james cummins bookseller · et se vend À amsterdam, chez pierre mortier, 1699. sixth edition...

catalogue 115

Winter Miscellany

JAMES CUMMINS bookseller

james cummins bookseller

catalogue 115 Winter Miscellany

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1 ARISTOPHANES. Lysistrata. A New Version by Gilbert Sel-des with a Special Introduction by Mr. Seldes and Illustrations by Pablo Picasso. Printed in Caslon types on Rives paper, at the Printing-Office of the Limited Editions Club, Westport, Conn. 117, [1] pp. 4to, New York: The Limited Editions Club, 1934. Limited edition, no. 1452 of 1500 copies signed by pi-

casso. Printed in black and sanguine. Fine in original printed pictorial boards, in original chemise and modern slipcase. The Artist and the Book, no. 226; Cramer 24; Skira 294.

One of the most ribald works of antiquity, illustrated with Picasso’s magnificent etchings and drawings. This is “the only American publication with original Picasso etchings, which are among his most important in the classical style” (The Art-ist and the Book).

$6,500

2 ASIMOV, Isaac. Foundation [with] Foundation and Empire [with] Second Foundation. 3 vols. 8vo, New York: Gnome Press, [1951-1953]. First editions, Currey binding state A for each volume. Original dark blue cloth; red boards; blue boards. Some rubbing to extremities, Foundation with small stain at bottom corner of front endpaper and inner flap of dust jack-et. Very good copies in very good pictorial dust jackets (some slight rubbing and soiling, a few nicks to ends of spine panels). An attractive, desirable set. Currey, pp. 17-19.

Asimov’s major sequence of novels depicting the far-future interplanetary history of the human race, this being the important first three, of which each were awarded a special Hugo in 1966 for best all-time series. Several years later, Asimov added later installments to the series.

$5,000

2 | james cummins bookseller

3 BAQIR, Muhammad bin Muhammad Taqi. Zad al-Ma’ad. [Islamic Devotional Manuscript in Arabic and Persian]. Manu-script in Arabic and Persian, black and red ink on polished pa-per, 21 lines per page in fine naskh hand within gilt-ruled bor-der, consistently vocalized, with red notations for emphasis, catchwords, and with occasional interlinear translations in red nasta’liq as well as marginal glosses. Polychrome gilt double-page opening, with gilt floral borders. 262 leaves, complete. 8vo (165 x 105 mm), [Persia: early 1800s C.E.]. Leather spine, painted pictorial lacquered boards. Shaken, some edgewear. First leaf with split along gutter (old cellotape stain); six leaves heavily thumbed (one loosened); otherwise generally sound and clean with only occasional and minor smudges.

Book of prayers in the Shi’a tradition, composed in 1107 A.H. (1695 C.E.) by the great scholar Muhammad Baqir b. Muhammad Taqi b. Maqsud ‘Ali al-Majlisi al-Isfahani (A.H. 1037-1110/1627-98 A.D.). He was Shaykh al-Islam under the Safavid Shah Sulayman (d. 1106/1694). Here in a well preserved nineteenth-century manuscript, with a few leaves showing wear but generally sound.

$2,750

4 (BINDING, Designer) Langland, William. Piers the Plowman. Initials and illustrations by H.M. O’Kane. Small folio, New Rochelle: Elston Press, 1901. One of 210 copies. Specially-bound in multi-colored onlaid leathers and raised images formed by bands of leather; repeated designs on doublures; suede and board chemise and slipcase. Fine.

The Elston Press edition of Piers the Plowman in an elaborate designer binding.

$5,000

catalogue 115 |

blake’s “grave”5 (BLAKE, William) Blair, Robert. The Grave, A Poem. 12 etch-ings by Schiavonetti after designs by Blake. Portrait frontis-piece of Blake by T. Phillips, pictorial title. xiv, 36, [4] pp. 4to (13-1/16 x 10-I in.), London: Printed by T. Bensley, Bolt Court, for the Proprietor, R. H. Cromek, No. 64, Newman Street, 1808. First Blake edition, quarto issue. Bound in con-temporary quarter sheep and marbled boards, neatly rebacked in brown calf, gilt spine and red leather label, minor foxing. Keynes 81; Bentley & Nurmi 350A.

Includes Blake’s dedicatory poem, “To the Queen,” the six-page list of subscribers, note by Fuseli at pp. xiii-xiv, and, following the poem, the description “Of the Plates” and the advertisement for Stothard’s Chaucer and “Prospectus.”

$1,750

the art of firing a mortar

6 BLONDEL, Nicolas-François. L’Art de Jetter les Bombes. With additional engraved title, engraved title-page vignette, en-graved headpieces, engravings in text (including several full page), and figures in text. [8], 445, [16] pp. (including “Fautes à corriger” on last page) + final blank leaf [i4]. 4to, À Paris: Chez l’auteur. Et se vend À Amsterdam, chez Pierre Mortier, 1699. Sixth edition (first published 1683). Contemporary vel-lum with brown morocco spine label; moderate wear. Some internal dampstaining at outer margins, a few leaves repaired; overall, very good. OCLC 17590330; Dictionary of Scientific Biography II, pp. 200-203.

Blondel (1618-1686), brilliant mathematician, architect, engi-neer, and topographer, was admitted to the Royal Academy of Sciences in 1669. He became director of the Royal Acade-my of Architecture in 1671, was appointed director of public works for the city of Paris by Louis XIV in 1672, and in 1673 became mathematics tutor to the dauphin. Earlier, “during his infantry service, Blondel had been amazed at the crude methods of the French bombardiers,” and devised practical rules for determining the angle of a mortar sometime in 1677. The printing of Blondel’s solution in L’Art de Jetter les Bombes “was delayed by order of Louis XIV, who hardly cared to have the enemy profit by it. The French gunners, however, paid no attention to it until 1731 …” (DSB).

$2,000


7 (Book of Common Prayer) The Book of Common Prayer … Together With the Psalter or Psalms of David [bound with:] The Whole Book of Psalms. a-b8 c2 A4 b-Y8 *Y3-6; A-N4. 4to, Lon-don: John Baskett … Thomas Newcomb, and Henry Hill; William Bowyer, 1715. Altar edition. Contemporary black morocco, covers tooled in gilt to a panel design, spine gilt in six compartments, a.e.g. Light rubbing to joints, some soiling to text, in a custom blue chemise and half morocco box. Griffiths 1715:4 (with variant imprint); ESTC T81401 & T82245. Provenance: Anne Johnston (her calligraphic inscrip-tion, dated 1729, on the recto of the first blank).

$1,500

8 BRADFORD, Rev. William. Sketches of the Country, Character, and Costume, in Portugal and Spain, made during the campaign, and on the route of the British Army in 1808 and 1809 … [bound with:] Chronological and Historical Retrospect of the Events of the War in the Peninsula. 53 hand-colored aquatints (40 views and 13 costumes, without an unlisted plate “Toro from the River Douro”) by J. Clark after Bradford. Titles and text in French and English. Text watermarked 1809-10, plates watermarked 1815-16. Folio, London: Printed for John Booth, Duke Street, Portland Square by B.R. Howlett, 49, Brewer Street, Golden Square, 1812. Contemporary marbled boards, rebacked in half calf. Bookplate of Charles N. Bancker and signature of J.R. Latimer, Canton, 1832 on bookplate. Abbey Travel 135.3; Colas 421.

Sometime before 1816, John Richardson Latimer went to Philadelphia to receive training in a counting house, prob-ably that of his uncle, George. George arranged for John and his son, James, to enter the China trade. John made his first supercargo voyage to Canton in 1815. From that time until 1838 John made regular voyages between China and his home in Delaware, spending most of his time abroad. Profits from his years in China allowed him to retire at the age of forty. In 1838, he and his wife, Elizabeth Caldwell Keppele, moved to an estate known as “Latimeria.” (Winterthur Mu-seum has a small pantry from Latimeria installed adjacent to the Port Royal Parlor.) During his retirement years, John was elected to the Delaware constitutional convention, served as president of the Pennsylvania Society of the Cincinnati, and was a member of the executive committee for the Soldiers National Cemetery at Gettysburg. He died at his home in 1865.

$,500

catalogue 115 | 5

one of 125 copies, bound by bedford

9 BRATHWAIT, Richard. Barnabæ Itinerarium, or Barnabee’s Journal … With a Life of the Author, a Bibliographical Introduction to the Itinerary, and a Catalogue of His Works. Edited from the First Edition by Joseph Haselwood. Frontispiece, plates, some in two states. xlv, [i], [2], 459, [1]; [iv], 448 pp. 2 vols. 12mo, London: [R. and A. Taylor, Printers], 1820. One of 125 copies. Full green morocco, gilt-tooled to a Grolieresque strapwork de-sign, green morocco doublures richly gilt in the fanfare style, glazed endpapers with hand-painted red, blue and gilt bor-ders, all edges gilt and gauffered, by Bedford. Lowndes I, 260.

$1,750

thirteen watercolors to illustrate byron’s life and works

10 (BYRON, Lord) Merrill, Frank T. Thirteen watercolor ill-lustrations. Watercolor on artist board, all signed (“Frank T. Merrill”) at the lower right or left, most captioned and docket-ted in pencil with title and placement. Images 18 x 11-H in., n.p: n.d., ca. 1900. Some light soiling, a few chips to edges of boards, in all near fine.

A series of thirteen original watercolor illustratons by the Amercan illustrator Frank T. Merrill for the F. A. Niccolls of Boston edition of Byron’s complete works. First pub-lished in 16 volumes in 1900, the set included the complete works as well as the letters and journals and a life of the poet by Thomas Moore, all embellished with illustrations by numerous artists reproduced in photogravure. Merrill’s contributions include illustrations to “Don Juan,” “Morgante of Maggiore,” “The Episode of Nisus and Euryalus,” “The Deformed Transformed,” as well as several dramatic scenes from Byron’s Life.

$5,000


signed by calder

11 CALDER, Alexander. Calder’s Circus. 16 plates after line draw-ings by Calder, on thin card stock. With [4] pp. introduction by Juan Miró, essay by Cleve Gray and portrait photograph of the artist by Herbert Matter. Folio (plates various sizes, most approx. 17 x 12-I in.), [New York: Art in America with Perls Gallery, 1964]. First edition, no. 59 of 100 copies signed and

numbered by calder. Loose as issued, in blue and red cloth portfolio, without snaps, else fine.

A portfolio of 16 line drawings from Calder’s circus series, published here for the first time and signed and numbered by Calder in red ink on the Introduction page. Calder’s circus drawings, done in the early 1930s, imitate the miniature wire scuplture figures of his Cirque Calder done in the late 20s. It was the work that first brought him in contact with the Parisian avant-garde and helped launch his career.

$4,500

the preferred english translation of camden’s britannia

12 CAMDEN, William. Camden’s Britannia, Newly Translated Into English: With Large Additions and Improvements. Translated By Edmund Gibson. Engraved frontispiece portrait of the author, 50 double-page and folding maps (3) by Robert Morden and others, 9 full-page engraved plates of coins and antiquities, nu-merous woodcuts and some engravings in the text, including a half-page engraving of Stonehenge, woodcut initials. Fo-lio, London: F. Collins for A. Swalle, 1695. First edition of Gibson’s translation. Contemporary calf tooled in blind to

a panel design, rebacked to style, covers rubbed, endpapers renewed, small dampstain to lower outer corner of few first leaves, otherwise contents generally near fine. Bookplate of J. Sprague Meeker, Brooklyn. Chubb CXII; Skelton 117; Wing C-359.

The first edition of Edmund Gibson’s English translation of Camden’s Britannia, one of the great achievements of Eng-lish scholarship, the first comprehensive topographical survey of Great Britian, and a book of the greatest importance to the develpment of the nation’s self image. Camden’s work first appeared in Latin in 1586 in a thick octavo volume dedi-cated to Lord Burghley: “It received immediate recognition … and its successive, enlarged editions of 1587, 1590, 1594, 1600 (dedicated to Queen Elizabeth) and 1607 (dedicated to King James) and its English translation of 1610 by Philemon Holland attest to its popularity … Throughout the decades after its first appearance Camden continued to revise the text and experiment with the work’s format and apparatus, and he worked closely with Holland on the 1610 translation. In spite of the author’s collaboration, however, the translation is often inaccurate and takes liberties with the material, and for this reason is regarded as inferior to Edmund Gibson’s translation of 1695” (Oxford DNB).

$8,000

catalogue 115 | 7

first edition of the roman catechism

13 (CATECHISM, Council of Trent) Catechismus, ex decreto Concilii Tridentini, ad parochos, Pii Quintii pont. max. iussu editus. Woodcut vignette on title page. [iv], 359, [1,] [12, index] pp. Collation: A2 B-II6. Folio, Rome: Paulus Manutius, 1566. First edition. Bound in 18th-century mottled calf, tooled in gilt to a panel design, invisibly rebacked to style, spine in compartments with six raised bands, sprinkled edges, paper repairs to margins of G1, L5, S1, Y3-4 and GG2 as well as some smaller repairs, else internally fine, errata corrected in an early hand, bookplate. Adams C-1056; Ahmanson/Murphy 552; Renouard II, p. 57, no. 5.

