] RILKE, Rainer Maria. Duineser Elegien. Elegies From The Castle Of Duino. Translated from the German of Rainer Maria Rilke by V. Sackville-West and Edward Sackville West. 8vo, initials designed by Eric Gill, original vellum-backed boards, t.e.g., plain unprinted dust jacket, publisher’s slipcase. (London: Hogarth Press, 1931). First edition. One of 230 numbered copies printed at the Cranach Press on handmade Maillol-Kessler paper with the watermark of the Cranach Press and signed by the translators. Count Harry Kessler designed the format for the book; Eric Gill designed and personally cut the wood-engravings for the initials; the Italic type was designed by Edward Johnson and cut by E. Prince and G. T. Friend; the paper was hand-made by Count Kessler and Gaspard and Aristide Maillol; and the book was printed under the supervision of Count Kessler and Max Goertz. Woolmer 268. Cross and Ravenscroft-Hulme A25 – noting that, in fact, 240 copies were printed, of which 40 were not for sale. Dust jacket lightly sunned along spine, slipcase also lightly tanned, some very slight foxing to the text, otherwise a fine copy, one of very few we have seen in the original dust jacket. The most beautiful book to bear the Hogarth Press’s imprint, and one of the scarcest. $7,500.00

80. [HOUSMAN, A. E. (ed.)] MANILIUS. Astronomicon. Liber Quintus. 8vo, original tape-backed printed boards, printed paper spine label. London: The Richards Press, 1930. First edition of the final volume of Housman’s edition of Manilius in five volumes. One of 400 copies printed, all of the volumes were produced at Housman’s own expense. With an Autograph Letter Signed by Housman, 1 1/2 pages, on an 8vo sheet, Trinity College, Cambridge, 25 June 1930, to G. N. Wiggins, Esq., tipped to the front free endpaper: “I guarantee that my edition of Manilius book V contains nothing of a libellous nature, and I accept all responsibility for what I have written. I have received today the paged proofs of the text and notes. Yours faithfully, A. E. Housman”. The “libellous nature” to which Housman makes reference in this letter may recall the wonderfully acidic critical introduction to the edition’s first volume (1903) in which Housman skewers many previous editors of Manilius (save for Scaliger and Bentley of course). Spine panel lightly sunned, dust-soiling to top-edge of textblock, a few fox marks early and late, otherwise a fine copy of a scarce book. Apart from a few fox the marks and a fold from mailing the letter is in fine condition. $1,000.00

81. HUGHES, Langston. The Weary Blues. With An Introduction By Carl Van Vechten. Small 8vo, original blue cloth-backed decorated boards. N. Y.: Alfred A. Knopf, 1926. First edition of Hughes’ first book. One of 1500 copies printed. Dickinson 1. Presentation copy, inscribed on the half-title page by Hughes to George Gershwin: “For George Gershwin, / creator of beauty / in blues, this / book, / Sincerely, / Langston Hughes / New York, January 31, / 1926”. Hughes inscribed this copy to Gershwin at the publication party for The Weary Blues: “On Sunday, January 31, about two hundred persons gathered at the Shipwreck Inn at 107 Claremont Avenue, between West 120th and 121st Street near Columbia University, to help Hughes launch his first book. . . . The reading was a thorough success. Later, he signed books until his wrist ached. . .” Hughes and Gershwin would have been introduced to each other by Carl Van Vechten, their close mutual friend and patron, at one of Van Vechten’s celebrated parties, to which both artists would have been invited. Van Vechten, one of the most influential music critics of the period, and an early champion of Gershwin and American vernacular music, met Gershwin in 1919; and it was Gershwin who “provided the music for most of the Van Vechten parties during the years that followed.” – Bruce Kellner, Carl Van Vechten and the Irreverent Decades (University of Oklahoma Press, 1968), p. 193. “Gershwin came nearly every night, as Van Vechten recalled: ‘There was a wonderful fire in him. The room would light up when he came in. . . . You were intimate with him the moment you saw him, and he had thousands of intimate friends.’ . . . The Van Vechten parties provided an opportunity for Gershwin to fraternize . . . with such prominent black figures as the Johnson brothers (James Weldon and John Rosamond), Paul Robeson, and Bessie Smith . . .” – Arnold Rampersad, The Life of Langston Hughes (Oxford University Press, 1986), Vol. I, pp. 105-106, 124. Covers lightly rubbed, lacking the rare dust jacket (as was the case with all of Gershwin’s books), otherwise in very good condition. $35,000.00

82. HUGHES, Ted. Chiasmadon. With a relief print by Claire Van Vliet. Square 8vo, original quarter black leather and decorated paper boards by Susan Johanknecht. (Baltimore, MD): Charles Seluzicki, (1977). First edition. One of 5 or 6 copies specially bound for participants of the edition out of a total edition of 175 copies printed at the Janus Press and signed by Hughes and Van Vliet. According to the colophon there were 120 copies for sale, and 55 copies hors commerce. The bibliographers note that: “There were ten copies out of series. Of these, six were special copies for the participants in the project, each containing an extra line printed with the recipient’s name and bound in decorated boards with black leather spines. Hughes did not sign these special copies, possibly through an oversight. Of the four remaining out of series copies, two were signed.” Sagar and Tabor A52. The present ad personam copy, however, is designated “for Victoria Fraser” in Van Vliet’s hand on the colophon page, and is also signed by Van Vliet and Hughes. Victoria Fraser collaborated with Claire van Vliet on a number of Janus Press publications. Ruth Fine, on the other hand, notes that “Five copies were specially bound by SJ (Susan Johanknecht): ¼ black leather with fragment of CVV lithograph used as decorative cover papers over boards; Adriatic blue Fabriano Miliani Ingres endpapers and flyleaves.” – Ruth Fine, The Janus Press 1975-80. Catalogue Raissoné. An Exhibition at The Robert Hull Fleming Museum at The University of Vermont in Burlington, 1982. p. 40. A very fine copy. $4,500.00

83. IHIMAERA, Witi. The Whale Rider. Illustrated by John Hovell. 8vo, original cloth boards, dust jacket. (Auckland, NZ): Heinemann, (1987). First edition. Presentation copy, inscribed by the author on the half-title page: “For our dear Hugh, on the occasion of your va whanan...[2 additional lines in Maori] New York, ‘87”. The basis for the 2002 award-winning film of the same name. Spine ends and extreme fore-tips very slightly rubbed, otherwise a fine copy in trifle edge-worn dust jacket in dust-jacket. The original edition is scarce. $850.00

84. [JANUS PRESS] CARRUTH, Hayden. Aura. A Poem by Hayden Carruth with a paperwork by Claire Van Vliet and Kathryn and Howard Clark made at Twinrocker Handmade Paper Mill in Brookston, Indiana in December of 1976. Tall folio, in printed handmade paper folder, enclosed in publisher’s linen folding box with printed paper label on the spine. (West Burke, VT: The Janus Press, 1977). First edition. Limited to only 50 copies, this copy press-lettered especially “for Michael Boylen” and inscribed by Claire Van Vliet in pencil: “and now for Bruce Hubbard with all good wishes Claire Van Vliet.” Fine, Ruth E. The Janus Press 1975-80 Catalogue Raisonné... An Exhibition at The Robert Hull Fleming Museum at The University of Vermont in Burlington, 1982, p.39. A very fine copy of one of the rarest books of the Janus Press, as well as Carruth’s rarest book, only the second copy we have encountered in twenty-five years. $4,500.00

