2010 February Signature Rare Books Auction

G. W. Bronson. Glimpses of the Whaleman's "Cabin." Boston: Damrell & Moore, 1855.

First edition. Twelvemo. 96 pages. Illustrated with three engraved plates.

Original embossed limp cloth over boards. Gilt lettering to front cover. In custom slipcase with chemise. Some sunning to spine. Hinges tender. Moderate foxing. Very good.

The narrative of an 1851 whaling excursion from New England through the Atlantic to Saint Helena and associated islands. A rare whaling title, seemingly overlooked by the standard bibliographies of Americana and nautical histories. A truly scarce book in outstanding condition.

[Cherokee Nation]. Laws of the Cherokee Nation Adopted by the Council at Various Periods. Printed for the Benefit of the Nation. Tahlequah, Cherokee Nation: Cherokee Advocate Office, 1852. "Interesting as the laws of a civilized nation of Indians, printed by native hands, in the language of the government to which they acknowledge fealty" (Sabin 39413). [bound together with:] The Constitution and Laws of the Cherokee Nation: Passed at Tahlequah, Cherokee Nation, 1839-51. Tahlequah, Cherokee Nation: [n.p., likely Cherokee Advocate Office], 1852. First edition. "The first extensive compilation of the laws of this enlightened nation after the Union of the Eastern and Western branches in 1839. Probably printed at the office of the Cherokee Advocate" (Foreman, p. 36). Two twelvemo volumes in one. 179, 248 pp. Half red leather over marbled boards. Rebacked. Minor toning to the first half of the text. Binding worn. Hinges reinforced. Some offsetting to preliminary pages. Pencil notations to title page. Housed in a custom maroon cloth clamshell case with gilt titles. Overall, a very good copy of a fascinating volume containing all the laws and constitutions of the Cherokees from 1808 through 1851.

[Samuel L. Clemens, association]. Zadok Cramer [editor]. The Navigator. Containing Directions for Navigating the Monongahela, Allegheny, Ohio, and Mississippi Rivers; with an Ample Account of These Much Admired Waters, from the Head of the Former to the Mouth of the Latter; And A Concise Description of Their Towns, Villages, Harbours, Settlements, &c. With Accurate Maps of the Ohio and Mississippi. To which is added, an Appendix, containing an Account of Louisiana, and of The Missouri and Columbia Rivers, as Discovered by the Voyage under Captains Lewis and Clarke. Pittsburgh: Cramer, Spear & Eichbaum, 1811.

Seventh edition, improved and enlarged. The book's previous owner was Samuel Clemens (aka Mark Twain) who signed the front pastedown and wrote the name of the friend who had given him this book. " S. L. Clemens / 1909/ from Col. A. G. Paine." Twelvemo (4.125 x 6.075 inches; 103 x 175 mm). x, [1, map], [1, blank], 295, [1, errata], [4, blank] pages. With twenty-eight integral woodcut river maps.

Contemporary quarter brown sheep over marbled boards. Title stamped in blind on spine, which is ruled in compartments. Boards and spine rubbed, edges and extremities worn, corners rounded. Front outer hinge cracked but firm. Minor marginal dampstaining to outer leaves, extending to title. A 1.5 inch (38 mm) closed tear in the fore-margin of leaf K2. Overall a very good copy with an important association. Housed in a handsome clamshell box of gilt quarter burgundy morocco over marbled boards.

Mark Twain wrote a letter to friend J. H. Twichell on July 28, 1901 in which he described a boating trip on which he was about to embark: "Aug. 3rd. I go yachting a fortnight up north in a 20-knot boat 225 feet long, with the owner, (Mr. Rogers), Tom Reid, Dr. Rice, Col. A. G. Paine and one or two others. Judge Howland would go, but can't get away from engagements; Professor Sloan would go, but is in the grip of an illness. Come - will you go? If you can manage it, drop a post-card to me c/o H. H. Rogers, 26 Broadway. I shall be in New York a couple of days before we sail - July 31 or Aug. 1, perhaps the latter,-and I think I shall stop at the Hotel Grosvenor, cor. 10th st. and 5th ave. We all send you and the Harmonies lots and gobs of love. Mark."

This copy of The Navigator seems a fitting gift from paper manufacture and friend A. G. Paine as Clemens was once a steamboat pilot on the Mississippi river. The Navigator is the first navigational guide to the Mississippi and Ohio rivers and was the most widely used guide to the western waters at that time.

Howes C-855. Sabin 17385.

[Richard Henry Dana, Jr.]. Two Years Before the Mast; a Personal Narrative of Life at Sea. New York: Harper & Brothers, 1840.

First edition. Tan muslin binding (variant "B"), in the second state, as indicated by the catalog listing of the Harper's Family Library on the rear board. The "i" on the copyright page (for the word "in") is dotted, and the heading on page nine is unbroken, indicating this copy to be of the true first printing. Sixteenmo. 483 pages.

Original printed tan cloth over thin boards. Some minor staining to the boards. Small closed tear to rear free endpaper. Inked name of previous owner, Moses L. Hale of Boston. Binding tight and text block clean, a superb, robust copy of this fragile book. In simple conservation solander box with gilt lettering to spine. Very good.