First edition of the Roman catechism, printed in Rome by Paulus Manutius, authorized by the Council of Trent and issued by Pope Pius V. The catechism was a summary of Roman Catholic doctrine and its official manual of instruction. It was issued to improve the theological understanding of priests in the midsts of the Reformation. One of the most important works of the Counter-Reformation, it remained the authoritative catechism of the Catholic Church for more than 400 years. Rare on the mar-ket, with most institutional copies residing in Europe.

$20,000


14 CATLIN, George. Catlin the Celebrated In-dian Traveller and Artist, Firing his Colt’s Re-peating Rifle before a Tribe of Carib Indians in South America … Tinted lithograph, “On Stone & Printed in Oil Color by J. M. Gahey, Chester.” Folio, c. 1850. Creasing and small paper repair to lower left corner of margin, not affecting the image.

Samuel Colt commissioned George Catlin to create a series of paintings featuring Colt firearms in the 1850s, which were made into lithographs for advertising purposes. One of six images done for the set.

$5,000

15 CHAGALL, Marc. Drawings for the Bible. Verve Vol. X, no. 37/38. Text by Gaston Bachelard. With 24 original lithographs in color printed by Mourlot Frères and 96 re-productions in black and white heliogravure by Draeger Frères. Folio, New York: Har-court Brace, 1960. First American edition. Original pictorial boards, small stain to fore-edge, else fine, in the pictorial dustjacket, price-clipped, chipped and worn, with large piece from rear panel and loss to spine.

$4,500

catalogue 115 | 9

16 CLEMENS, Samuel L. Adventures of Huckleberry Finn. Forty-nine wood engravings by Barry Moser, with an additional accompanying suite of the prints in cloth portfolio. Printed on Mohawk Letterpress by Harold McGrath in Centaur type. 4to, West Hatfield, MA: Pennyroyal Press, 1985. Centenary edition, no. 111 of 350 numbered copies signed by the artist, Barry Moser. Bound in full green morocco by E. Gray Parrot of Hancock Maine, in publisher’s linen slipcase. Spine sunned.

$2,500

signed by the black bartender of the montana club

17 (COCKTAILS) [Anderson, Julian]. Golden Jubilee Edition Reci-pes by The Master of Mixers. As Served by Him at the Montana Club … June 1893 to June 1943. Black and white photographs of Anderson and the Montana Club. 12mo, Helena, Montana: Montana Club, ca. 1943. Printed wrappers, signed by Ander-son on the front wrapper. Fine.

A cocktail manual in honor of the 50-year anniversary of service by the black bartender Julian Anderson at the exclu-sively-white Montana Club. Anderson wrote his own recipes and mixed drinks for Theodore Roosevelt, Mark Twain and William Jennings Bryan. During Prohibition he stashed Club members’ spirits in the basement rathskeller. He retired in 1953 at the age of 90. Rare — OCLC locates only one copy, at the Montana Historical Society.

$1,000


harry johnson’s bartender’s manual

18 (COCKTAILS) JOHNSON, Harry. New and Improved Illustrat-ed Bartender’s Manual, or: How to Mix Drinks of the Present Style … Tinted portrait frontispiece and 9 engraved plates. 101, [1] pp (without the German translation on pages 103-197). 8vo, New York: Harry Johnson, Publisher and Professional Bar-tender, (1888). Second edition. Bound in contemporary half red morocco and marbled boards. Covers a little creased, inter-nally fine. Not in Cagle or Bitting. Provenance: Alfred Parsons (his bookplate by Philip Webb and signature to first blank).

Along with Jerry Thomas’ Bar-Tender’s Guide of 1862, one of the most important 19th-century cocktail manuals. More than just a list of recipes, Johnson’s guide is the first bar operations manual that goes into the details of the business of running a bar. Johnson was head barman and sommelier at Manhattan’s greatest restaurant, Delmonico’s, and he went on to run his own bars. He draws on his experience to offer 43 ”Rules and Regulations” on the treatment of patrons, proper bar set-up and handling of equipment; 12 lists of es-sential barware, wines and liquors; and 187 recipes for cock-tails and punches. He was one of the first to publish a recipe for the martini (equal parts gin and sweet vermouth with bit-ters, sugar and curaçoa) and invented one of the first Scotch-based drinks, the morning glory fizz. The recipes, written in a clear manner, are to this day easily replicable at home.

The first edition appeared in 1882 and this enlarged second edition was published 6 years later. Both editions contained a German translation ( Johnson was German-born). This copy was bound without the German portion, but the English section remains a complete work in itself. OCLC locates only two copies of the 1882 edition and 7 copies of the 1888 edi-tion. Neither has appeared at auction in the last 30 years.

With the ex-libris of English artist and garden designer Alfred Parsons. His housemates at 54 Bedford Gardens, London, included Francis Davis Millet and Edwin Austin Abbey.

$2,500

confederate imprints from the rebel archive

19 (CONFEDERATE STATES OF AMERICA) Collection of Confederate imprints comprising 296 works (with 12 dupli-cates). 8vo, v.p., chiefly Richmond, also Montgomery, AL; Tal-ladega, AL; Raleigh, NC: 1861-1865. Mostly in fine condi-tion, many stamped in purple ink with “Rebel Archives, War Department, Record Division” and some with 19th-century deaccession stamp, “Adjutant General’s Office, Division of Confederate Archives,” housed in ring binders and a cloth clamshell box.

A large collection of 296 Confederate imprints mostly com-prising government publications, including Acts of Congress; Congressional committee reports; Senate and House bills and amendments; House committee reports; Messages from the President; Army circulars and orders; reports from various agencies, including the Indian Affairs Office, Justice Department, Navy Department, Patent Office, Postmaster-General, and Public Printing; communications from the Sec-retary of the Treasury; and state publications from Alabama and North Carolina. Most of the volumes were deacces-sioned from the “Rebel Archives,” a collection of Confeder-ate imprints, records, and papers gathered at the end of the Civil War by the office of the Secretary of War. The archive was used in protecting the United States government against claims arising from the war, settling pensions, and for histori-cal purposes. Highlights of the collection include:

— Inaugural address of President Davis. Montgomery, Ala, 1861 (P&W 895). Disbound, with loss to title-page and mar-gins

— “Message from the President, and report of Albert Pike, Commissioner of the Confederate States to the Indian na-tions …” Richmond, 1861 (P&W 904)

— [Report of the Acting-Commissioner of Indian Affairs]. [Richmond, 1862] (P&W 1661)

— [Communications from the Secretary of War and the At-torney General relative to whether the government holds … itself liable for the value of slaves impressed by its authority …] [Richmond, 1863] (P&W 2313)

— The conscription act: Letter from the Secretary of War. [Raleigh, 1862] (P&W 3379)

— Message of the President Vetoing the Medical Bill … Oc-tober 13, 1862 (P&W deest; OCLC: 150461285, 1 copy)

A full list of the collection by Parrish & Willingham number is available on request.

$45,000

catalogue 115 | 11


20 CONRAD, Joseph. Guy de Maupassant. 18, [1] pp. 8vo, Lon-don: Printed for Private Circulation, 1919. First edition, one of 25 copies printed for Mr. Thomas Wise. Green wrappers. In half blue morocco slipcase and chemise. Cagle A32.

Sixth of T.J. Wise’s 20 limited edition Conrad titles, all done between Feb. 1919 and Jan. 1920. This was the Introduction written for de Maupassant’s Yvette and Other Stories (London, 1904), translated by Ada Galsworthy.

$1,500

“i robbed poor briggs in the railway train …”21 (CRIME) “Lamentation, Confession, and Execution of Mull-er, who was Executed at the Old Bailey on Monday, November 14th, 1864, for the Murder of Mr. Thomas Briggs, on the 9th of July.” Printed broadside with poem in two columns and a woodcut illustration of a hanged man on left. 4to (264 x 195 mm.), London: H. Disley, Printer, 57, High Street, St. Giles, [1864]. Near fine.

A rare broadside poem recounting the robbery and murder of Thomas Briggs by Franz Müller on the North London Railway train — the first murder committed on a train. Müller quickly departed the country via a transatlantic ship. Some expert sleuthing pointed to Müller as the murderer and he was greeted at his disembarkment in New York by Scotland Yard detectives. Briggs’ hat and gold watch were found on Müller. He was extradited to England where he was hanged before a raucous crowd in front of Newgate Prison. It was one of last public hangings in England.

$1,250

with an original drawing by rackham: woodin - kern copy

22 DE LA MOTTE FOUQUÉ, [Friedrich]. Undine. 15 mounted color illustrations by Arthur Rackham. 4to, London: Heine-mann, 1909. First trade Rackham edition. Publisher’s blue cloth. Spine darkened, else near fine in custom slipcase. En-graved bookplate of William Hartmann Woodin (renowned collector of George Cruikshank) and morocco ex-libris of Je-rome Kern.

A perfect match of illustrator and story (the basis of Hans Christian Andersen’s “The Little Mermaid”), this copy with an exquisite little pen-and-ink drawing of a mermaid on the half title, signed “Arthur Rackham 7/12/09.”

$2,500

catalogue 115 | 1

23 DELAFOSSE, Jean Charles. Nouvelle iconologie historique ou at-tributs hieroglyphiques, qui ont pour objets les quatre élémens, les qua-tres saisons, les quatre parties du monde et les différentes complexions de l’homme … Title, Table Indicative, 110 plates, and 39 pages of text on 21 leaves, all entirely engraved. Folio, Paris: Chez Jacques François Chereau Fils, Graveur et Marchand D’estampes, Rue St. Jacques, 1771. Later calf with original covers of mottled calf in-laid to front and rear, upper cover gilt-stamped “ODIOT Orfèvre”. [Jean-Baptiste-Claude Odiot (1763-1850) was the goldsmith to the family of the Emperor Napoleon]. Occasional stains, mostly mar-ginal, but altogether a very good copy, with a remarkable prov-enance. Berlin Catalogue 465.

French architect Jean Charles Delafosse was one of the creators of the Louis Seize style, as the ornament in his Iconologie, featur-ing Greek keys, garlands, and much other Classical ornament, demonstrates. He also published a treatise on the five orders, and designed two hotels at 58–60 Rue du Faubourg Poissonnière, Paris (1776–83), and his Iconologie Historique is a veritable ency-clopedie of Baroque icons and symbols. The “Table Explicative” advertises 18 “Cahiers” of six leaves each on a variety of themes

and subjects developed here, which are available separately from the publisher (“qui se vendent séparément”). A second part of that suite was also formed (referred to misleadingly in the Berlin Catalogue as “IIeme Volume”) which continues the series of engravings available in 24 more “cahiers” — in other words, Cahiers 19 - 43 — also, presumably, sold separately. The absence of any of the 43 cahiers should in no way, we believe, be taken as an indication of incompleteness.

Tipped in and laid down at the back is a folio plate, “La Sphere Artificielle” [showing three globes: Terrestrial, Celestial & Armil-lary Globes]. Paris Chez Desnos, Rus St. Jacques, 1760.

$,000

rare, with original nine wrappers

24 (DICKENS, Charles) [Forrester, Alfred H.]. The Pickwickians [by A. Crowquill]. 40 lithograph plates, including pictorial title-page. Printed by Standidge & Co. Lithography. 8vo, London: Acker-mann & Co. 96 Strand, 1837. First edition. Full brown morocco for John Bumpus, with 9 original printed wrappers entitled “Pic-tures Picked from the Pickwick Paper by Alfred Crowquill” bound in. With considerable foxing at outer borders of half of plates. Bookplate of Sir David Salomons, Broomhill, Tunbridge Wells. With Salomons’ catalogue entry with value of £27. Gimbel H1077.

$750


25 (DICKENS, Charles) ONWHYN, [Thomas]. 12 Illustrations to Pickwick Club by T. Onwhyn. Drawn and Etched in 1847 — Now First Published. [With another, variant printed title on wrapper:] Twelve Illustrations to the Pickwick Club Drawn and Etched by T. Onwhyn, 1847. 12 hand-colored plates in each copy. 2 vols. 4to, London: Albert Jackson 224 Portland St, 1894. First edition. Green wrap-pers. Bookplate of Loren Du Bois. Fine in folding pebbled morocco chemise case. Gimbel H 130.

$500

26 DICKINSON, Emily. Poems by … Third Series. Edited by Mabel Loomis Todd. 12mo, Boston: Roberts Brothers, 1896. First edition, first printing. Original green gilt-lettered and decorated cloth with bevelled edges, t.e.g., “Roberts Bros” at foot of spine. (Myer-son’s Binding B — priority unknown). Very slight rubbing to spine tips, and gilt on spine slightly dulled, otherwise a superior, bright copy, interior immaculate. Myerson A4.1.a.