85. [JANUS PRESS] KAUFMAN, Margaret. Aunt Sallie’s Lament. 8vo, original multi-color paperwork, in a floral-print cloth folding box with printed label on the spine. Burke, VT: Janus Press, 1988. First edition. Limited to 150 copies. One of the most sought-after productions of the press, Aunt Sallie’s Lament is the story of a Southern quilter, printed on richly colored cut-out pages that create a layered patch-work effect similar to that of an actual quilt. It was later reproduced in an inexpensive popular edition. The box is faded, the book/paperwork is in fine condition. $1,000.00

86. KEROUAC, Jack. A Pun for Al Gelpi. Large broadside poem, 19 x 6 inches, illustrated with a two- color wood-block print by Nicole Hollander. (Cambridge, MA): The Lowell House Printers, Harvard Yard, 1966. First edition of this poem, its first appearance, and only lifetime publication. One of 100 numbered copies signed by Kerouac. Nicole Hollander is now best known as the author of the comic strip Cathy. A fine copy, framed and glazed. $3,500.00

87. [KEROUAC, Jack] GINSBERG, Allen. Original photographic portrait of , 11 x 7 inches (image size), inscribed in the margin below the image: “Jack Kerouac, classic portrait with brakeman’s manual in jacket pocket, on my fire-escape 206 East 7th Street N.Y.C. Fall 1953 Allen Ginsberg”. (No place; no date, but circa 1985). Ginsberg’s most famous photograph, purchased by the current owner from the Holly Solomon Gallery where Ginsberg’s photographs were first shown and offered for sale in 1985. Framed and glazed. Fifteen years ago, at Sotheby’s auction entitled Allen Ginsberg and Friends, including property from the Estates of Allen Ginsberg, Jack Kerouac and William Burroughs, a copy of this photograph realized $17,250.00 [Sotheby’s Sale 7351, Lot 23, on October 7, 1999]; that photograph bore a somewhat longer inscription mentioning the fact that Kerouac was “visiting Burroughs at my house. He (Kerouac) was writing Dr. Sax & Subterraneans.” Framed and glazed. $17,500.00

88. [KEROUAC, Jack] GINSBERG, Allen. Original photographic portrait of Jack Kerouac, 6 ½ x 10 inches (image size), inscribed in the margin below the image: “We used to sing together under the Brooklyn Bridge – Alexander Nevsky! – Jack Kerouac 1953 N.Y. Waterfront. Allen Ginsberg.”(No place; no date, but circa 1985). Purchased by the current owner from the Holly Solomon Gallery in 1985. One of Kerouac’s favorite pieces of music was Sergei Prokofiev’s film-score to Sergei Eisenstein’s masterpiece Alexander Nevsky (1938). Framed and glazed. $10,000.00

89. [LAPIS PRESS] LYOTARD, Jean-François. Pacific Wall. Small 4to, folding photographic plate, original photo-illustrated paper over boards, publisher’s sepia-colored acetate dust jacket and printed acetate wrap-around band, publisher’s cloth tray case. (Venice, CA: The Lapis Press, 1990). First edition in English, translated from the French by Bruce Boone. An hors commerce presentation copy signed by Lyotard. Lyotard’s text is an extended discussion of Kienholz’s assemblage (“Five Car Stud”), the circumstances of its installation at Documenta 5, and its reception as a trope for racism in contemporary American society. A very fine copy. $1,250.00

90. LARKIN, Philip. Required Writing. Miscellaneous Pieces 1955-1982. 8vo, original photographic wrappers. London: Faber and Faber, (1983). First edition, first impression, a paperback original. Bloomfield A17a. Presentation copy, inscribed by Larkin to Michael Wright of Faber and Faber on the front free endpaper: “For Michael - / who made a better / job of the inside / than / Philip Larkin”. Michael Wright designed the book for Faber. Soft crease in the top fore-corner of the front wrapper otherwise a very fine copy. $3,500.00

91. [LARKIN, Philip] LEWIS, Jenny, editor. (Poetry In The Making). Catalogue Of An Exhibition of Poetry Manuscripts in the British Museum April - June 1967. By Jenny Lewis with contributions by C. Day Lewis, T. C. Skeat, Philip Larkin. 8vo, illustrated, original cloth, dust jacket. (London): Turret Books, (1967). First edition. Limited to 126 copies signed by Larkin, Day Lewis, Skeat and Lewis. Includes Larkin’s essay “Operation Manuscript” in which he laments the increasing likelihood of a situation wherein the manuscripts of every considerable British writer since 1850 are in American hands. A fine copy in dust-jacket. $400.00

92. LEVI, Primo. Se questo è un uomo [If This Is a Man]. 8vo, original cloth, dust jacket. (Torino): Einaudi, 1963. Fourth edition of Levi’s first masterpiece, an account of the year he spent as a prisoner in Auschwitz concentration camp in Nazi-occupied Poland. Signed by Levi on the front free-endpaper. Stoddard notes in “Primo Levi” (The Book Collector, Winter 2006, p.525) that Levi “sent his manuscript to many publishers, including the great Piedmont house of Einaudi, where the manuscript was read and rejected by Natalia Ginsburg. Ironically, it was accepted by Franco Antonicelli, whose publishing house Francesco De Silva issued it in a series called ‘Biblioteca Leone Ginzburg’ [in an edition of 2000 copies in 1947], memorializing Natalia’s husband, martyr to the German occupation of Italy”. Cocked, ink owner’s name on front pastedown, otherwise a very good copy in a somewhat worn jacket, reinforced with cellotape in a few places. From the library of Dr Cesare Lombroso, longtime faculty member of Harvard’s Medical School. Signed copies of Se questo è un uomo are rare. $2,500.00

93. LEVI, Primo. Il sistema periodico [The Periodic Table]. 8vo, original illustrated wrappers. (Torino): Einaudi, (1975). First edition of Levi’s masterpiece, a collection of short biographical essays fusing “the behaviour of chemical elements and human character.” – Roger Eliot Stoddard, “Primo Levi”, in The Book Collector, Winter 2006, p. 526. Stoddard 19. Presentation copy, inscribed by Levi on the first leaf: “A’ Hubert Comte / con cordiale amicizia e molto stima [with cordial friendship and great esteem] / Primo Levi”. A review copy, with the blind-stamp of the Societá Italiana degli Autori ed Editori in the title-page. A prolific and distinguished French man of letters, Hubert Comte wrote over 150 books on a wide variety of subjects in both the arts and sciences, including an edition of Roman Vishniac’s Juifs du Passé (1979). A fine copy. Books inscribed by Levi are extremely rare. $8,500.00

94. MACKEY, Nathaniel. Four for Trane. Poems. Narrow, small 4to, illustration, original printed wrappers, stapled as issued. (Los Angeles: Golemics, 1978). First edition of Mackey’s first book. One of 250 copies printed. Very fine copy. And far scarcer than its limitation would suggest. $750.00