"This account of California in 1835 and 1836 surpassed in popularity all other books relating to that state" (Howes).

BAL, 4434. Howes, D49. Sabin, 18448.

Alcide d'Orbigny. Voyage Dans les Deux Amériques. Paris: Furne, Jouvet et Cie, 1867.

Nouvelle edition, revised. Quarto. iv, 614 pages. Numerous tissue-guarded illustrations, many of which fold out. Two folding maps, one of North America, one of South America, both with colored boundaries. Text in French.

Quarter brown morocco binding over marbled paper boards. Gilt spine in six compartments. Marbled endpapers. Some rubbing to binding, particularly along edges and joints. Scattered foxing throughout. Dampstain to blank preliminary and terminal pages. Bookplate. In worn slipcase. Very good.

Alcide d'Orbigny (1802-1857) was a French naturalist who was sent to South America by the Paris Museum in 1826. After seven years he returned with more than 10,000 natural history specimens. His experiences and findings were published in the original edition of this book, which his friend Charles Darwin called "one of the great monuments of science in the 19th century."

Gerald R. Ford. A Time To Heal, The Autobiography of Gerald R. Ford. [New York]: Harper & Row, [1979].

First edition. Inscribed on the half-title page by Ford to Caspar Weinberger: "To my very good friend, Cap Weinberger, in appreciation of your many kindnesses, wise counsel and loyal support during my Presidency. Warmest best wishes. Gerald R. Ford 9/4/79." 454 pages. Photographs. Index.

Publisher's gilt-stamped blue cloth. Spine lightly faded. Spine and a portion of the front panel of the price-clipped dust jacket is sun-bleached. Near fine.

The "refreshingly unpretentious yet vivid" autobiography of the 38th president of the United States. Caspar Weinberg served briefly in Ford's cabinet as Secretary of Health, Education, and Welfare.

Alexander Hamilton, James Madison, and John Jay. The Federalist: A Collection of Essays, Written in Favour of the New Constitution, as Agreed upon by the Federal Convention, September 17, 1787. In Two Volumes. Vol. I. New-York: Printed and Sold by J. and A. M'Lean, 1788.

First edition of "the most famous and influential American political work" (Howes). Volume I only. Twelvemo in sixes (6.75 x 4.4375 inches; 172 x 113 mm.). [2, blank], vi, 227, [1, blank] pages. The initial blank leaf is present. The preliminaries in this copy apparently collate as in The Garden, Ltd. copy (A4 [chi]2: A1 used as pastedown, A4r title, first leaf of inserted conjugate pair signed a2), with the initial blank leaf and the title leaf (pages [i]/[ii]) having seven horizontal chain lines visible, and the preliminary note and contents leaves (pages [iii]/iv and [v]/vi) being an inserted conjugate pair, with six horizontal chain lines visible (although page [iii] is not signed "a2").

Entirely uncut, in the original publisher's pale blue gray rear board and remnants of cream paper spine, with the volume number ink-stamped on the paper spine, as issued. The rear board is worn and slightly foxed and stained, with a small area of the blue gray paper missing at the lower outer corner, the front board and front endpapers are wanting, the rear free endpaper has been torn away. Paper slightly browned, as usual, and fraying around the edges, with a few tiny chips and tears, some light foxing and mostly marginal soiling. Leaves P2 (pages 171/172) and P5 (pages 177/178) creased horizontally and so printed, with no loss. Paper flaw to the outer blank margin of leaves O1 (pages 157/158) and T3 (pages 221/222) and to the lower blank margin of R4 (pages 199/200), a few additional minor marginal paper flaws. Faint dampstain in the lower margin of gathering Q (pages 182-192). Gatherings R and S (pages 193-216) are slightly darkened and creased at the top. Early ink correction ("insulted" to "insulated") on page 45. A few later marginal pencil markings and annotations (pages 102, 174, 178, 181, and 182), later pencil annotations on the final blank page [228] and on the rear pastedown. Despite these minor flaws, this is an exceptional copy, totally unsophisticated, and extremely scarce in its original state.

According to Bernstein (p. 237), "it is now agreed that Hamilton wrote Nos. 1, 6-9, 11-13, 15-17, 21-36, 59-61, and 65-86; that Madison wrote Nos. 10, 14, 18-20 (with reference to some material provided by Hamilton), 37-58, 62, and 63; and that Jay wrote Nos. 2-5 and 64." This copy has tiny early ink letters in the lower margin of some pages: "J" (for "Jay") on pages 6 (No. 2), 11 (No. 3), 16 (No. 4), and 21 (No. 5); "M" (for "Madison") on pages 52 (No. 10), 79 (No. 14), 102 (No. 17), 107 (No. 18), 114 (No. 19), and 126 (No. 21).