The front free endpaper bears an interesting gift inscription: “To my friend, John Howland Lathrop. January 1903. L.F.W.” The recipient is probably John Howland Lathrop ( June 6, 1880-August 20, 1967), who was a distinguished Unitarian minister, social activist and peace advocate.

$2,500

catalogue 115 | 15

27 DONNE, John. LXXX Sermons Preached By That Learned And Reverend Divine, John Donne, Dr. In Divinity, Late Deane of the Cathedrall Church of S. Pauls London. Engraved portrait by Merian (in second state, as usual). A-B6, C4, B-Aaaa6, Bbbb4 , Cccc7. Bound without first and last blanks (A1 and Ccc8). 4to (344x223mm.), London: Printed for Richard Royston, in Ivie-Lane, and Richard Marriot in S. Dunstans Church-yard in Fleetstreet, 1640. First edition, and also the first appearance of Walton’s Life and Death of Dr Donne, later state of the additional title. Contemporary calf, early neat rebacking, new endpapers. Portrait with strengthening at inner margin. Some wear at outer margins of the first four leaves. Bookplate Bibliothecam Doncastriensem and ownership inscription on title-page with gift inscription from the Reverend Lees Ward of Jesus College, Cambridge, “Ad Bibliothecam Doncastriensem Ex Dono Viiri Reverend Lees Ward Coll Jesu apud Cantab. Socii.” STC 7038; Keynes 29; Grolier Club 62; Lowndes, 660.

Donne remains a towering figure in English literature no less for his preaching than for his poetry. “Of Donne’s estimated 180 sermons, the extraordinary total of 160 survive — monumental evidence that he was both a prolific and a popular preacher. The reasons for his popularity are clear: the sermons are not only rich in learning and curious lore; they are characteristically personal and powerful in their phrasing … At his most characteristic, he is the spokesman before God of a virile, unconquerable human-ity” (Norton, 913, 918). Now considered “very rare,” this volume of sermons is one of three folios issued by Donne’s son between 1640 and 1660, after Donne’s death (Allibone, 513). In addition to Donne’s addresses for major Christian festivals and his master-ful expositions of the penitential psalms, LXXX Sermons also contains the first appearance of Walton’s Life of Donne, the standard biographical text, “written with an extraordinary grace and spontaneity” (Keynes).

One of the great mid-seventeenth-century English folios.

$5,000


rare deluxe american edition

28 (DULAC, Edmund) Khayyam, Omar. Rubáiyát of Omar Khayyám The Astronomer Poet of Persia. Rendered into English Verse by Edward Fitzgerald. With 20 tipped-in color illustrations by Edmund Dulac, plates and borders printed by Henry Stone and Son, Banbury. Text printed by T. and A. Constable, Edinburgh University Press. 4to, New York and London: Hodder and Stoughton, [1909]. First American edition, number 5 of 200. Full vellum gilt, upper cover with elaborate pictorial border stamped in gilt, peacock feather patterned endsheets, t.e.g., others untrimmed. Minor superficial soiling, ties replaced with leather clasp. Fine. Hughey 21b; Potter 131.

One of the most sumptuous of the illustrated interpretaions of Fitzgerald’s quatrains, here with the evocative paintings by Dulac. A classic, in the full vellum binding. (See other Rubaiyats, items 72-76)

$2,500

thomas edison and other distinguished jerseymen

29 (EDISON, Thomas) [Spahn, Emil P., publisher & photographer. Joseph Atkinson, edi-tor]. Newark Parlor Album of Distinguished Jerseymen, Art and Architecture. 12 monthly parts with 12 albumen print portrait photographs, nos. 5 - 12 in German with additional German edition of no. 2, without the final issue (vol. II, no. I). 4to, [Newark, NJ: Press of Ward & Tichenor], 1879-1880. Publisher’s brown cloth, titled in gilt, binding defective, contents generally very good.

A rare periodical featuring photographic portraits of Thomas Edison, General Philip Kearny and other distinguished Newark men by photographer Emil Spahn. More than half of the numbers are present here in German-language editions, and no. 7 ( June 1880) contains a sketch of the Newarker Männergesangverein Arion, with a montage portraits of 90 members and officers. OCLC locates only two copies, both at Rutgers University.

$1,750

catalogue 115 | 17

in original boards

30 EGAN, Pierce. Life in London . 36 hand-colored aquatints by I.R. and George Cruikshank, 3 folded leaves of engraved music, title woodcut vignette and other woodcuts in text. xvi, 376, [8, ads] pp. 8vo (leaf size 10 x 6.5 in.; 254 x 165 cm), London: Shirley, Neely and Jones, 1821. First edition, second Issue. Original printed and illustrated boards, uncut. Some wear to boards at edges and joints, scattered foxing to text. In custom cloth box. Abbey, Life, 281; Tooley 196; Cohn 262; Ray 111; Evans, p. 44.

First edition in original publisher’s boards of this colorful classic featuring the high and low culture exploits of Tom and Jerry; it engendered numerous se-quels, parodies, and imitations, and remains delightful reading to this day. With laid-in 12mo sheet of George Cruikshank’s embossed 263 Hampstead Road N.W. stationery, bearing at its head the artist’s autograph annotation, “Life in London.”

$,500

to robert wilson

31 ELIOT, T.S. Typed Letter, signed (“T.S. Eliot”), to Robert Wilson (future Manhattan bookseller, owner of Phoenix Bookshop), then a student at Johns Hopkins University. One page, on letterhead of Faber & Faber publishers. 4to, London: 31 August 1942. Fine.

“… I cannot tell you when my next volume will be pub-lished, either verse or prose, but certainly not before next year. Whenever it appears it will probably be published in America by Harcourt Brace & Co. and in England by Faber & Faber …”

$1,000


“one of the most widely read books in england”32 FOXE, John. Actes and monuments of matters most speciall and memorable, happening in the Church, with an vniuersall historie of the same: Wherein is set forth at large the whole race and course of the Church, from the primitiue age to these latter times of ours, with the bloody times, horrible troubles, and great persecutions against the true martyrs of Christ, fought and wrought as well by heathen em-perours, as now lately practised by Romish prelats, especially in this realme of England and Scotland. Now againe, as it was recognised, perused, and recommended to the studious reader, by the author, Master John Foxe: the sixth time newly imprinted, with certaine ad-ditions thereunto annexed: anno 1610. Mense Octobris. Profusely illustrated with woodcuts throughout. [26], 1952, [28] pp. 2 volumes in one, with separate title-pages. Folio, London: Printed [by Humphrey Lownes] for the Company of Statio-ners, 1610. Sixth edition. Contemporary blind-ruled calf over wooden boards, covers with central metallic diamond-shaped only with bosses, metal cornerpieces also with bosses, brass catches and clasps; rebacked, later marbled endpapers. First title backed, lacks folding plate which is sometimes present, lack the second leaf (portrait of Foxe), and the final leaf of Index (supplied in neat pen facsimile); upper corner of penul-timate leaf torn away (and text recto and verso also supplied in neat facsimile); leaf 5H4 badly ripped. Occasional stains or smudges, mild, mostly marginal dampstaining to last few leaves; for the most part, however, a remarkably clean, sound

copy of a book whose very bulk has practically insured condi-tion issue to binding and text, and copies of this quality are few and far between. With the early ownership inscription “James Sullivan his booke 1658” on verso of ¶4 and on verso of second title, p. [730]; 19th-century armorial bookplate of Williamk Barker on front pastedown. STC (2nd ed.) 11227; ESTC S123056; PMM 86 (1st Engish ed., 1563).

“‘Foxe’s Book of Martyrs,’ as it has been called ever since its first English publication [in 1563], was for more than two centuries one of the most widely read books in Eng-land. Appearing when the memory of the treatment of the Protestants in Mary Tudor’s reign was fresh in the minds of its readers, it built up an image of the persecuting papist which not only resulted in the fierce hatred of the Inquisi-tion, and hence Spain, in Elizabethan times, but has strongly coloured English thinking of Roman Catholicism to this day …” (Printing and the Mind of Man). Written first in Latin, “the first English edition appeared in March, 1563 and became an immediate best-seller despite its bulk … It was inevitably the target of furious attacks from the Catholics and for the second edition of 1570, in two large folio volumes, Foxe corrected many errors of fact … In 1571 a decree of Convo-cation ordained that copies were to be placed in all cathedral churches and that the houses of the archbishops, bishops, archdeacons and resident canons should all have copies for the use of servants and visitors. There was not instruction that it should also be provided in parish churches, but it very often was, and chained examples (often seventeeth centruy editions) survive not infrequently. The lively style of the book, not to mention the gruesome illustrations, which first appeared in the English edition of 1563, was thus given an oportunity to influence — and prejudice — the minds of people in all classes of society …” (PMM). As for the miss-ing folding plate (a “table of the first X persecutions of the primitive church”), STC 11227.3 notes that “Although this may properly belong to 11227, it is not present in [several copies]; it may also have been sold separately.”

$7,500

catalogue 115 | 19

33 FROST, Robert. The Complete Poems of Robert Frost. [Intro-duction by Louis Untermeyer]. With wood engravings by Thomas Nason. Printed at the Marchbanks Press under the direction of Bruce Rogers. 2 vols. Small 4to, New York: Lim-ited Editions Club, 1950. First edition, no. 486 of 1500 cop-ies designed by Bruce Rogers and signed by Frost, Nason and Rogers. Original dark blue cloth, black leather spine labels, top edges tinted, others uncut, fine copies, in very good origi-nal marbled slipcase. Lathem 51.

In 1949 the LEC awarded Frost their Gold Medal in recogni-tion of his being “that American writer who, during the five years previous to the time of the award, shall have published the book considered the most likely to attain the stature of a classic.” That book was The Collected Poems of Robert Frost published by Henry Holt. In 1950 the LEC issued their own edition. As designed by Bruce Rogers, it is surely one of the finest editions of an American poet issued in the 20th century.

$2,000

34 (GARDENS) Dezallier d’Argenville, Antoine Joseph. La theorie et la pratique du Jardinage, ou l’on traite à fond des beaux jardins apellés communément les jardins de plaisance et de propre-té, composés de parterres, de bosquets, de boulingrins, &c. … par L.S.A.I.D.A. 38 engraved plates, many double-page, some fold-ing) by Jean Mariette, after designs by Alexandre Le Blond. [8], 293, [15] pp. 4to, Paris: Jean Mariette, ruë saint Jacques, aux Colonne d’Hercule, 1713. “Nouvelle [i.e., third?] edition,” ex-panded. Contemporary sprinkled calf, rebacked, preserving original spine and endpapers. Armorial bookplate of Thomas Philip, Earl de Grey; and of Nelson A. Rockefeller. De Ganay 45; not in Hunt, but v. Hunt 421 for a discussion of different editions (not including this one).

Dezallier’s (1680-1765) La Theorie et la Pratique du Jardinage (first published in 1709) is an important book on the theoreti-cal aspects of eighteenth-century gardening. “The bibliog-raphy … is complicated by the fact that the work was at first published anonymously, then under initials, then as by Alex-andre Le Blond, who furnished the designs for some of the illustrations. As there were a good many editions, and as the names Dezallier d’Argenville and Le Blond (together) may be listed at five different places in dictionary catalogues, it is not easy to bring together complete information. There were editions of 1711, 1715, 1719, 1722, 1737, 1747, 1760, and 1777 …” (Hunt Catalogue). The “Avis sur Cette Nouvelle Édition” (pp. iii & iv) compares this edition with the first, noting the expansion of both text and plates: 6 new plates for this new edition, and a text expanded by over a third from the first.

$2,750


35 GERARD, John. The Herball or Gener-all Historie of Plantes … very much en-larged and amended by Thomas Johnson. Engraved title by John Payne, over 2700 woodcut illustrations to text. [38], 1630 [i.e, 1634], [48] pp. (lacking initial and final blank as usual). Folio, London: Adam Islip, Joice Norton and Richard Whitakers, 1636. Third edition. Later boards, rebacked in half calf, text toned with some light dampstaining. Brunet II: 1548; Hunt 230; Nissen BBI 698; STC 11752.

The revised and enlarged third edi-tion, the second by Thomas Johnson, which corrects many of Gerard’s errors and ads 800 new species and 700 woodcuts. The most complete edition.

$7,000

catalogue 115 | 21

presentation copy, extra-illustrated with 2 autograph letters

36 GONCOURT, Edmond and Jules de. L’Art du Dix-Huitième Siècle. Title and 38 eau-forte engravings by Jules de Goncourt, most af-ter drawings in the Goncourt brothers’ private collection, extra-

illustrated with an additional 159 plates, some hand-colored, mostly 18th- and 19th-century, and 2 autograph letters signed

(“Jules de Goncourt,” “Edmond de Goncourt”), hinged to mounts and bound-in. Original fascicles bound in 2 volumes. 4to, Paris: E. Dentu, 1859-75. First edition. Full red morocco, gilt, green mo-rocco doublures, green silk moiré endpapers, t.e.g., others uncut, by Pomey. Light sporadic foxing, else fine. In morocco-edged slip-cases, edgeworn. Provenance: Comte Louis Clément de Ris (own-ership signature, dated 1878, and gift inscription from Edmond de Goncourt).

presentation copy of the first edition of the Goncourt brothers’ pioneering survey of 18th-century French art, inscribed to fellow collector, art critic, and salonist, Comte Louis Clément de Ris, and extra-illustrated with 159 engravings and 2 autograph let-ters.