95. McALMON, Robert. Being Geniuses Together. 8vo, original blue cloth, dust jacket. Secker & Warburg, London, 1938. First edition of McAlmon’s memoir of expatriate life in Paris. Cyril Connolly, commenting on the scarcity of books destroyed in publishers’ warehouses in London during the Blitz, wrote: “It is not just the famous books which are hard to find. Several million books of 1938, 1939 and 1940 perished in the Blitz, hence the rarity of Beckett’s Murphy, MacNeice’s Yeats and McAlmon’s Being Geniuses Together. A rare book, and extremely rare in such fine condition in dust jacket, preserved in a half- calf folding box. $7,500.00

96. MERTON, Thomas. Thirty Poems. 8vo, original printed boards, dust jacket. Norfolk, CT: New Directions / The Poets of the Year, (1944). First edition, the scarce hardbound issue, of Merton’s first book. A few faint creases in dust jacket, having been preserved folded and placed in the book, otherwise virtually as new. $1,250.00

97. MOORE, Marianne. Collected Poems. 8vo, original reddish orange cloth, dust jacket. New York: The Macmillan Company, 1951. First edition, first American issue of Moore’s Pulitzer Prize-winning collection. The first edition of Moore’s Collected Poems was printed and bound by Faber & Faber for both the English and American markets, the American issue being printed with an integral title-page for Macmillan, and exported to the United States, but withdrawn prior to publication owing to copyright problems. One of 1500 copies printed (out of a total first printing of 5000 copies, 3500 of which were for England). Abbott A10.b1, calling this the “second English impression, first issue (Macmillan, New York) 1951”. The errata sheet is tipped to p. [9]. Presentation copy, inscribed by Moore to Katherine Anne Porter on the front free endpaper: “For Katherine Anne Porter / from Marianne Moore. December 3, 1951/ permit it pretend, dear Katherine Anne / that it is a moonbeam and therefore / entitled to rest once at least / on a heliotrope palissandre velvet settee”. Moore’s inscription refers to Porter’s palissandre settee, which she had seen on a visit to Porter’s apartment in the fall of 1951. After the visit, Porter had written to Moore on November 27, 1951, commenting on how Moore had looked “on the heliotrope velvet, that palissandre will never look so well again.” Moore’s poem “Then the Ermine”, which was written some time later and published in Poetry in October 1952, alludes to the same settee: “So let the palisandre settee express it, / “ebony velvet,” / Master Corbo in full dress, / and shepherdess, / an exhilarating hoarse crow-note / or dignity with intimacy.” The poem was first published in book form in 1957 in Like A Bulwark, a copy of which Moore sent Porter. Porter replied “Bless you for sending me “Like a Bulwark” for you know I am one of your most attentive and loving readers; it has been wonderful seeing “Tom Fool at Jamaica” and “Then the Ermine” (that with a special kind of personal feeling) . . .” – Porter to Moore, January 1, 1957. In his note to this edition, Moore’s bibliographer Abbott writes: “In a strict sense, these copies were never issued. According to Peter du Sautoy in a letter to [Abbott], Faber and Faber printed its first impression and also printed and bound for Macmillan, New York, an impression of 1500 copies. When these arrived in New York, presumably in time for a projected publication date of November 1951, they were seized by U.S. customs officials – not, however, before part of the shipment had been released to Macmillan. Of those released, about forty copies were inscribed by Moore for presentation and a few others were sent out as review copies. These review and presentation copies constitute the first issue of the second impression. To avoid the loss of American copyright, Macmillan returned to Faber the rest of the copies, including those seized.” The official publication date of the British edition was September 14, 1951; the first edition of the Collected Poems to be printed in America was published on December 17, 1951. T. S. Eliot, who had edited, introduced and published Moore’s Selected Poems (London, Faber & Faber, 1935), was responsible for publishing her Collected Poems as well, having asked Moore in 1944, and again in 1948, if Faber could publish her Collected Poems after the war. Moore’s Collected Poems swept all of the major literary awards for poetry: the Bollingen Prize, the National Book Award, and the Pulitzer Prize. Covers a bit splayed, small photo of Moore affixed to the front pastedown, otherwise a very good copy in jacket the spine of which is tanned with a few small chips and split along the back spine fold. $2,250.00

98. MOORE, Marianne. Eight Poems. With Drawings by Robert Andrew Parker Hand-Colored by the Artist. 4to, original cloth-backed boards, publisher’s slipcase. N. Y.: , 1962. First edition. Limited to 195 numbered copies reproduced from the poet’s holograph, signed by Moore and Parker. Abbott A20. The eight poems included are: “The Plumet Basilisk”, “The Fish”, “‘He Digesteth Harde Yron’”, “A Jelly-Fish”, “New York”, “The Pangolin”, “The Monkeys”, and “Nevertheless”. A very fine copy with the publisher’s prospectus laid in, but lacking the erratum slip, and priced accordingly. $500.00

99. MOORE, Marianne. The Arctic Ox. 8vo, original cloth, dust jacket. London: Faber and Faber, (1964). First edition. One of 1500 copies printed. No equivalent American edition was produced. Abbott A23. Presentation copy, inscribed by Moore to Elizabeth Mayer on the front free endpaper: “For dear Elizabeth Mayer / teaching me encouraging me from / her ever grateful protegée / Marianne / 1964 and 5 [sic] April 13, 1965”. Moore and Mayer collaborated on translating into English Stifter’s Rock Crystal, A Christmas Tale, published in 1945. Mayer (1884-1970) was a German-born American translator and editor who associated closely with Auden, Benjamin Britten and Peter Pears, and other writers and musicians. After the Nazis came to power Mayer and her psychiatrist husband, William, emigrated to the United States. The Mayers’ homes in New York City and on Long Island served as artistic salons for many émigré writers in the 1940s. With Auden Mayer translated Goethe’s Italian Journey into English (1962). Mayer and Louise Bogan collaborated on translations into English of Ernst Jünger’s The Glass Bees (1961), Goethe’s Elective Affinities (1963), and The Sorrows of Young Werther and Novella. Auden held Mayer in high regard and the two were close for many years. Auden’s “New Year Letter” is dedicated to her, as is his The Double Man (1941). Light offsetting from binding adhesive on rear free endpaper otherwise a very fine copy in jacket. $850.00

100. MOORE, Marianne. Le Mariage. 12mo, original unprinted wrappers, illustrated dust jacket by Laurence Scott, publisher’s printed envelope. New York: The Ibex Press, 1965. First edition, limited issue, of this translation of the author’s poem “Marriage” into French by Jeffrey Kindley. One of 26 lettered copies from a total edition of 50 copies printed. Abbott Ha5. Presentation copy, inscribed by Moore to Glenway Wescott on the front free endpaper: “‘G’ is for Glenway / and gratitude - / from his reckless friend / and affectionate Marianne / June 21, 1965”. Moore’s Marriage, accompanied by Glenway Wescott’s four-page essay “Miss Moore’s Observations”, was originally published by Monroe Wheeler, Wescott’s life-long partner, in 1923. Binding adhesive lightly offset to spine portion of dust jacket, otherwise a fine copy in lightly toned and dust-soiled publisher’s envelope. Scarce. $1,250.00

101. MORRIS, William. Socialism. Its Growth & Outcome. 8vo, original buckram with printed label on spine. London and New York: Swan Sonnenschein & Co. / Charles Scribner’s Sons, 1893. First edition, “large-paper edition”, limited to 275 copies. Top of spine rubbed, spine lightly faded, otherwise a very good copy. $350.00

102. MULDOON, Paul, and Wendy MARK. I Might Make Out With You. [Six Poems. Illustrated with monotypes by Wendy Mark. With a Preface by Adam Gopnik]. Small, square 8vo. Original unprinted white wrappers, stamped in relief. N. Y.: Lori Bookstein Fine Art, (2006). First edition, deluxe issue. One of 10 numbered copies in a total edition of 1000, signed by the author and the artist, accompanied by an original monotype by Wendy Mark. As new. $4,000.00

103. MYLES, Eileen. The Irony of the Leash. Cover by Steve Levine. 4to, original illustrated wrappers, stapled as issued. N. Y.: Jim Brodey Books, 1978. First edition of the author’s first book. One of 200 copies printed. Light use, short soft crease in first few leaves, otherwise a fine copy in dust-jacket. $750.00

104. NERUDA, Pablo. “7 de Noviembre Oda a un Día de Victorias” 8vo, original stapled self-wrappers, photographic portrait of Neruda on the front wrapper. [No place]: Ediciones “España Popular”, [1941]. First edition of this poem written by Neruda to commemorate the fifth anniversary of the (temporary) turning back of the Nationalist army at the gates of Madrid and the twenty-fourth anniversary of the Soviet Union. Presentation copy, bearing Neruda’s 3-line inscription, signed by him, on the front wrapper: Diómedes, Aqui es el substituto / con abrazo de Pablo Neruda.” Written at the same time as Neruda’s “Un nuevo canto de amor a Stalingrado [A Love Song to Stalingrad]”, the present “Oda” celebrates the courage of the Russian people in their battle against Nazi Germany, a point that is amplified by the legend on the back wrapper: “Ayudar a la URSS e Inglaterra es defender América [Helping the USSR and England is to defend America]”. Neruda, whose anti-fascist views were well known, had become a member of the Committee to Aid Russia at War in 1941, and had recited his “Song to Stalingrad” at the Teatro del Sindicato Mexicano de Electricistas” on September 30, 1941. “Song to Stalingrad” was printed and posted on walls all over Mexico City. – Adam Feinstein, Pablo Neruda: A Passion for Life (Bloomsbury, 2004), p. 160. An old vertical fold, a few soft corner creases, a few nicks and closed edgetears in the front wrapper, acidic paper somewhat brittle from age, but a good copy of this fragile 7-page leaflet. Not in Becco. $2,500.00

105. NUTTALL, Jeff. The Church of St. Mary & St. David Kilpeck. Folio, 26 leaves of heavy gray stock, illustrated frontispiece, calligraphic title-page and section-titles in red with historiated initials, illustrated throughout with watercolors of views and interiors (a few onlaid), architectural elements and carvings, pen and ink drawings, most heightened with colored chalk or wash, plans, and floral borders, original calf, spine lettered in gilt, gilt device on front cover. Nuttall’s original 1954 Master’s Thesis on the history of the medieval church in Kilpeck. “The one and only copy of this work is owned by Jonathan Williams...”– note in The Kilpeck Anthology (Five Seasons Press, 1981). A history of the church in Nuttall’s neat cursive hand illustrated and embellished with his artwork in three chapters: “The History”, “The Sculpture & Architecture”, and “The Impact”. In the coda to the book Nuttall writes: “My intended detachment was completely destroyed. The building refused to be seen as an arrangement in stone, as the key to a time and a tradition, or as a piece in the jig-saw puzzle of art history. It stood unavoidably as a work of art, the timeless expression of a vision experienced under that same sun which now winked at me through the deep yew tree.” Nuttall, poet, publisher, actor, artist, musician, and figure of the 60s’ counter-culture in Britain, was the brother of literary critic and teacher A. D. Nuttall. Spine and covers rubbed, particularly at the extremities, otherwise this unique and beautiful artist’s book is in fine condition. $15,000.00

106. [PERISHABLE PRESS] HAMADY, Walter. The Disillusioned Solipsist and nine related poems. Small 4to, illustrated with two original signed etchings, an original photograph and two drawings by the author, original brown paper wrappers. (No place): The Perishable Press Limited, 1964. First edition of the first book from the author’s private press, “done in Detroit as an undergraduate independent study with Peter Gilleran at . Robert Runser had given me Printing For Pleasure by John Ryder which gave me my first instruction.” Limited to 60 copies, of which this is numbered 36 and signed by the author/printer on the colophon page. Hamady 1. Staining from glue used to tip-in the illustrations, otherwise a fine copy of this extremely rare book. $5,000.00 107. [PERISHABLE PRESS] HAMADY, Walter. Closing Flowers. A Collection of poems here gathered together by the author, walter hamady from other small books of his own manufacture under the mark of the perishable press limited. 8vo, unbound signatures, as issued. Mt. Horeb, WI: Perishable Press, 1966. First edition. One of only 30 copies printed on variegated handmade paper. Although “some copies were bound in cloth”, the present copy is one of the majority of copies issued as unbound signatures. Hamady 7. These poems are dedicated “In Memory of Randall Jarrell.”. Fine copy. Rare. $3,500.00

108. [PERISHABLE PRESS] OLSON, Toby. Fishing. A Single Poem with an Original Mixed Media Print By William Weege Da Barba. 4to, cloth and paper wrappers with original print on verso, real fishing fly on front cover. Driftless, WI: Perishable Press, 1973. First edition. One of only 50 copies printed on Shadwell and signed by the artist. “The cover is six vertical scraps of variegated Shadwell randomly zig-zagged together with the text block sewed to one end of the blank side. The cover is then folded under and around the text block with a real fishing fly affixed to the cover. . . . Needless to say this is/was a bibliographer’s nightmare about which many letters were received.” Hamady 63. Printers’ Choice, 68. In our experience, the rarest publication of the Perishable Press. Very fine copy. $4,500.00

109. [PERISHABLE PRESS] HAMADY, Walter. Wowa’s First Book. A miniature book, 2 x 1 3/4 inches, original Swedish marbled paper wrappers handmade by the author. (Mt. Horeb, Wisconsin): Perishable Press, 1977. First edition of the smallest book from the press, “just the right size for a two-year-old little girl”, the little girl being Laura Evans Hamady, the author’s daughter. One of only 60 copies salvaged from an intended edition of 365 copies. Hamady, Two Decades of Hamady & The Perishable Press, 78. A very fine copy of this rare miniature. $1,500.00