L’Art du Dix-Huitième Siècle was published in 10 fascicles over the course of 16 years in an edition of 200 copies. Each fascicle was dedicated to a specific artist or grouping — Les St. Aubin, Watteau, Fragonard, Prudhon, Boucher, Greuze, Chardin, De-bucourt, La Tour and “Les Vignettistes” (Eisen, Moreau, Grav-elot and Cochin) — and each fascicle was issued with original eau-forte engravings by Jules de Goncourt, many after drawings in the brothers’ own collection. This set gathers all of the first edition fascicles and engravings, with an additional 159 plates after each of the respective artists, and is bound in a beautiful re-strained binding by Pomey. The set is inscribed, once by Edmond (“A monsieur Clément de Ris / hommage et souvenir de l’auteur / Edmond de Goncourt”) and again by Jules on the Watteau fascicle. The recipient, Comte Louis Clément de Ris (1820-1882), was a curator, collector and art critic. He formed an important collection of French ceramics and was curator of sculpture at the Louvre and later curator of the château Ver-sailles. Like the Goncourt brothers, Clément de Ris attended the fashion-able Parisian salons of the time, including those of Mathilde Bonaparte.

The present set includes two autograph letters, presumably addressed to Clément de Ris. Edmond’s letter (dated February 19, 1873) concerns a planned volume of art criticism by Duplessis and asks Clément de Ris for a favor concerning a collector of Gabriel de St. Aubin. Jules’ letter is full of gossip and name-dropping. He regrets that he cannot attend a diner with Clément de Ris as he has already made plans with Princess Mathilde (i.e. Mathilde Bonaparte, Napoleon’s niece, and a renowned saloniste). He fears canceling his engagement with the princess as he hopes she will finally pro-vide a resolution to “l’affaire de Gavarni” (a reference to Gavarni’s portrait of the princess or the Goncourt’s monograph on the artist?). Jules admits he has gone to Flaubert for advice, who suggested that Clément de Ris simply change the date of his party from Wednesday to Friday, advice that Jules finds too rude to pursue.

A highly desirable copy of one of the landmark works of art criticism

$9,000


“wait till the story [casterbridge] is finished”37 HARDY, Thomas. Autograph Letter, signed (T. Hardy), to the artist Thomas Macquoid (“Dear Maquoid”), regarding the success of his wife Katherine Macquoid’s novel At the Red Glove; with remarks on the possibility of illustrating The Mayor of Casterbridge, as yet unpublished. One page, on single sheet of blank stationery. 12mo, Max Gate, Dorchester: 2 April 1896 (“4.2.86”). Paper uniformly toned, but writing entirely legible.

Hardy writes to the artist/illustrator Thomas Macquoid, husband of the novelst Katherine Macquoid, whose novel At the Red Glove (1885) recently enjoyed great success in London and the United States: “… I am glad of the success of ‘At the Red Glove.’ Mrs. Macquoid deserves sucess, if anybody does; & I hope it may go on to another edition yet. I must answer your inquiry about Casterbridge as I do my other correspon-dent — wait till the story is finished, before which time we may meet. When last I was there it did not look very tempt-ing to an artist’s pencil …” Hardy’s The Mayor of Casterbridge was published in May, 1896, a few weeks after this letter was written.

$1,750

38 (HAWAII) Maui Cook Book. By Maui Housewives [cover title]. Cook Book of Cakes, Candies, Jellies, Jams, Marmalades, Preserves, Pickles, Fruit Juices, Fats, Soaps. 39, [1] pp. 8vo, n.p. [?Hono-lulu, Hawaii: Second Territorial Fair], n.d., ca. 1920. Origi-nal printed black wrappers, chipped and worn, rebacked with early tape repair, hinges strengthed, title-page chipped at mar-gins, some flour residue to pages, good. Previous owner Olive L. Brane’s signature to the verso of the front wrapper. OCLC: 431299611 (1 copy); not in Cagle & Stafford.

A rare Hawaii cookbook “composed of recipes of exhibits sent by Maui Housewives to the Second Territorial Fair in Honolulu and is printed by request” (from the copyright page). Many of the recipes feature the local produce — coco-nuts, guavas, mangos, pineapples, and papayas.

$1,250

catalogue 115 | 2

39 HEMINGWAY, Ernest. The Old Man and the Sea. [ii], 140 pp. 8vo, New York: Charles Scribner’s Sons, 1952. First edition. Pale blue cloth, spine lettered in silver, fine copy. In a very fine unclipped dust jacket. Hanneman 24.

A beautiful, resplendent copy of what most people consider to be Hemingway’s last great work, and certainly one of his most popular.

$,500

40 HEMINGWAY, Ernest. The Old Man and the Sea. Illustrated with five photogravures by Alfred Eisenstaedt printed from the original negatives by Eisenstaedt in 1952 for the Life Magazine first appearance of the novel. Oblong Folio (14-H x 11 inch-es), [New York]: Limited Editions Club, [1990]. Number 168 of 600 numbered copies, signed by the photog-rapher. Bound in blue goatskin and linen by John von Isakovics, laid into a black suede-lined clam-shell slipcase. Fine.

$1,250

41 HERSEY, John. Hiroshima. With A New Poem by Robert Penn Warren. With 8 color silk-screens by Jacob Lawrence. Folio, New York: Limited Editions Club, 1983. First edition, no. 1451 of 1500 copies, printed at the Wild Carrot Letterpress, with the silkscreens printed at Studio Heinrici Ltd. Each copy is signed by Hersey, Warren and Lawrence. Full black aniline calf, lettered in blind. About fine in modestly rubbed black silk over boards slipcase.

The text accompanied by eight original full-page color silk-screens by Jacob Lawrence resulting in a haunting conjunc-tion of text and image. One of 1500 numbered copies. One of the most heralded of the Club’s publications of the 1980s, and justly so.

$1,250


inscribed

42 HUGHES, Langston. Famous Negro Music Makers. Illustrated with photographs. 179, [3] pp. 8vo (8-G x 5-H in.), New York: Dodd, Mead & Company, 1955. First edition. Original blue cloth, some spotting, in dust jacket, creased and worn with loss to head of spine. Provenance: Walter A. Weiss (presentation inscription from Hughes); Robert Andrew Parker (artist, b. 1928, his bookplate).

Inscribed by Hughes on the first blank, “Especially for Walter Weiss, my host at the ANTA show mentioned on page 159 — Sin-cerely, Langston Hughes. New York, Sept. 18, 1955.” The inscription refers to the 1955 American National Theater and Academy album show, at which Lena Horne, Helen Hayes and others performed.

$2,400

43 HUME, David. Philosophical Essays concerning Human Un-derstanding. iv, 256 pp. Lacking the final two leaves of Pub-lisher’s Advertisment (as does the Rothschild copy). 12mo, London: A. Millar, 1748. First edition. Contemporary calf, spine darkened and rubbed, front joint cracked, cords in-tact, covers rubbed and scuffed at edges; slight darkening of text but overall a very good copy. Early ownership signa-ture of “Arthur Hood” on the front free endpaper. Jessop, p. 19; Rothschild 1173; cf. PMM 194.

These Philosophical Essays by the great sceptic of the Scot-tish enlightenment were intended to replace volume I of his Treatise of Human Nature (1739-40), which, according to Hume, “fell dead-born from the Press” but which in truth awakend Immanuel Kant and all of Europe from its “dogmatic slumber,” and challenged the very origins of received ideas central to Western science (e.g., time, space, and causality).

$5000

catalogue 115 | 25

44 HUNTER, Dard. Papermaking by Hand in India. Illustrated with photgraphic plates, and with 26 examples of Indian pa-per. Text printed on Orebro all rag hand-made paper from Sweden. 4to, New York: Pynson Printers 229 West 43rd, 1939. First edition, one of 370 copies signed by the author. Black leather-backed boards with handmade blocked India print boards. Unopened. Slipcase, with prospectus.

$1,750

45 HUNTER, Dard. Papermaking in Indo-China. Illustrated with 16 plates and 2 mounted paper specimens. 4to (11 I x 7 I in.), Chillicothe, Ohio: The Mountain House, 1947. First edi-tion, no. 17 of 182 copies signed by the author. “The paper used in printing this edition was made in 1932 in my mill at Lime Rock, Connecticut, the only handmade paper mill in America. The title page device was printed from a woodcut found in Tonkin …” Original quarter red morocco and picto-rial boards, bound by Peter Franck, Sherman, CT. Almost fine. Bookplate. With prospectus laid in with original price $38.50.

$,500


ibsen als to his german translator

46 IBSEN, Henrik. Autograph letter, signed (“Henrik Ibsen”), to his German translator, Maria von Borch, sending thanks and praise for her translation of The Wild Duck, while requesting one correction; remarks on the Augsburg production of Romersholm, and ac-cepting her offer to translate Love’s Comedy, etc. In Norwegian, with full English translation. 3 pages, in ink, on single sheet of blank stationery. (8 x 4-M in.; 204 x 124 mm), Munich: 22 April 1887. Some very slight soiling, otherwise very good.

Ibsen writes to his German translator, the Baroness Maria von Borch: “I must ask you to kindly forgive me that up till to-day I have omitted to send you my heartiest thanks for your translation of ‘The Wild Duck’ and for the copy of same which you sent me. This translation must undoubtedly be described as especially successful. It is, of course, not easy for me to give any decisive judgment with regard to the language. But from many competent readers with whom I have discussed the matter I have received the definite and unanimous assurance that your work deserves all possible praise and acknowledgment … In the cast at the be-ginnning of the book Groberg is stated to be a ‘Buchhandler’ (book seller). Please have this misprint altered in the copies which are being sent to the theatres and evetually in the new edition. With regard to the presentation of ‘Rosmersholm’ in Augsburg, I take it for granted that you have read the reports in the newspapers. The storm of applause was wonderful, also, at the second presentation, on which day, however, I was not present. I learned that the second edition of this play has now been issued and I hope that Mr. Fisher will send me at any rate one copy of the same. It irritates me to buy my wen works in the book shops. You indicated in one of your letters that you would like to translate ‘Karlighedens Komedie’ (‘Love’s Comedy’) … But the carrying out of this would meet with great difficulties. This play is of course written right through in rhymed verse which it would not be easy to reproduce in a translation. In any circumstances this would have to be made with the abbreviations and condensation of the dialogue which I have already made for the use of the Royal Theatre in Copenhagen …”

$2,500

catalogue 115 | 27

in original box

47 IRVING, Washington. The Legend of Sleepy Hollow. With 8 full-color mounted plates and numerous illustrations in the text by Arthur Rackham. 4to, London: George G. Harrap & Co. Ltd, [1928]. Limited edition, number 158 of 250 copies of the English issue, signed by Rackham. Full vellum gilt. Some foxing to covers, else fine, in most of the original box with original printed label.

A beautiful copy of this title, one of the rarest of Rackham’s works.

$4,000

london, 1967. mick jagger and the green knight

48 JAGGER, Michael Philip (“Mick”). Typed Contract signed between Jagger and writers* Christopher Gibbs and Nigel Lesmoir-Gordon whereby Jagger engages them to write a “full cinematograph film treatment” based on the Arthurian romance “Sir Gawain and The Green Knight.” 6 pp., accom-plished in ink, signed by all parties and witnessed by a fourth, Jagger’s signature appearing over a six pence stamp of the Queen. Folio, N.p. [London:]: 5 December, 1967. Stapled to red paper backing. Old folds, but overall very good.

[with:] Typescript of the treatment, entitled “The Story of Venus and the Quest for Arthur’s Kingdom.” [16] pp., 4to, N.p., n.d. With numerous ink corrections, deletions and ad-ditions in ms. Slightly ragged at edges, dog-eared, with some soiling, but complete and intact.

Toward the late 1960s, when the Rolling Stones had evolved

into a major rock band, Mick Jagger’s ambition was turning to film as a possible outlet for his charismatic talents. One of the zanier projects Jagger developed was that of producing and starring in a film based on the Arthurian romance of “Sir Gawain and the Green Knight.” As Marianne Faithfull, his girlfriend at the time, later wrote; “Mick began taking acting lessons … Then there was the man who shot mick jagger and a whole slew of hippie projects. Christopher Gibbs and Nigel Gordon had written a script based on the mystical Middle English romance gawain and the green knight. Mick was going to play the Green Knight — Mick and Keith do the Middle Ages!”

The present contract records the terms of that somewhat improbable project, which, not unsurprisingly, never materi-alized — but is nonetheless, an important document early in the career, at a critical juncture, of one of the revolutionary icons of the 60s counter culture.

*Gibbs is a well-known collector, designer, and style guru who decorated Jagger’s house on Cheyne Walk, and whose own house was used in a scene in Michaelangelo Antonioni’s Blow Up. Gibbs was later employed by co-director Donald Cammell on the film Performance as the Consultant Designer of the character Turner’s house. Lesmoir- Gordon was a film editor at the time working for David Cammell, of Cammell, Hudson and Brownjohn. David Cammell co-produced Per-formance. Lesmoir-Gordon has since produced and directed several television documentaries, among which is the award-winning The Colours of Infinity, written by Lesmoir- Gordon and presented by Arthur C. Clarke, with music by David Gilmour of Pink Floyd.

$4,500


correcting the spoils of poynton

49 JAMES, Hernry. Autograph Letter, signed (“Henry James”), to Messrs. Houghton Mifflin & Co. 3 pp., in ink, on a single folded sheet. [London]: 34, De Vere Gardens, Oct. 8, 1896. Slight toning at edges, small split along fold, small one-inch piece excised from top of first leaf, and an overlaid slip on verso, reading in window “34, De Vere Gardens.” Publisher’s stamp in upper left corner of first page, dated Oct. 18, 1898.

Addressing his American publishers, “Messrs Houghton Mifflin & Co.,” James writes: “I am much obliged to you for the advance sheets of the spoils of poynton — from p. 142 to the end. But there has been an error about one [underlined] of the leaves — which I return to help rectification. Kindly direct that 234 [under-scored three times] be sent me (instead of 134 [underscored three times], &c) & oblige yours very truly, Henry James.”

According the the BAL, the first printing of the Houghton edition of The Spoils Of Poynton was Jan. 21, 1897 — well over a year after James was proofing the advance sheets.

$750

50 ( JEFFERSON, Thomas) Garrett, Wendell. Monticello and the Legacy of Thomas Jefferson with Architectural Drawings from The Historic American Building Survey, Annotated by William L. Beiswanger. Black and white photogravure plates engraved by Lothar Osterburg, hand-inked and hand-pulled by Jan Mauler. Folio, n.p.: Thornwillow Press, 1994. First edition, no. 161 of 250 copies, signed by Wendell Garrett and William L. Beiswanger. Bound in half brown leather with decorated paper-backed boards, in a black cloth drop box. Fine

$2,250

catalogue 115 | 29

virgil thomson’s copy — one of 150 on large paper

51 JOYCE, James. Ulysses. xii, 740 pp. Tall 8vo (26.2 x 20.1 cm.), Paris: Shakespeare and Co, 1922. First edition, no. 234 of 150 num-bered copies on Vergé d’Arches (total edition, 1000 copies). Original blue wrappers printed in white. Wrappers slightly rubbed at edges, skillfully rebacked, preserving most of original spine. Very good, in quarter morocco slipcase with chemise, and the original Shakespeare & Co. prospectus laid in. Composer virgil thomson’s copy, signed in light pencil by him on the flyleaf: “Virgil Thom-son Paris 1922”. Slocum A17; Connolly Modern Movement, 42; v. Horowitz, p. 121.

The first printing of Ulysses consisted of 1000 copies in three limitations: the first 100 were printed on Dutch handmade paper, numbered, and signed by Joyce, price 350 francs; 150 large paper copies numbered 101-250, printed on Vergé d’Arches, unsigned, at 250 francs; and the final 750 were numbered 251-1000 and printed on a lesser grade of handmade paper, at 150 francs. Ar-guably the most significant and celebrated English language novel of the 20th century, the publishing trials and tribulations of Ulysses are legend. Stymied by obscenity charges that prevented its serial publication in The Egoist, Joyce’s masterpiece was published instead by Sylvia Beach in the winter of 1922 under her imprint at the Shakespeare and Company bookshop in Paris. In 1922, a young Harvard music student, Virgil Thomson, was on leave from school to study with the great Nadia Boulanger in Paris; a month before his return to America in August, Thomson purchased this copy on July 1, 1922, according to Sylvia Beach’s notebook (v. Horowitz catalogue). A few years later, Thomson returned to Paris, where he became acquainted with the circle of experimental artists, writers, and musicians who gathered at Sylvia Beach’s famous bookshop, and it was there that he came to know James Joyce. “After the success of ‘Four Saints in Three Acts,’ Joyce asked Thomson to compose a score for a ballet to be presented at the Paris Opera with choreography by Leonide Mas-sine based on the children’s games chapter of Finnegan’s Wake. Thomson demurred, not wanting to wound his good friend Gertrude, who thought Joyce a rival” (Anthony Tommasini, Virgil Thomson: Composer on the Aisle, p. 139). A remarkable association copy of this modernist classic.

$75,000


signed by both joyce and matisse

52 JOYCE, James. Ulysses. With an Introduction by Stuart Gilbert. Illustrated With 6 original soft-ground etchings and 20 reproductions of preliminary drawings by Henri Matisse. xvi, [ii], 735 pp. 4to, New York: Limited Editions Club, 1935. First edition thus, no. 804 of 1500 copies, and one of only 250 copies signed by both joyce and matisse. Original brown cloth, spine and upper board blocked in gilt. Gilt spine a bit dulled, endpapers somewhat browned, otherwise very good. In the original slipcase (worn). Slocum & Ca-hoon A22; Quarto-Millenary 71; Garvey 197; Duthuit 235.

With six soft ground etchings by Matisse created for this edition, with reproductions of his preliminary drawings. One of the most famous and desirable productions of the Limited Editions Club, as Joyce, after learning that Matisse based his illustrations on Homer’s text and not his ( Joyce’s) own, stopped signing the sheets.

$25,000

catalogue 115 | 1

53 KINCAID, Jamaica. Annie Gwen Lily Pam And Tulip. Illustrated by Eric Fischl with 7 lithographs, some in color. Folio, New York: Whitney Museum, [1986]. First edition. One of 145 copies, signed by the artist and author. Printed for Rodman C. Rockefeller. Original black cloth, in board slipcase. Very fine. The American Livre de Peintre 16.

$3,000

inscribed

54 KING, Martin Luther, Jr. Where Do We Go from Here: Chaos or Community? 8vo, New York: Harper & Row, 1967. First edition. Half black cloth and boards. Fine in fine unclipped dj with one short closed tear.

Inscribed on the dedication page, “To Harlow Unger, with Best Wishes for Peace and Brotherhood. Martin Luther King, Jr.” Mr. Unger had just interviewed King in 1967 for the CBC.

$8,500


koch and kredel’s masterpiece botanical book

55 KOCH, Rudolf. Das Blumenbuch. With 250 hand-colored woodcuts after Koch by Fritz Kredel. 3 vols. Folio, Leipzig: Mainzer Presse, 1929-30. First trade edition. Original boards, title labels on upper covers. Near fine with light wear to spines, in original slipcases (slighty rubbed).

A superb collection of wildflower woodcuts by the noted artist and engraver Fritz Kredel, whose graver has caught perfectly the delicate beauty of Koch’s original depictions. The first trade edition, preceded by a special edition of only 20 copies.

$4,000

landor ms poem — imitating marvel imitating menander

56 [LANDOR, Walter Savage]. Autograph Manuscript of his poem on friendship, from Imaginary Conversations. 24 lines in ink on one page, with annotations beneath in another hand. 4to, N.p.: n.d. [ca. 1826]. Tipped to a larger sheet. A few stains. but very good overall.

First used by Landor in Imaginary Conversations, where, in the conversation between John Milton and Andrew Marvel discussing Comedy, Marvel presents the poem as his imita-tion of the style of Menander, the Greek comedian. Robert Southey later incorporated the poem in The Doctor (1846). The text here differs slightly from both the printed version of the first edition of 1826 and the version as presented by Southey in 1846. This manuscript in Landor’s hand bears a note at the bottom: “This autograph was presented to me some time since, by Mr. Southey, to whom Mr. Landor had sent it.”

$1,250

catalogue 115 |

57 LE NAIL, E[rnest]. Architecture de la Re-naissance: Le Chateau de Blois (Extérieur et Intérieur). 35 Woodburytypes after pho-tographs by Mieusement, 12 chromo-lithograph plates, 1 groundplan. [iv], 16 pp. Folio, Paris: Librairie Générale de l’Architecture … Ducher & Cie, 1875. First edition. Contemporary red peb-bled morocco, gilt, marbled boards, tips worn, foxing to title-page and first text leaves, some light foxing to outer margin throughout, photographs and illustra-tions fine.

A photographic tour of Chateau de Blois by Séraphin-Médéric Mieusement, a not-ed French photographer of architectural views. The photographs are reproduced in Woodburytype, a process celebrated for its permanence and clarity. Chateau de Blois was the home of several French kings begining with Louis XII. Built and expanded over the course of four centu-ries, the chateau shows a mix of Gothic, Renaissance, and Classic styles.

$1,250

source for the sting

58 MAURER, David W. The Big Con. The Story of the Confidence Man and the Con-fidence Game. 8vo, Indianapolis: The Bobbs-Merrill Company, 1940. First edi-tion. Red cloth, printed dust jacket. Fine copy in bright, almost fine dust jacket (tiny scuff at top of front panel).

Choice copy of the famed book by Mau-rer on con men and their schemes, in a lovely bold red dust jacket. Outstanding.

$2,750


early “night before christmas,” with portrait of santa

59 (MOORE, Clement) Keese, John, editor. The Poets of America: Illustrated by One of Her Painters. Vignette gilt-engraved title-page (not faded to black as is usually seen and title printed in solid face), pp. 18, 90-1 & 222-3 engraved and printed in colors, with vignettes throughout, including one of Santa Claus on p. 102, after John G. Chapman. 284, [1] pp. H. Ludwig, Printer, 26, Vesey-st. N.Y. 8vo, London: Charles Tilt, Fleet Street, 1840. First English edition. Full red diapered contemporary calf, covers ruled with outer gilt borders, stamped with floral tools at inner corners, rounded spine tooled in gilt with floral tendrils surrounding black morocco lettering-piece, stamped “New York. 1840” at foot of spine. BAL vol. I, pp. 232-233 (not mentioning London imprint).

First English edition (printed from American sheets) of one of the most popular of all American anthologies, which, most significantly, contains an early printing of Clement Moore’s “A Visit From St. Nicholas” (aka “The Night Before Christmas”). BAL identifies the “earliest formal book pub-lication” of Moore’s famous poem as The New-York Book of Poetry, published in 1837. This, then, is the English edition of its second formal publication in a book and is accompanied by a superb portrait of St. Nicholas by the American painter, John G. Chapman (see the DAB IV, pp 18-19).

$750

“again the sun!” one of 120

60 MOORE, Marianne. The Pangolin and Other Verse. Illustrated with drawings by George Plank. 8vo, London: The Brendin Publishing Company, 1936. First edition, one of 120 copies printed by the Curwen Press. Decorated paper over boards, very slightly darkened at edges and spine, otherwise a near fine copy of a very scarce book — the author’s fifth. Abbott A5.

The author’s very scarce 5th book, containing five poems, including two perennial favorites: the great title poem, and “Bird-Witted.” In this copy, Moore has signed the half-title and, beneath the imprint (“The Brendin Publishing Com-pany”) on the title-page, has tipped her hat to the publisher: “i.e., ‘Bryher’ (Winifred Ellerman).” Ellerman was an important patron — later an author in her own right — who supported many small publishers such as Robert McAlmon and Sylvia Beach.

$1,500

catalogue 115 | 5

napoleon’s seige specialist

61 (NAPOLEON) [Chasseloup-Laubat, Marquis de, François]. Extraits de Mémoires sur Quelques Parties de l’Artillerie et des Fortifica-tions, Publiés par Monsieur T.***. 6 folding plates of cannon and fortifications by C. Piraud at the end. viii, [9]-216 p. 8vo, Milan: De l’Imprimerie de J. J. Destefanis, 1805. First edition. Contemporary marbled boards, rebacked to style in half calf with red morocco spine label. Light foxing to prelims and plates.

Chasseloup fought in the French Revolution and was chief of engineers in the army of Italy under Napoleon. He lead the seiges of Maastricht, Milan and Mantua. He reconstructed the defences of northern Italy during the peace of 1800-1805, during which time he constructed the great fortress of Alessandria on the Tanaro. He then served in the Polish and German campaigns, where he directed the siege of Danzig and reconstructed many fortresses. Napoleon praised Chasseloup as one of his best generals. The detailed plates at the end of the work give plans for cannon and fortifications, as well as designs for a portable bridge, a well, a sawmill and other instruments of war. Scarce; OCLC locates only 5 copies. No copies at auction on ABPC and only a handful of copies of the second edition appeared at French auction.