110. PESSOA, Fernando. 35 Sonnets. 8vo, original printed wrappers. Lisbon: Montiero and Co., 1918. First edition of one of Pessoa’s first books, a series of complex sonnets in archaic, quasi-Elizabethan English. Pessoa published only four books during his lifetime: Antinoüs and 35 Sonnets in 1918, English Poems in 1921, and Mensagem [Message, the only book of Pessoa’s to be published in Portuguese in his lifetime] in 1934. With the exception of Mensagem, all are extremely rare. A fine copy. $15,000.00

111. [PHOTOGRAPHY] CALLAHAN, Harry. Color 1941-1980. Edited by Robert Tow and Ricker Winsor. Foreword by Jonathan Williams. Afterword by A. D. Coleman. 4to, illustrated, full purple morocco, folding cloth clamshell box. Providence, RI: Matrix Publications, (1980). First edition. One of 100 deluxe copies signed by Callahan and with an original color photograph, signed by the artist, laid in. Fine copy. $5,000.00

112. [PHOTOGRAPHY] FRANK, Robert. Les Américains. Photographies de Robert Frank. Oblong 8vo, original laminated boards after a design by Saul Steinberg. Paris: Encyclopedie Essentielle, Robert Delpire Editeur, (1958). First edition, preceding the American edition. “The Delpire first edition Les Américains (1958) is more like a sociological study, wherein Frank’s photographs appear as illustrations of the probing texts printed on facing pages, gathered by Alain Bosquet from dozens of illustrious writers. . . . When Barney Rosset at Grove Press agreed to publish The Americans in the U.S., Frank pulled out all the text, leaving only blank pages with captions facing the images, mirroring the layout of Evans’s American Photographs.” – David Levi Strauss, as quoted by Roth, The Book of 101 Books, p. 150. Very fine copy, with none of the fading or wear endemic to this book. $5,000.00 113. [PHOTOGRAPHY] LEIBOVITZ, Annie. Photographs 1970-1990. 4to, 232 pp., illustrated, original cloth, cloth slipcase. (N. Y.): HarperCollins, (1991). First edition. One of 300 specially bound and slipcased copies signed by Leibovitz. As new. $1,500.00

114. [PHOTOGRAPHY] LEIBOVITZ, Annie. Women. Essay by Susan Sontag. Small folio, original printed boards, dust jacket. New York: Random House, (1999). First edition. Signed by both Leibovitz and Sontag, and uncommon thus. Very fine copy in dust jacket, with some light wear at extremities. $850.00

115. [PHOTOGRAPHY] NASH, Graham, et al. The Graham Nash Collection. Oblong 4to, illustrations, leather-backed cloth over boards, marbled front pastedown, original illustrated front wrapper bound-in, publisher’s matching slipcase. (Los Angeles: The Nash Press, 1978). First edition, deluxe issue, of this exhibition catalog. One of 100 numbered copies specially bound and signed by Graham Nash. Presentation copy, inscribed by Nash to Lydia Modi Vitale (“with much love and respect”) on the colophon page. Vitale was the Director of the de Saisset Art Gallery and Museum at the University of Santa Clara, CA, which hosted the inaugural exhibition of what was to have been a national tour of The Nash Collection. The tour as initially conceived by Nash had to be reconsidered in light of Vitale’s resignation, for health reasons, of the Gallery Directorship. Laid in is a carbon copy, signed, of a single- page TL from Nash to an administrator at the University discussing this and related matters. Also laid in is a 1p TLS to Vitale from a visitor to the exhibition (?) correcting the attribution of a photograph in the collection. Sotheby’s sold Nash’s photograph collection for $2.4 million, then a record price, in 1990. A very fine copy. Scarce. $1,000.00

116. PIAF, Edith. “Non, Je ne Regrette Rien”, the 1961 LP recording of the most celebrated song sung by the great French chanteuse. Vintage 45 rpm LP (ESRF 1312), coated photographic sleeve. Paris: Les Industries Musicales et Electriques Pathe Marconi, (1961). Signed by Piaf on an affixed “Bruxelles Music Bar” label from an April 1961 appearance. “No, I have no regrets” was composed by Charles Dumont, with lyrics by Michel Vaucaire, in 1956. Piaf dedicated her first recording of the song to the French Foreign Legion. In 1960 was fighting the Algerian War and their 1st Foreign Parachute Regiment adopted the song when they fell to Algeria’s civilian leadership. The Regiment’s leaders were arrested and tried however non-commissioned officers, corporals, and Legionnaires were assigned to other Foreign Legion formations. They left the barracks singing the song which has become part of the French Foreign Legion heritage and is sung when they are on parade. Fine condition, scarce in this format. $1,250.00

117. [PORTLAND ART MUSEUM POETRY PAMPHLETS]. Poems by Richard Hugo [with:] Poems by Carolyn Kizer [with:] Poems by [with:] Poems by David Wagoner [with:] Poems by Kenneth O. Hanson [with:] Poems by Robert Huff [with:] Poems by John Haislip [with:] Poems by Carol Hall. 8 volumes, narrow 4tos, original illustrated accordion-fold wrappers. Portland, OR: Portland Art Museum, 1959. First editions, a complete set, of these pamphlets published for the 1959 Northwest Poetry Meetings, a 4-day event held at the museum in connection with the exhibition “Paintings and Sculptures of the Pacific Northwest.” The pamphlets by Hugo and by Kizer constitute each author’s first “book” publication; Stafford’s pamphlet is his first book of poems. 500 copies of each pamphlet were printed. The pamphlets are illustrated by Louis Bunce, Hilda Morris, Sally Haley, William Ivey, Milton Wilson, Tony Mellara, Margaret Tomkins, and James McGarrell, respectively. The pamphlets are in fine condition. $3,500.00 118. POUND, Ezra. Diptych Rome-London. Homage to Sextus Propertius & Hugh Selwyn Mauberley Contacts And Life. 4to, original boards, t.e.g., publisher’s matching cloth and boards slipcase with printed label. (N. Y.): New Directions, (1957). First combined edition of these two poems, originally published in 1919 and 1920. Limited to 200 numbered copies printed by Hans Mardersteig at the Officina Bodoni in , Italy, for James Laughlin, Faber & Faber and Vanni Scheiwiller, and signed by Pound. This copy is one of 125 for distribution in the U.S. Gallup A75a . Very fine copy in slipcase. $2,250.00

119. POUND, Ezra. Cavalcanti Poems. 4to, original quarter vellum and paper over boards, t.e.g., acetate dust jacket, publisher’s card slipcase. (N. Y.): New Directions, (1966). First edition, limited issue. One of 190 numbered copies signed by Pound and printed on Pescia paper by the Officina Bodoni, Verona; this copy one of 115 for sale in the United States. Gallup A86a. Very fine copy in slipcase. $2,250.00

120. POUND, Ezra. Typed postcard signed, 2 pages, to Babette Deutsch, with manuscript corrections, initialed “EP”, Rapallo, [], [July 21, 1935]. Pound lectures Deutsch on honesty: “HOW can these blighters, and ALL the U.S. university hired men even pretend to it when they refuse to face simple questions? / refuse to have any curiosity as to matters of life and death, both of the people at large and of the ‘select’ or elect who make and keep the arts alive?” Pound comments that “Our generation STARTED by trying to put bits of sticking plaster over the ulcers, GOT to go deeper”, and insists upon the “regeneration of almost ALL university instruction”. Babette Deutsch was an American poet and translator, professor at Columbia University, and the wife of Avrahm Yarmolinsky, head of the Slavonic Division of the New York Public Library. The postcard is in fine condition. $2,250.00