$2,000

62 (NEW YORK) Baab, photographer. Three vintage photographs docu-menting the detonation of Flood Rock in the East River, October 10, 1885. Three vintage albumen prints on mounts, captioned beneath the image in type, “Raab, Photo. / 1536 3d Ave, N.Y.” each dated Oct. 10th 1885 and titled “Before the Explosion …,” “Explosion of …,” and “After the Explo-sion of Flood Rock.” Each 6-J x 9-K in. (visible), [New York]: October 10, 1885. Matted and framed, some light spotting to images and matte.

An extraordinary photographic record of the controlled detonation of Flood Rock in the narrow tidal straight called Hell Gate in New York City’s East River. The detonation was part of a nearly 70-year project to improve the navigability of the Hell Gate channel — found at the meet-ing of the East River, Harlem River, and Long Island Sound. The explo-sion of Flood Rock, which was some nine acres in area, required 300,000 pounds of dynamite. It was one of the largest man-made explosions in the pre-atomic era — the blast was felt as far away as Princeton, New Jer-sey and created a geyser of water 250 feet tall. Fifty thousand spectators lined both shores of the East River to view the spectacle.

$2,000


63 PETTY, Sir William. Political arithmetick, or A discourse concerning, the extent and value of lands, people, buildings; husbandry, manufacture, commerce, fishery, artizans, seamen, soldiers; publick revenues, interest, taxes, superlucration, registries, banks; valu-ation of men, increasing of seamen, of militia’s, harbours, situation, shipping, power at sea, &c. As the same relates to every country in general, but more particularly to the territories of His Majesty of Great Britain, and his neighbours of Holland, Zealand, and France. By Sir William Petty, late Fellow of the Royal Society. [24], 117, [3] pp. 8vo, London: printed for Robert Clavel at the Peacock, and Hen. Mortlock at the Phoenix in St. Paul’s, 1691. Second edition (first was 1690). Contemporary calf, neatly rebacked to style with red leather spine label, endpapers renewed, with original free endpapers preserved. Text block a bit closely cropped, touching an occasional catchword or printed shoulder note, otherwise a remarkably crisp and clean copy. Wing (2nd ed.) P1933; ESTC R19301; Goldsmiths 2869; Kress 1770.

The extraordinary Sir William Petty (1623–1687) was a man of many parts: anatomist, physician, professor of music, inventor, statistician, Member of Parliament, demographer, cartographer, one of the founding members of the Royal Society, and the author of many books, including this groundbreaking application of statistics to the study of economics: “… The novelty in Petty’s approach was to quantify … by abstracting numbers and using these as the basis of calculation, whether of profit and loss in his own Irish ironworks or English trades and industries, he constructed the method known as political arithmetic which was widely copied in the later seventeenth century (and beyond). In ad-

dition, by isolating such issues as the velocity of circulation, the difference between the natural and market price of a commodity, and the theory of economic surplus, he established important themes and methods for classical economists …” (ODNB).

$5,000

publisher’s own collection

64 (PHOENIX BOOK SHOP) Collection of 15 titles from the Phoenix bookshop Oblong Octavo Poetry Series (listed below), from pub-lisher Robert Wilson’s own collection. 15 vols. Oblong 8vo, New York: Phoenix Bookshop (by various printers), 1968-1972. All first edition, each (except one, Merrill) copy no. 1 of 100 copies, signed and numbered by the author (in a total edition 126), and all from the publisher’s own collection. Original wrappers, with printed paper labels on upper overs. All fine, and 6 of the 15 with endorsed cancelled checks laid in from Wilson to the authors (those marked with asterisk below).

Unique collection from the publisher’s own collection, as follows:

*Wilbur, Richard. Complaint. 1968; Nemerov, Howard. The Painter Dreaming in the Scholars House. 1968; *Mer-win, W.S. William Stanley. Three Poems. 1968; Ashbery, John. Sunrise in Suburbia. 1968; Snyder, Gary. The Blue Sky. 1969; Duncan, Robert Edward. Achilles Song. 1969; *Zukofsy, Louis. Initial. 1970; *Wieners, John. Youth.1970; Reynolds, Tim. Tlatelolco: a Sequence from Que. 1970; Corso, Gregory. [Ankh] 1971; *Ginsberg, Al-len. New York Blues. 1972; Merrill, James. Yannina. 1973; Di Prima, Diane. Loba as Eve. 1975; Kinnell, Galway. Three Poems. 1976; *Baraka, Imamu Amiri. AM/TRAK. 1979.

[with:] WILSON, Robert. Self-Portrait, in pen and ink on paper, signed. “Bob Wilson The Phoenix 22 June ‘76 … I Rise with the Phoenix.”

$1,500

catalogue 115 | 7

rare color plate book with an original sepia drawing

65 PORTER, Sir Robert Ker. Historical Studies from Moore’s Ana-creon [cover title]. Portrait of Anacreon and 24 hand-colored engravings by John Vendarmini after Porter, plus 1 sepia draw-ing for an illustration in Part V, with verse starting “A Youth the while, with lossen’d hair.” Oblong folio, [London: John P. Thompson. Gt. Newport Street, Printseller to His Majesty & the Duke & Duchess of York, July 2, 1803-June 4, 1805]. First edition. In original 6 parts, with printed pink label for each part on upper wrapper. Wrappers split and worn, some soiling to creasing to plates, mostly at margins. Very good. In green cloth folding case. Not in Abbey or Tooley.

A rare color plate book — each plate illustrating a stanza to Moore’s “Anacreon” — with no copies at auction in the last 30 years and only a handfull of copies located by OCLC. This copy in the original 6 parts and with an original sepia drawing by Porter for the final illustration to part V. Porter (1777-1842) was an artist, soldier, writer and diplomat. In 1804 he was appointed historical painter to the Tsar and he spent much of the next 20 years in Russia. He later spent a considerable time in Caracas as first British consul, befriend-ing Simon Bolívar, whose portrait he painted. Porter died while in Russia visiting his daughter by his Russian wife, Princess Marie Scherbatoff.

$,000

66 Qur’an [Koran]: Manuscript on polished paper, 15-line naskh script within gilt borders, with polychrome gilt ornamental double page opening, text fully vocalized in black with reading marks in red, gold aya markers, surah headings in white within polychrome gilt floral panels, ornamental sectional markers, floral polychrome gilt colophon framing a roundel, the text in white against a black and gilt background. Complete, with 2 leaves of additional prayers. Signed in colophon, Kitabizadeh, the one hundred and twentieth Qur’an copied by the calligra-pher. Dated in colophon the month of Rabi’ the Second, year 1096 of the Hejirah. 12mo (150 x 100 mm), [N.p., Ottoman: A.H. 1096, i.e. C.E. 1685, but likely late 18th century]. Green leather gilt binding, with fore-edge guard. Repaired in early twentieth century. Fine. Ownership note in pencil, purchased Cairo, 1902. Half morocco slipcase and chemise.

Lovely pocket manuscript Qur’an of the standard Ottoman model, from the late eighteenth century, in a highly decora-tive late nineteenth-century gilt green leather binding. The central portion of the colophon bears signs of being re-touched with darker ink to assign an earlier date of composi-tion, also affecting the name of the scribe. This has been in a distinguished New England family of collectors since being purchased in Cairo at the beginning of the twentieth century.

$5,250


fdr travels to the casablanca conference, 194

67 (ROOSEVELT, Franklin D.) Log of the Trip of the President to the Casablanca Conference. 9-31 January, 1943. Illustrated with 13 plates from photographs (some printed recto and verso). [v], 51 pp. Title page planographed from printed copy, text pla-nographed from typescript. 4to, [Washington, D.C.]: 1943. Cardboard wrappers, upper cover pictorial photomontage; spiral-bound. Cloth clamshell box. Halter, p. 192 (note). OCLC records 4 copies (Library of Congress; University of Hawaii at Manoa; George Newhouse University, 2 copies).

A detailed log of the President’s trip to Casablanca; accord-ing to the Foreword, FDR and Churchill planned to meet in North Africa, “Thus would the President and the Prime Minister be afforded an opportunity to confer, and, with their military and naval staffs, inspect the United Nations forces which had landed successfully in North Africa the previous November.” Initially, Stalin was also supposed to attend; his absence rendered this, instead, a “Big Two” conference. It was successful for FDR and Churchill’s approval of a policy for “unconditional surrender.” The journey was historic for other reasons as well. It was the first time that a United States President had left the country during a war, and it was the first time a United States President had traveled to Africa. It was also during this meeting that Roosevelt and Churchill met with the two French generals, Charles de Gaulle and his rival for the leadership of the Free French, Henri Giraud (this meeting is recorded in a photograph on the cover but not in the illustrations in the log). Rare.

$6,500

68 (ROOSEVELT, Franklin D.) [Rigdon, William, Ship’s Clerk, U.S. Navy]. Log of the President’s Inspection Tour. 13-29 April, 1943. Illustrated with map, 27 plates from photographs (some printed recto and verso). [viii], 59 pp. Title page planographed from printed copy, text planographed from typescript. 4to, [Washington, D.C.]: 1943. Cardboard wrappers, upper cover pictorial photomontage; spiral-bound. Cloth clamshell box. Halter, p. 192 (note, “one other on which I have been able to obtain any data except that it contains 59 pp.). OCLC records 2 copies (Library of Congress; University of Hawaii at Manoa; and the Wisconsin Historical Society).

FDR’s log of his second wartime tour to military posts, naval stations, and war factories throughout the southern U.S., and of a brief stop in Monterrey, Mexico. With a memorandum loosely inserted, that reads: “The President has authorized that you be given a personal copy of the following described logs of his official travels. The President directs that for the present and until the termination of the war, these logs be considered in a ‘restricted’ status; that none of the material contained in the logs shall be used for republication in any form; or that the contents be discussed so that quotations may be used for publication.” This memo is a testament to the scarcity and privacy that surrounded the printing and distribution of these logs.

$6,500

catalogue 115 | 9

rare wartime log of the cairo and teheran conferences

69 (ROOSEVELT, Franklin D.) [Rigdon, William M., Lieuten-ant ( jg) U.S. Navy]. Log of the Trip of the President to Africa and the Middle East. November-December 1943. Illustrated with two folding maps, 33 plates from photographs (printed rectos only on glossy stock). [4], i-v, 1-66, vi-xvi (index) pp. Title page and text planographed from typescript. 4to, [Washington, D.C.]: 1943. Heavy card wrappers, upper cover pictorial photomon-tage; spiral-bound. Cloth clamshell box. Halter, p. 192 (note). OCLC records 2 copies (Library of Congress; University of Hawaii at Manoa).

A detailed, hour by hour record of FDR’s journey to and participation in the Sextant and Teheran Conferences. Ar-riving in Cairo on November 26 — where FDR met up with Churchill and Chiang Kai-Shek — the President attended several meetings to discuss the American-British-Chinese phase of WWII. On November 27, FDR and Churchill traveled to Teheran for the Big Three conference with Josef Stalin, which was held between November 28th and Decem-ber 1st. The conference was the first face-to-face meeting between Roosevelt, Churchill, and Stalin, and discussion centered on the “second front” in wartime Europe. The meetings also marked the first time that political issues were discussed at length between Allied governmental heads. As the log indicates, on Sunday, November 28, at 4pm, “The President, Prime Minister Churchill and Marshal Stalin, with their respective military staffs and other delegates, met at the Russian Embassy. This was the first joint meeting of these gentlemen” (pg. 33). The texts of FDR’s speeches during the tour and the several joint declarations are given in a series of appendices. This includes the Declaration of the Three Powers signed at Teheran on 1 December 1943 by Roosevelt, Stalin, and Churchill: “We came here with hope and determination. We leave here, friends in fact, in spirit, and in purpose.” Elaborately illustrated record of wartime diplomacy, produced in very small numbers and issued under closest restrictions.

$6,500


fdr’s last log

70 (ROOSEVELT, Franklin Delano) [Rigdon, William McKinley]. The President’s Trip to the Crimea [Yalta] Conference and Great Bit-ter Lake, Egypt. January 22 to February 28, 1945 [Foreward by Wilson Brown]. Illustrated with b/w photographs from the cruise and Crimea Conference and 2 folding maps of the route of the USS Quincy. viii, 69, [1], A1-10, B1, [1], D1, [1] planographed pp. 4to, [Washington, D.C: 1945]. Spiral bound pictorial wrappers. Fine. Halter, p. 192 (“FDR’s final cruise in 1945 was to the Crimea, and a complete log was issued shortly after his return”); OCLC: 30999426 (3 copies).

The Yalta Conference (in this log referred to as the Crimea Conference), held February 4-11, 1945, was a meeting of the Big Three — FDR, Churchill, and Stalin — to discuss the organization of post-war Europe, and specifically the annexation and demilitariza-tion of Germany. This was FDR’s second, and final, wartime conference. He died several months after his return to Washington, and was replaced by Truman for the final conference in Potsdam.

FDR issued some 17 logs during his Presidency. Undoubtedly produced in small numbers by planograph or mimeograph, these charmingly rustic productions were given to friends and crew members and served as records of the President’s fishing trips and political outings.