121. RICH, Adrienne. Letters Censored, Shredded, Returned to Sender or Judged Unfit to Send. Folio, illustrated with two intaglio copper-plate prints by Nancy Grossman, original Belgian linen-covered boards, recessed printed paste-paper labels. Hopewell, NJ: Pied Oxen Press, 2009. First edition. One of 85 numbered copies hand-set and printed in ATF Garamond types, the intaglio prints by Nancy Grossman were printed by Marjorie Van Dyke at Van Deb Editions in New York signed by the poet, artist and the printer, David Sellers. The entire edition consisted of 100 copies, of which 15 were hors commerce, and 85 for sale. As new, at publisher’s price. $3,500.00

122. RACKHAM, Arthur (illustrator). Cinderella. Retold by C. S. Evans. 4to, pictorial endpapers, color frontispiece tipped-in, 3 double-page color silhouettes, 1 full-page color silhouette, and 36 silhouette text illustrations in b/w by Arthur Rackham, original vellum-backed parchment over boards, lettered in gilt on the spine and front cover, t.e.g. London and Philadelphia: William Heinemann / J. B. Lippincott Co, (1919). First edition, deluxe issue. One of 325 numbered copies on Japanese vellum signed by Rackham in a total edition of 850 copies. This deluxe issue contains an additional color-plate not found in the trade issue. Some light dust-soil on covers, tiny spot at bottom-edge of front cover, otherwise a fine copy. $2,500.00

123. ROETHKE, Theodore. Sequence Sometimes Metaphysical. Poems. With Wood Engravings by John Roy. Small 4to, original quarter leather and pictorial boards, publisher’s slipcase. Iowa City: Stone Wall Press, (1963). First edition. One of only 60 specially bound copies signed by Roethke and Roy. A fine copy of this beautiful book, one of the finest books from Kim Merker’s Stone Wall Press. $3,500.00

124. RUSHDIE, Salman. Two Stories. With Five Woodcuts & Three Linocuts by Bhupen Khakhar. Large 4to, original full leather with gilt leather onlays by Sally Saumarez-Smith, publisher’s full cloth folding box. (London): Privately Printed, 1989. First edition. One of 12 specially bound copies signed by Rushdie, with a separate suite of Khakhar’s eight prints, each one signed by the artist. The entire edition consisted of 72 copies. As new. $10,000.00

125. SACKVILLE-WEST, Vita. Original holograph draft manuscript of a “Diary-Poem”, 1 page, folio, in ink and pencil on ruled paper, unsigned and undated. A powerful expression of disenfranchised womanhood, Sackville-West’s 30-line “Diary-Poem” was first published in English Language Notes, Vol. 19, No. 2, in 1981 as the subject of an article on the poem by Edward Cohen, and remains uncollected. Sackville-West resented the loss of her given name upon her marriage to Harold Nicolson in 1913. She once told her husband that “I really do resent being treated as if I were your dog. The whole thing is an insult to human dignity, and ought to be revised. One is allowed no separate existence at all, but merely as a dependent upon whomever one marries. Why not get me a collar with your name and address engraved upon it?” – Harold Nicolson, Diaries and Letters, Vol. III, p. 71 (quoted by Cohen). In 1928, upon the death of her father, injury was added to insult. Sackville-West was the only child of Lionel-Edward Sackville West, Third Baron Sackville, but by the archaic, patriarchal laws of

entailment in England, his estate could not be passed to a daughter, and as a consequence she lost Knole, her family’s estate in Kent. The loss of her name, and her beloved ancestral home, and the grievous blow to her pride are the subject of her “Diary-Poem”: “But I was bred from Sussex and Kent, / And my name is dear to me. / I will hold to my own, old name, / Walled within walls of Knole; / I will not sink my pride, my soul, / In another’s pride and fame.” A fierce and defiant statement of feminist pride, Sackville-West’s “Diary-Poem” gives voice to all of the women who, for centuries, lost their inheritances and their identities owing to the misogynistic laws of primogeniture. The ruled notebook paper on which the poem is written is somewhat discolored, otherwise the manuscript is in fine condition. $3,750.00

126. SNYDER, Gary. The Mountain Spirit. Illustrated with photo-etchings after Japanese sumi-ink scroll paintings, original red cedar hand-scroll with black walnut end knobs (10 1/2” end to end; the paper is 8 1/2” wide x 9’ 11” long), bound in Japanese book cloth and handmade washi, publisher’s paulownia box by Mihagi-Kougei Co., Ltd., Tokyo. Hopewell, NJ: Pied Oxen Printers, 2014. First edition. One of 50 numbered copies signed by the poet and the printer from an entire edition of 60 copies (10 of which are hors commerce). Design, illustrations, letter-press printing on Okawara washi and hand-scroll binding all by David Sellers. As new, at publisher’s price. $1,500.00

127. SIMIC, Charles. On the Music of the Spheres. Photographs by Linda Connor. Poems by Charles Simic. Square 4to, 15 tipped-in photographic plates, original navy cloth, black morocco labels lettered in gilt, publisher’s slipcase. (N. Y.): Library Fellows of the Whitney Museum of American Art, (1996). First edition, deluxe issue. One of 100 numbered copies signed by Simic and Connor, specially bound and including an original signed platinum palladium print by the artist. The sixteenth publication in the Artists and Writers Series of the Library Fellows of the Whitney Museum of American Art, designed and printed by the Grenfell Press. As new in dust-jacket. $1,500.00

128. SOUTHEY, Robert. Autograph Letter Signed, 2 pages, recto and verso of a single 4to sheet, No place, March 2, 1810, to an unidentified correspondent, but perhaps to an editor or publisher. English Romantic “Lake School” poet and Poet Laureate for thirty years, Southey (1774-1843), friend of Coleridge and of Wordsworth, was involved in diverse cultural disputes of the late eighteenth and early nineteenth centuries writing poems, plays, essays, reviews - he reviewed for the Quarterly Review during the 1810s-1830s - travel books, biographies and histories around contemporary events and history. Southey was one of the leading Hispanists of the period, his interests ranging from late eighteenth century Spain to Incan Peru. In this letter Southey touches upon matters evidently having to do with his History of Brazil (1810-1819), part of his planned, though never completed, prose magnum opus history of Portugal. Southey writes of his work in progress: “It has always been my intention to bring down the narration to the death of Sir [indecipherable] and in fact the history of his retreat is nearly written, having been begun upon when I had no materials for any other [?] part of the work.” Southey continues: “...you cannot be more desirous to have the volume published, than I am to be proceeding with my History of Brasil. I will not hurry myself to get to the end, nor suffer the work to be one jot the worse for the sake of being published a week or two earlier.” Commenting on the scarcity of accessible primary sources Southey notes, “But it must be remembered that for the history of this revolution I have no other documents than what our [indecipherable] supply. In the mss already in your hands the conduct of Ferdinand’s faction [?] and of those who have proved traitors is developed more clearly than it has yet been done in this country...” About other writing of his, Southey writes ruefully, “My portfolio is very-very poor [?], inasmuch as for the last seven [?] years I have scarcely written [indecipherable] verse except in Kehama [The Curse of Kehama, Southey’s epic Hindu romance published in 1810] and the new poem which I have begun since that was finished. Such however as it is I will send you the best of its contents. I have many subjects and hints marked down - but unluckily neither you [?] have time to wait for them, nor I leisure to finish them - nevertheless I will bear in mind that if I can compose any thing new there is a place ready for it, and you shall have immediately the best [?] that can be mustered... Yours very truly, Robert Southey”. Folded from mailing (a closed 5/8” tear in the margin of one fold), the letter is otherwise in fine condition. $2,500.00