The present log, FDR’s last, tracks the President’s progress from his departure by train from Washington on January 22 to his return on February 28th. The OCLC entry for this log attributes the authorship to Commander William M. Rigdon, who was As-sistant Naval Aide in the United States White House from 1942 to 1953.

Besides the momentous import of FDR’s meeting with Churchill and Stalin, the trip was notable for the death at sea of General Edwin “Pa” Watson, one of FDR’s closest friends and aides (it was Watson, along with FDR’s son James, who supported FDR when the President wished to be seen standing). FDR’s tribute to Watson is printed here on pages 66-67.

With a half-page typed notice from Wilson Brown, Vice Admiral, USN and Naval Aide to the President, stating that “Before his death, President Roosevelt authorized that you be given a personal copy of the log of his trip to the Crimean Conference,” and warning that the contents of the log are to be considered restricted until the conclusion of the war. Rare — no copies at auction in the past 30 years and no copy in the Carmichael collection.

$6,500

catalogue 115 | 41

“the only thing we have to fear is fear itself”71 ROOSEVELT, Franklin D. Inaugural Address of Franklin D. Roos-evelt President of the United States. Delivered at the Capital, Washing-ton, D.C. March 4, 1933. 9 pp. Small 4to, Washington, D.C: Govern-ment Printing Office, 1933. Advance copy. White self-wrappers. Light offsetting to covers, else fine. Halter T544.

An advance copy of FDR’s first inaugural address printed on large paper, likely issued just the day before his swearing-in, and intended as a reading copy. FDR’s 20-minute speech, delivered on March 4, 1933, and broadcast to the nation over radio, was eagerly awaited by an electorate in the grips of the Great Depres-sion. FDR had intended to read his address from a printed ad-vance copy — at the last minute he changed his mind and instead read from his typescript which he had corrected in his own hand (cf. Halter). All subsequent printed copies incorporate FDR’s changes, making this advance copy bibliographically significant, as well as rare — only one copy of the address has appeared at auction in the last 30 years.

FDR opens the address with his immortal pep talk, “So, first of all, let me assert my firm belief that the only thing we have to fear is fear itself — nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert retreat into advance. In every dark hour of our national life a leadership of frankness and

of vigor has met with that understanding and support of the people themselves which is essential to victory. And I am convinced that you will again give that support to leadership in these critical days.” Roosevelt goes on to place the blame for the economic crisis on the greed of bankers and businessmen who have placed profit over their social duties, “The money changers have fled from their high seats in the temple of our civilization. We may now restore that temple to the ancient truths. The measure of the restoration lies in the extent to which we apply social values more noble than mere monetary profit.” With unemployment at 25% at the time of his inauguration, FDR addresses the pressing need to get people back to work. He ends with a promise to use the full extent of his powers as President, a foreshadowing of the remarkable series of New Deal programs unveiled during his first 100 days in office, “I shall ask the Congress for the one remaining instrument to meet the crisis — broad Executive power to wage a war against the emergency, as great as the power that would be given to me if we were in fact invaded by a foreign foe.” An incredibly important piece of Presidential Americana, marking the start of one of the nation’s greatest presidencies and the country’s rise from the depths of the Great Depression.

$9,000

potter’s “omar”: presentation copy on japan vellum

72 (RUBAIYAT, Ambrose George Potter) KHAYYÁM, Omar. One Hundred Qua-trains from the Rubáiyát of Omar Khayyám. Selected by A. G. Potter from the Render-ings of Edward Fitzgerald. Small 8vo, London: Privately printed, 1934. Potter’s Omar, no. 5 of 25 copies, one of 5 on japan vellum “for my good friend Leon-ard Jay”. Dark brown morocco, spine titled in gilt. Fine copy, with an inserted letter from Potter.

Selection by the great enthusiast of Omar, Ambrose George Potter, author of the indispensible Bibliography of the Rubaiyát (1929). With the top portion of his letter tipped in, reading in part, “My Dear Jay … one of 5 copies on Jap vell of my ‘Potter’ Omar … as a mark of appreciation of your effort to secure for me Omars which might have escaped me.”

$950


73 (RUBAIYAT, Essex House Press) Khayyám, Omar. Rubái-yát of Omar Khayyám of Nishápur [Introduction by Clement Shorter, with a letter from Algernon Charles Swinburne]. Frontispiece and border by C. R. Ashbee. 8vo, [London: Es-sex House Press, Printed for the Omar Khayyam Club, 1905]. Essex House edition, no. 47 of 88 copies printed on paper (17 copies printed on vellum). Original limp dark green morocco, with ties. Spine a bit dull, else fine. Potter 29; Ransom 62.

A scarce edition of the Rubaiyat, with the text of Swin-burne’s 1896 letter to Shorter recounting the circumstances of the chance rediscovery of the poem in the penny bins of Quaritch. Published at 2 guineas on paper and 4 guineas on vellum.

$1,000

variorum edition in dust jackets

74 (RUBAIYAT) KHAYYÁM, Omar. Rubáiyát of Omar Khayyám. English, French and German Translations Comparatively Arranged in Accordance with the Text of Edward Fitzgerald’s Version. With Further Selections, Notes, Biographies, Bibliography and Other Ma-terial Collected and Edited by Nathan Haskell Dole. Frontispiece portraits. clxxix, 203 pp; vi, [205]-597 pp. 2 vols. 8vo, Boston: Joseph Knight Company, 1896. Variorum edition de luxe, no. 64 of 250 copies. Full white buckram gilt, t.e.g., others un-trimmed. Fine bright copy, partially unopened, in the original publisher’s green cloth dust jackets with spine panels in gilt to the design of the spine stamping ( jacket spines toned, some superficial soiling to jacket. Potter 575; Tanselle Book Jackets 96.69.

$500

merrymount press, one of 25

75 (RUBAIYAT, Merrymount Press) KHAYYAM, Omar. Rubái-yát of Omar Khayyám, The Astronomer-Poet of Persia, Rendered into English Verse by Edward Fitzgerald, the text here given being that of the Fifth Recension with the same done into Greek by Ernest Crawley of Bradfield College, Berkshire, England. 69pp. 8vo, Bos-ton: Privately Printed for Nathan Haskell Dole at the Merry-mount Press, 1902. One of 25 on Japan vellum: with a signed slip of paper in envelope, “This copy is number fifteen Nathan Haskell Dole.” Bound in full scarlet dyed vellum, upper board titled in gilt, with ties. A lovely copy in fine condition. Bianchi 136; Potter 579.

Scarce and lovely edition of the Rubaiyat, Fitzgerald’s qua-trains with facing Greek elegiacs.

$1,500

catalogue 115 | 4

76 (RUBAIYAT, Sangorski & Sutcliffe) Khayyám, Omar. Rubaiyat of Omar Khayyam. Translated by Edward Fitzgerald. With an Introduction by A.C. Benson. Reproduced from a Manuscript Written and Illuminated by F. Sangorski and G. Sutcliffe. With 12 illustrations (in color and gold) by E. Geddes. Text from the first edition of 1859 in black and red, with borders, ornamental initials and calligraphy by A. Sutcliffe. 4to, London: Siegle, Hill Ltd, n.d. [1910]. No. 439 of 550 copies, signed by F. Sangorski and G. Sutcliffe. Full white vel-lum, upper board with elaborate peacock design in gilt, spine or-namented in gilt with gilt title on brown leather label (small chip to edge), t.e.g. Fine, superb copy. Potter 81.

A glorious presentation of Fitzgerald’s immortal version of the Persian classic. From this edition, Sangorski and Sutcliffe also produced 25 numbered copies specially bound and jewelled.

$2,500

by the author of sweeney todd & varney the vampire

77 [RYMER, James Malcolm]. Paul Clifford: or, Hurrah for the Road. Picto-rial title, numerous illustrations. 1291, [1, blank] pp. Bound from the original 162 numbered parts. 8vo, [London: Printed by E. Lloyd, Salisbury Square, Fleet-Street, 1853]. First edition, bound from the original weekly numbers, without the printed title. Nineteenth-cen-tury half calf and cloth over boards. Extremities rubbed, evidence of old re-backing, spine worn, label chipped. Short closed tear in margin of pictorial title, occasional minor paper flaws in margins, generally clean and fresh internally. Helen R. Smith, New Light, p. 35; Summers, p. 459; Medcraft 186; not in James & Smith. BL shelfmark12624.e.3. OCLC 4 copies: BL, UNC, UCLA, Wisconsin (Madison).

This penny blood is an early 1850s Lloyd plagiarization of Bulwer-Lytton’s Paul Clifford (1830), one of the archetypes of the mid-century novels of the road. The Lloyd imprint is recorded at the end of the last part, and authorship is ascribed to James Malcolm Rymer on the basis of Helen R. Smith’s New Light on Sweeney Todd, Thomas Peckett Press, James Malcolm Rymer, and Elizabeth Caroline Grey (2002), which reliably supersedes earlier assignments of authorship by Summers and indeed Smith’s earlier work with Elizabeth James, Penny Dreadfuls and Boys’ Adventures. The Barry Ono collection of Victorian Popular Literature in The British Library (1998). In New Light, Smith notes “the two most famous anti-heroes of the genre, Varney the Vampire and Sweeney Todd are the creation of one man, James Malcolm Rymer. He … now deserves proper re-assessment as a writer.” The caption title at the head of the first page of text reads: “Paul Clifford: or, Hurrah for the Road. A Romance. By the Author of ‘Gentleman Jack.’” Smith dates the work to 1850. The British Li-brary copy includes a title-page and preface dated 1853 (not present in this copy). Uncommon survival of a work by one of the protean figures of Victorian popular literature.

$1,250


manuscript genealogy of sportsman clarence moore, who died on the titanic

78 (S.S. TITANIC) Report of Researches Made in Great Britain and America for Clarence Moore, Esq. [with:] Swift’s Genealogy. With two full-page watercolor heraldic drawings in first volume: Arms, Crest and Badge of Clarence Moore; Armorial Bearings of Edwin Car-leton Swift; both signed Archibald G.B. Russell, Lancaster Herald, College of Arms, London. Manuscript on paper, 28 lines, in a fine cursive hand in black ink with occasional red initials, within red rules. 160; 253 pp. 2 vols. Folio, [N.p., London?: ca. 1911]. Full red morocco gilt, upper boards titled in gilt, spines with raised bands, dentelles gilt, marbled endsheets, a.e.g. Some inoffensive traces of damp along lower portion of boards of Moore volume, occasional superficial scuffs, otherwise fine. Internally immaculate.

Monumental genealogical manuscript volumes recording the descent of Clarence Moore, of Washington, D.C., who died aboard the S.S. Titanic in April 1912, and his second wife Mabille, daughter of Edwin Carleton Swift of Prides Crossing, Massachusetts. They were married in 1900 and had four sons: Edwin Swift Moore (born 1901, died in childhood, 1907); Jasper Moore (born 1905); Clarence Moore (born 1910); and Lloyd Moore (born 29 November 1912). In addition to the detailed genealogical reports, the volumes include extenisve extracts from historical documents and records in England, Pennsylvania, Massachusetts, and Maryland. The Swift Genealogy, William Swyft of Sandwitch and some of his descendants 1637-1887, includes 1296 entries and concludes with a family tree for Mabille Florence Swift. The researches for Moore were conducted by “Hester Dorsey Richardson and Albert Levin Richardson, experts in Original Research, of Baltimore, Maryland.” The Moore pedigree is updated through 1926, noting that Ma-bille married again in 1915, to Aksel de Wichfeld of Maribe, Denmark.

Clarence Moore (1865-1912), a banker and sportsman of Washington. D.C., and M.F.H. of the Loudoun Hunt and the Chevy Chase Hunt, had travelled to England to buy a pack of hounds, and sailed for home on the Titanic. Survivors reported Moore’s heroic conduct. He lowered women and children into the lifeboats and refused to take a place in the boats. A beautiful and imposing genealogy.

$1,250

79 (SAINT-MÉMIN, Charles B.J.F. de) The St. Memin Collection of Portraits, Consisting of 760 Medallion Portraits, Principally of Distin-guished Americans, Photographed by J. Gurney. viii, 104 pp., followed by sixty-three plates with approximately twelve portraits to a plate. Folio, New York: Elias Dexter, No. 562 Broadway, 1862. First edition, one of 100 copies. Half red morocco, neat repair of front hinge, previous owner’s blind-stamp and notes to first blank and with notes and correction to a few images, sporadic foxing, some plates faded, in all, very good. Miles, ST.-Mémin (Washington, 1994) 212; Howes F107, “b” ; Sabin 75444.