129. SPENDER, Stephen. Poems of Dedication. 8vo, original cloth-backed patterned boards, dust jacket. N. Y.: Random House, 1947. First American edition. Presentation copy, inscribed by Spender to the American poet Theodore Roethke: “To Ted Roethke with all the ambiguities of friendship and literary love – hate – Stephen. August 18, 1950 Harvard.” In 1974, Spender published Love – Hate Relations. English and American Sensibilities. Fine copy in lightly worn dust jacket. $750.00

130. SPENDER, Stephen. Engaged In Writing and The Fool And The Princess. 8vo, original boards, dust jacket. London: Hamish Hamilton, (1958). First edition. The Dedication Copy, inscribed by Spender on the front free endpaper: “To Hansi [Lambert] / with love / and gratitude / from / Stephen / Jan 1958”. Fine copy in jacket with a slightly faded spine. $1,250.00

131. SPICER, Jack. After Lorca. With an Introduction by Federico Garcia Lorca (sic). 8vo, original pictorial wrappers with cover drawing by Jess. (San Francisco: White Rabbit Press, 1957). First edition of Spicer’s first book of poetry. One of 26 lettered copies signed by Spicer and with a drawing by the poet on the colophon page (out of a total edition of 500 copies typed on an Olivetti Lexikon 80 by Robert Duncan and multilithd by Joe Dunn for the White Rabbit Press, with a cover design by Jess). Although not noted, the present copy came from the library of the poet Jack Gilbert, who studied at San Francisco State University in the 1950s and participated in Spider’s Poetry as Magic workshop. Spicer has inscribed the colophon page: “839 Leavenworth, Happy New Your”. The original drawing above the printed colophon appears to be of a baseball mitt in which appear the letters ABC. Covers lightly soiled, otherwise a very good copy of this rare debut. $5,000.00

132. STEVENS, Wallace. Harmonium. 8vo, original cloth-backed decorated boards with printed label on the spine. N. Y.: Knopf, 1923. First edition, first binding, of Stevens’ first book. One of 500 copies bound thus. Edelstein A1. Extreme fore-tips of boards a bit bumped and rubbed with a bit of surface loss, otherwise a fine bright copy. Harmonium is rare in dust jacket, and copies lacking the jacket are rarely seen in such clean condition. $4,500.00

133. STEVENS, Wallace. The Collected Poems. 8vo, original cloth, dust jacket. New York: Alfred A. Knopf, 1954. First edition of the poet’s last work, winner of the Pulitzer Prize. One of 2500 numbered copies. Edelstein A23. Presentation copy, inscribed by Stevens on the front free endpaper: “To Jerry Baxter / From Wallace Stevens / Oct. 4, 1954”. The Collected Poems was published on October 1, a date chosen to coincide with Stevens’ 75th birthday on September 30th. With the exception of six poems, the poems in the section “The Rock” appear here for the first time. Book label on front pastedown, otherwise a fine copy in dust jacket lightly sunned along the spine panel with a 1 3/4” triangular chip along the top edge of the front panel affecting the letters “llect” of the word “Collected.” $5,000.00

134. STEVENSON, Anne. Black Grate Poems with Drawings by Annie Newnham. 4to, colored lithographic illustrations, illustrated endpapers, original illustrated paper over boards, publisher’s illustrated board slipcase. (Oxford): Inky Parrot Press at Oxford Polytechnic, 1984. First edition, deluxe issue, one of 15 Roman-numeraled copies, with an original manuscript poem (“Nightwalking, with Shadows”) and an original pen and ink drawing on facing preliminary leaves, signed by the author and the artist, in a boardbound issue of 160 copies in a total edition of 360 copies printed. Very fine copy. $650.00

135. STRAND, Mark & Wendy MARK. 89 Clouds. Square 8vo, reproductions of monotypes by Wendy Mark, original handmade Roma paper over boards with printed paper label on the spine by Claudia Cohen. N. Y.: ACA Galleries, (1999). First edition of this collaboration between the poet Mark Strand and the artist Wendy Mark. One of only 20 copies specially bound with an original signed monotype by Wendy Mark laid into a pocket at the back of the book, which is also signed by Strand and Mark. As new. $2,500.00

136. SYMONS, Arthur. The Symbolist Movement in Literature. 8vo, original navy buckram, spine panel lettered in gilt, publisher’s blindstamp in back cover. London: William Heinemann, 1899. First edition, with the “Presentation Copy” blind-stamp in the title-page. The seminal study of the Symbolist movement. Bottom fore-tip of covers a trifle bumped, otherwise a fine copy. $350.00

137. TATE, James. If It Would All Please Hurry. A Poem. Etchings & Engravings by Stephen Riley. Folio, with 10 original etchings and engravings (6 full-page) on Arches Cover White paper, loose sheets in folding box. Amherst: Shanachie Press, 1980. First edition. One of only 10 lettered copies reserved for the author and artist (this being copy “J”) out of a total edition of 35 copies produced, of which 25 roman-numeraled copies were for sale; all copies were signed by the poet and the artist, with each of the original prints also numbered and signed in the margin by the artist. Presentation copy, inscribed by both Tate and Riley to Stanley Wiater, the man who brought the poet and artist together. Riley’s inscription reads “For my friend Stan - fellow bibliophile, confidant, taster of the fantastic and esoteric, to whom in large part the very existence of this suite is due. With thanks - Stephen Riley / 1 September 1980.” Tate’s inscription reads: “For Stan, without whom it wouldn’t have . . . because of whom it has. Horror of horror - with friendship, Jim Tate.” Stephen Riley, who illustrated and published If It Would All Please Hurry was a young artist in his twenties, who died not long after the portfolio was published. Stanley Wiater is a writer of horror fiction, who attended the University of Massachusetts at Amherst in the Seventies. According to Wiater, the edition fell short of its stated limitation, which would account for its rarity on the market. Portfolio lightly soiled, otherwise a very fine copy, perhaps the most desirable copy, of Tate’s rarest publication. $4,000.00

138. THOMAS, Dylan. In Country Sleep And Other Poems. 8vo, illustrated with a duo-tone portrait of the poet by Marion Morehouse tipped to the title page, original boards, dust jacket. N. Y.: New Directions, 1952. First trade edition. Rolph B14. Presentation copy, inscribed on the front free endpaper: “Always from Dylan to John 1952”. The first book appearance of “Do Not Go Gentle into That Good Night”. Although it is impossible to identify the recipient with assurance, two candidates close to Thomas at the time were John Malcolm Brinnin and John Berryman. A fine copy in dust jacket. $5,000.00

139. [THOMAS, Edward]. Six Poems by Edward Eastaway. 4to, illustrated by James Guthrie, original gray wrappers with printed label. Flansham, Sussex: The Pear Tree Press, (1916). First edition of Thomas’ rare first book of poems, the first appearance of any of his poems in book form, privately printed in an edition stated to consist of 100 copies printed by hand and in color from intaglio plates by James Guthrie at The Pear Tree Press. Eckert, pp. 235-37. However, according to Eckert, Thomas’ biographer and bibliographer, “less than a hundred copies” were actually printed, and “the plates are now destroyed.” In addition to “Sedge-Warblers”, “Cock-Crow”, and “Beauty”, Six Poems includes “This is no case of petty right or wrong”, “A Private”, and “Aspens”. Light use at overlap edges of wrappers, two short closed tears in the top spine portion, otherwise a fine copy preserved in a custom half morocco folding box. $12,500.00

140. THOMAS, R. S. “Excursion.” Caliban XVIII (Extrait). 8vo, decorated wrappers, stapled. Toulouse: Annales, L’Universite de Toulouse, Nouvelle Serie, Tome XVII, Fascicule 1, 1981. First separate edition of this poem, extracted from the French journal. No statement of limitation, but according to a note laid into the pamphlet, this is one of 40 copies, signed by Thomas. Fine copy. $450.00

141. WAITS, Tom. “Blue Valentines.” Original holograph draft manuscript for the title song from his album Blue Valentine, 5 pages, 4to, written with a blue felt-tipped pen, unsigned. (No date, but 1978). Blue Valentine was recorded in June and July of 1978, and was released in September with cover photographs of Waits and the soon-to-be-famous Rickie Lee Jones, who was referred to as “the mysterious blonde,” and a photograph of Chuck E. Weiss – the soon-to-be-famous subject of Jones’s hit “Chuck E’s In Love” – on the inner sleeve. A letter of provenance is included with the manuscript, which is lightly soiled, but otherwise in very good condition. $10,000.00

142. WHALEN, Philip. Original pen and ink cover drawing for Heavy Breathing Poems 1967-1980, being a bearded ghost-like emanation with a whisk broom, on a 8 9/16 x 11 1/8 inch sheet of heavy stock drawing paper. The drawing is dated “22:VIII:82” in the bottom margin. Accompanied by a copy of the book in wrappers (San Francisco: Four Seasons Foundation, 1983). The drawing and the book are in fine condition. $850.00

143. WHITE, E. B. Stuart Little. Pictures by Garth Williams. 8vo, original cloth, pictorial endpapers, dust jacket. N. Y.: Harper & Brothers, (1945). First edition of E. B. White’s first children’s book. In 1970, Stuart Little and Charlotte’s Web were jointly awarded the Laura Ingalls Wilder Medal for children’s literature, perhaps to compensate somewhat for the neglect Stuart Little received when it was first published. A very fine copy in dust jacket. $2,500.00

144. WILBUR, Richard. The 1996 Frost Medal Lecture. Introduction by Stanley Kunitz. 12mo, original blue cloth, printed spine label. (No place): Poetry Society of America, 1997. First edition. One of 100 numbered copies signed by Wilbur and Kunitz who wrote the Introduction. Fine copy. $350.00

145. WILLIAMS, C. K. Creatures. Small 4to, original quarter black morocco and hand-made paste-paper over boards, publisher’s paper slipcase, by Claudia Cohen. Haverford, PA: Green Shade, 2006. First edition, deluxe issue, of this collection of recent poems, preceding their appearance in Williams’ Collected Poems. One of 26 lettered copies printed on Twinrocker handmade paper at The Grenfell Press, specially bound, and signed by the poet. As new, at publication price. $850.00

146. WILLIAMS, Jonathan. Garbage Litters The Iron Face Of The Sun’s Child. Small broadside poem printed on a single narrow sheet of yellow paper, 4 inches wide x 13 inches tall, folded into thirds, illustrated with an original copperplate engraving by David Ruff. (San Francisco: Jargon Society, 1951). First edition of the first publication to be issued under Williams’ Jargon Society imprint. Jargon 1. One of 50 copies “handset, printed in lydian types on l’Aiglon paper” by David Ruff, and signed by Williams and Ruff. Extremely rare, and lacking from all but a few collections of the works of Jonathan Williams and the Jargon Society. A very fine bright copy. $6,500.00

147. WILLIAMS, Jonathan. Sharp Tools for Catullan Gardens. With 10 Lithographs by James McGarrell. Preface by Guy Davenport. Folio, 20 x 14 inches, 24 leaves, plus two guard sheets, in fabricoid portfolio with printed label. Bloomington, IN: Fine Arts Department, University of Indiana, 1968. First edition. One of only 36 copies (the entire edition), printed on Italia paper, signed by Williams and McGarrell, with each lithograph individually signed by the artist. Crane D44. Fine copy. $5,000.00

148. [WILLIAMS, Jonathan] COX, Reuben. Corn Close. A Cottage in Dentdale. Photographs by Reuben Cox. Essays by Thomas Meyer and Anne Midgette. (Preface by James Jaffe. Portraits by Mike Harding). 4to, illustrated in color, original cloth, dust jacket, in publisher’s slipcase. (Salisbury, CT): Green Shade, 2015. First edition, published as Jargon 116. Limited to 50 copies signed by Cox, Meyer, Midgette, Greene and Jaffe, and with an original photograph signed by the photographer laid in. Corn Close is the Cumbrian cottage where the poets Jonathan Williams and Thomas Meyer lived for over thirty years. Reuben Cox, a professional photographer and formerly on the faculty of Cooper Union, is the author of The Work of Joe Webb: Appalachian Master of Rustic Architecture (Jargon Society, 2009). As new, at publication price. $250.00 Note: A regular edition is also available, clothbound in dust jacket. $35.00

149. WILLIAMS, Tennessee. Tennessee Williams’ Letters to Donald Windham 1940-1965. Edited and with comments by Donald Windham. 8vo, illustrated, original wrappers, acetate dust jacket, slipcase. Verona: (Sandy Campbell), 1976. First edition. One of only 26 lettered copies printed on blue Fabriano paper and signed by Williams and Windham, out of a total edition of 526 copies printed by the Stamperia Valdonega; the regular issue was not signed. A very fine copy. $1,500.00

150. YEATS, W. B. The Shadowy Waters. Small 4to, original dark blue cloth over bevelled boards, design stamped in gilt on front cover, t.e.g. London: Hodder and Stoughton, 1900. First edition. Wade 30. Signed by Yeats in pencil at the end of the prefatory poem “I walked among the seven woods of Coole” on page 9. The rest of the text consists of the play “The Shadowy Waters”. Rear cover lightly stained near the top edge, corners a bit rubbed, otherwise a very good copy. $3,000.00