From an edition limited to 100 copies, this collection represents one of the greatest archives of St.-Mémin images available. Dur-ing a career that spanned fourteen years, from 1796 to 1810, the itinerant French artist, Charles St.-Mémin captured the profiles of an astounding number of influential Americans. His miniature engravings were in great demand among the wealthy and powerful, and he travelled from New York to Washington, Alexandria, Georgetown, Annapolis, Richmond, Norfolk, Charleston, and other cultural centers executing commissions in his distinctive style. While St.-Mémin was in the habit of giving the original plates to his patrons, he kept impressions for his archive, which he took with him when he returned home to France in 1815. The collec-tion was later purchased by James B. Robertson of New York, and returned to America, setting in motion the production of this volume. It comprises the second largest collec-tion of St.-Mémin images (the largest, at the Corcoran Gallery of Art, was purchased by William Wilson Corcoran in a sale facilitated by the noted bookseller, Henry Stevens). The collection illustrated in the present work was later purchased by the philanthropist, Paul Mellon, and donated to the National Portrait Gallery, where it now resides. “This book has become the major source of information on St.-Mémin and his work. It is equally significant as one of the earliest volumes to have all illustrations done with orig-inal photographs: each copy of the book contains a full set of handmade photographic prints” — Miles. The paramount record of the portrait style that came to define the Federal Period.

$4,000

catalogue 115 | 45

the second folio merry wives of windsor

80 SHAKESPEARE, William. The Merry Wives of Windsor, ex-tracted from the second folio edition of the Plays. pp. 39-60. Folio, [London: Printed by Thomas Cotes for John Smeth-wick, et al, 1632]. 19th-century three quarter polished calf and boards, rebacked, corners repaired, small ink stamp to lower margin of p. 39, else fine.

$2,500

81 SMITH, BECK & BECK. Stereo viewer and cabinet. Tilting walnut body, hinged lid with mirror, sprung slide holder, and a pair of rack-and-pinion focusing lenses, with walnut box with inset handle, in matching walnut pedestal cabinet with 12 internal stereocard compartments, with an assortment of vintage stereo cards. London: ca. 1860s. No. 608. All parts in working order, walnut viewer box missing one nail catch, fine.

A beautiful walnut stereo viewer by the London lensemakers Smith, Beck & Beck featuring a sophisticated rack-and-pinion lense adjustment system that allows for precise viewing. The lense fits into a custom pedestal cabinet with internal com-partments for storing stereo cards.

$,500


“… the most satlsfactory work … is in the sea of cortez”82 STEINBECK, John. Typed Letter, signed, to Robert Wilson (future proprietor of Phoenix Bookshop in New York), then a student at Johns Hopkins University, in response to his inquiry regarding Steinbeck’s recommended work. One page. 4to, Los Angeles: 8 December, 1942, Fine.

“… I have your letter of December 2, which was forwarded to me out here. It is very gratifying to me to be included in your course. But I can’t help you with selection. I think the best and surely to me the most satisfactory work I have done is in the Sea of Cortez. That of course is not a novel although it does have a definite form. And I don’t know what a novel is anyway. The twentieth Centry novel is simply a long piece of fiction. I wish I could be of more help in this, but I am rush-ing about so much now that I do not have time to sit quietly and think about anything. I wonder if that is not why nearly all literary work in war time is so bad. Thank you very much for your letter …”

$1,250

the merry prankster motif

83 STRAUSS, Richard. Autograph Musical Quotation, signed (“Richard Strauss”), from his tone poem, “Till Eulenspiegels lustige Streiche.” 2 bars in ink (the 2nd motif for clarinet), on single sheet of blank paper. 9.6 x 17.3 cm, N.p.: n.d. [with pencilled note, 1939].

Desirable quote from Strauss’s popular tone poem, com-posed ca. 1894.

$1,000

printed on china paper

84 VERA, André. Les Jardins. Illustrations by Verdeau and Paul Vera, woodcut vignettes by Paul Vera, printed entirely on chi-

na paper. 4to, Paris: Émile-Paul, frères, Éditeurs, 1919 [actu-ally 1920]. “G” of 9 copies (of a total edition of 536) on China paper with two suites of the woodcuts, printed in black and sepia, respectively. Original wrappers with printed French-fold dust jacket, a few spots of foxing, else fine. Suites in origi-nal blue paper sleeves with printed labels.

A work on traditional and Modernist garden design beauti-fully-illustrated with plans and decorative woodcuts through-out.

$1,750

catalogue 115 | 47

85 WALLACE, Lew. Ben Hur, A Tale of the Christ. Illustrated by William Martin Johnson, portrait frontispiece and photogravures. 2 vols. 8vo, New York: Harper & Bros, 1892. The Garfield edition, copy 350 of 350 numbered copies. Bound in full brown crushed morocco, a.e.g., with front covers of the original vellum binding bound in, by Charles Meunier. Fine.

With a signed quote from Ben Hur tipped in at front of volume I.

$2,500

“we are informed he once shot a man in arizona …”86 (WANTED POSTER) Stewart, Nat, Sheriff. Wanted poster for C.H. Darlington, with original photograph. Printed broadside with original gelatin print photo of Darlington affixed. 12 x 9 in, Santa Barbara, CA: May 3, 1910. Dampstain at top margin, some creasing and small nicks at edges, framed. Provenance: Henry Beston, author (typed note on the back of the frame attesting to the piece’s provenance).

A wanted poster for one C.H. Darlington, a vaquero from Colorado, for the crime of burglary commited in Santa Barbara, CA. Attached to the poster is a photo of the wanted man in vaquero costume, a small scar visible below the right eye.

$1,250


87 WEBSTER, Noah. A Compendious Dictionary of the English Language. xxiii, [1], 408 pp. 8vo, [New Haven]: from Sidney’s Press for Hudson & Goodwin, Book-sellers, Hartford and In-crease Cooke & Co., Book-sellers, New Haven, 1806. First edition of Webster’s First Dictionary, printed in an edition of 7000 copies. Contemporary sheep, morocco spine label. Short start along top part of upper joint, some rubbing at ex-tremities, browning to edges of endleaves. Front flyleaf ex-cised. Very good. Skeel 577; Sabin 102347.

The first edition of Webster’s Dictionary, notable for his inclusion of many words in common usage but omitted from earlier lexicons, and for his concise, effective definitions. A landmark in the history of lexicography and in the evolution of the American language.

$1,250

“tastes better than pre-war!”88 (WHISKEY) Maquette for Hunter Baltimore Rye advertising campaign brochure. 38 pages (including alternated cancelled pages), with tipped-in ad samples, pencil notes throughout. 12mo, N.p [?New York: Cecil, Warwick & Cecil, ca. 1935]. Ring-bound with clear front cover and opaque celluloid rear cover.

A mock-up for an advertising campaign brochure announc-ing the re-launch of Hunter Baltimore Rye after the end of Prohibition. With its iconic hunstman logo and clever motto — “first over the bars” — Hunter had been one of the most popular American whiskeys before the war and the epitome of the Maryland rye style. The original distiller, Wm. Lanahan & Sons, sold the rights to the Hunter name by the time of Prohibition (one of the Lanahan sons would go on to fame as the husband of Scottie Fitzgerald), and by the time of this brochure, Hunter was owned by the Hunter Gwynnbrook Distilling Corporation. This maquette outlines the advertising strategy of the new Hunter rye. Taste tests and laboratory analysis comparing bottles of pre-Prohibition Hunter with the new product confirm that today’s rye “tastes better than pre-war!” Hunter continues its tradition of mar-keting itself as an upper-class product with endorsements by prominent hunstmen. A reminder of the once-popular but now nearly-extinct style of Maryland rye and an interesting look at how the liquor industry adressed the issue of quality of its product pre- vs. post-Prohibition.

$500

catalogue 115 | 49

89 WILDE, Oscar. The Sphinx. Slender 8vo, London: Elkin Mathews and John Lane At the Sign of the Bodley Head, 1894. One of 200 copies. Original full vellum gilt, with gil-stamped designs on both sides after Charles Ricketts. A superb, bright copy in coth slipcase, with the original prospectus laid in. Armorial bookplate of John Roland abbey on the front pastedown. Mason 361.

“The monsters of the Egyptian room at the British Museum live again in his weird, sometimes repulsive, but all the same stately and impressive lines. The vellum binding, the various symbolic designs, the quaint rubricated initials and the general arrangement of the text, all by Mr. Ricketts’ sympathetic art, are most subtly infused by the spirit of the poem …” (Pall Mall Budget, June 21, 1894). One of the finest copies we have ever seen of this Wilde rarity.

$8,000


large paper copy, one of 50

90 WILDE, Oscar. A Woman of No Importance. 154, [1] pp. Printed by T. and A. Constable, Edinburgh. 4to, London: John Lane at the Sign of the Bodley Head in Vigo Street, 1894. First edition, one of 50 large paper copies. Original buckram gilt. Spine and extremi-ties darkened, endleaves with some paste darkening, else fine, in a custom purple half-morocco slipcase and chemise. Mason 365. Provenance: Arthur Chester Rhodes.

An attractive copy of this witty and urbane play by Wilde.

$10,000

catalogue 115 | 51

film rights to the virginian

91 WISTER, Owen. Document, signed (“Owen Wister”), being an agreement between Paramount and Wister. 2 pp., dock-eted. Philadelphia: May 4, 1929. Tan wrappers bound with brass brads, with title typed on upper wrapper, and file stamp of “Paramount Famous Lasky Corp” on upper cover, dock-eted by Paramount, light creasing and toning.

Wister sells the motion picture rights to The Virginian to Paramount, who filmed it the following year with Gary Cooper in the lead. The Virginian, first published in 1902, is considered the first cowboy novel.

$4,750

inscribed by n.c. to his nephew for christmas

92 (WYETH, N.C.) Verne, Jules. The Mysterious Island. Title-page vignette, 14 colour plates and 51 pen-and-ink illustra-tions in the text, after N.C. Wyeth. Square 8vo, New York: Charles Scribner’s Sons, 1918. First Wyeth edition. Black cloth with color illustration mounted on upper cover and pic-torial endpapers after Wyeth. Spine slightly sunned, else nice copy. Allen, p. 220.

Inscribed on the half-title, “To Pete / from his / Uncle Con-vers [i.e. Newell Convers Wyeth] / Xmas 1918.”

$1,500


93 (WYETH, N.C) [Creswick, Paul]. Robin Hood. 8 full-page col-or plates after Wyeth. 362 pp. 4to, Philadelphia: David McKay, 1917. First Wyeth edition. Green cloth with mounted color illustration on front cover. Very good. Allen, pp. 202-203.

Signed by N.C. Wyeth, “N.C. Wyeth, 1932,” on the half-title.

$750

inscribed, with a watercolor of “the mill” by wyeth

94 WYETH, Andrew. Andrew Wyeth: Dry Brush and Pencil Draw-ings. Profusely illustrated from drawings and sketches by An-drew Wyeth. [6], 73 pp. 8-H x 11 inches, Greenwich, Ct: New York Graphic Society, [1963]. First edition. Beige linen. Very good in a somewhat worn pictorial dust jacket reproducing a Wyeth painting of “The Mill.”

Extending across the front pastedown and on the front free endpaper is a fine watercolor drawing of the Wyeth’s Mill, seen from a different angle than that of the one on the dust jacket; and beneath Andrw has inscribed: “For Edwards — With warm greetings from the Wyeths at the Mill.”

$7,500

catalogue 115 | 5

INDEX(Numbers refer to catalogue items)

Americana Afro-American Hist 17, 41, 42, 54 Civil War 19 Montana 17 New York City 62 Presidential 50, 67, 68, 69, 71Architecture 23 French 57 Landscape 34Art American 11, 79, 94 French 1, 15, 84 Gold 23Autographs 36Aviation World War II 41Bindings 78 American 50 Boards 30 Books in Parts 24 British 59 Dust Jackets 74 French 36Book of Common Prayer 7Children’s Books 42Economics - Political Theory 63Gastronomy American 38 Bartending 17, 18 Spirits 88Genealogy 78History British 12 British topography 12 French 61 Military 6, 61 Military Strategy 6 WW II 70Humor - Low Life 30Illustrated 22 American 10, 16, 92, 93 British 47 Color Plate 8, 30, 65 Photography 40, 57, 62, 79, 81 Torture 32Language/Dictionaries 87Law Crime 21, 58, 86Literature 46 American 16, 20, 26, 27, 33, 39, 40, 41, 42, 49, 59, 60, 64, 82, 85, 91

Biography 42, 5, 9, 24, 25, 27, 31, 37, 51, 56, 80, 89, 90 French 36 Irish 52 Izaak Walton 27 Poetry 27, 64 Popular Literature 48, 77 Rubaiyat of Omar Khayyam 28, 72, 73, 74, 75, 76 Science Fiction/Fantasy 2Maps & Atlases 12Music 83 Jazz 42 Rock and Roll 48Natural History Botany 35, 55 Gardening 84Papermaking 44, 45Performing Arts Cinema 48Philosophy 43Private Press 4, 16, 53 Limited Editions Club 1, 40,41 Merrymount Press 75Science 29 Mathematics 6 Railroads 21Sporting Angling 40Theology & Religion Islam 3, 66 Protestantism 32 Roman Catholicism 13Travel & Exploration Hawaii 38 India 44 Shipwrecks 78 South America 14Xmas books 59

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