"These eighty-five essays on the Constitution, almost entirely written by Hamilton and Madison (probably only five were by Jay) and published in the New York newspapers under the name of 'Publius,' were a step in Hamilton's campaign to win over a hostile majority in New York for a ratification of the Constitution. To the people of the time the collected essays were little more than a huge Federalist pamphlet. A generation passed before it was recognized that these essays by the principal author of the Constitution and its brilliant advocate were the most authoritative interpretation of the Constitution as drafted by the Convention of 1787. As a commentary and exposition on the Constitution the influence of the Federalist has been profound" (Grolier, 100 American).

"When Alexander Hamilton invited his fellow New Yorker John Jay and James Madison, a Virginian, to join him in writing the series of essays published as The Federalist, it was to meet the immediate need of convincing the reluctant New York State electorate of the necessity of ratifying the newly proposed Constitution of the United States. The eighty-five essays, under the pseudonym 'Publius', were designed as political propaganda, not as a treatise of political philosophy. In spite of this The Federalist survives as one of the new nation's most important contributions to the theory of government...The first number of The Federalist appeared on 27 October, 1787 in The Independent Journal, or The General Advertiser and newspaper publication continued in this and three other papers, The New York Packet, The Daily Advertiser, and The New York Journal and Daily Patriotic Register, through number 77, 2 April, 1788. The first thirty-six essays were published in book form on 22 March, 1788 by J. and A. McLean of New York and a second volume containing essays 37-85 followed on 28 May. Thus numbers 78-85 were published in book form before they appeared in the popular press" (Printing and the Mind of Man).

Church 1230. Evans 21127. Ford, Bibliography of the Constitution, 43. Ford, Bibliotheca Hamiltoniana, 17. Grolier, 100 American, 19. Grolier, 100 English, 55. Howes H114. Printing and the Mind of Man 234. Sabin 23979. Streeter 1049. See also Richard B. Bernstein, Are We to be a Nation? The Making of the Constitution (Cambridge, Massachusetts: 1987), pages 230-242.

Thomas Herty. A Digest of the Laws of the United States of America. Being a Complete System, (Alphabetically Arranged) of all the Public Acts of Congress Now in Force.... Baltimore: W. Pechin, 1800.

Octavo. iv, 562 pages. Index. One page of ads.

Contemporary full calf over boards. Hinges weak. Some foxing throughout. Very good.

Sabin, 31597.

Three Journals of Congress, including: Journals of Congress: Containing Their Proceedings From September 5, 1774, to January 1, 1776. Published by Authority. Volume I. Philadelphia: Folwell's Press, 1800. [and:] Journals of Congress, and the United States in Congress Assembled. For the Years 1781, 1782. Published by Order of Congress. Volume VII. New York: John Patterson, 1787. [and:] Journals of Congress: Containing Their Proceedings From November 5, 1787, to November 3, 1788. Published by Authority. Volume XIII. Philadelphia: Folwell's Press, 1801. Three octavo volumes. Original cream and light blue paper over boards. Some loss to the paper spine of Volume VII. Some water stains to the endpapers. Toning to the pages. Inked name to endpapers and title pages of Mrs. Charles Linsley (Emmeline Wells Linsley) of Middlebury, Vermont; also, rubber stamp of the Sheldon Art Museum, to which Mrs. Linsley donated these volumes in 1884. Very good.

ESTC, W42136, W20597. Sabin, 15545.

John F. Kennedy. Why England Slept. New York: Wilfred Funk, 1940.

First edition, first printing. Inscribed by John F. Kennedy on the front free endpaper: "To a very old friend of the Kennedys with warmest regards - Jack Kennedy." Octavo. xxx, 252 pages. Foreword by Henry R. Luce.

Publisher's red cloth with blue and white stamping. Backstrip has faded; head of spine fraying. Some mottling to top page edges. Extremities lightly worn. Some offsetting to pastedowns; pages toning slightly. Short closed tear to bottom edge of one leaf. Dust jacket has only minimal wear to edges, with a few shallow creases at head of spine and along top edge of front panel, and with a couple of very short closed tears at top edge. A nice square copy in very good condition.

Young Kennedy presented this book to Wall Street stockbroker Arthur Goldsmith, a Harvard classmate of his father, Joseph P. Kennedy, Sr. Goldsmith maintained close ties with the Kennedy family and served as JFK's stockbroker during the future president's years at Harvard.

During the late 1930s, John F. Kennedy spent time in London with his father, Joseph P. Kennedy, Sr., who served as Franklin Roosevelt's U.S. Ambassador to the Court of St. James. Why England Slept, originally written as JFK's senior year Harvard thesis entitled "Appeasement in Munich," was published at the behest of his father and became an immediate bestseller, going through multiple printings in its first year - as such, the first printing of the first edition is quite scarce. A signed presentation copy to a close Kennedy family friend is scarcer still. Ex. Remember When Auctions, the Estate of Arthur Goldsmith.

The Laws of the United States. In Three Volumes. Philadelphia: Richard Folwell, 1796.

Three octavo volumes. 494; 576; 477, [131] pages. Errata page. Index.

Full contemporary leather. Blind-tooled borders to boards. Morocco title labels with gilt lettering to spines. Hinges weak or broken; joints tender. The heads of the spines to Volumes I and II chipped. Inked name of John Strong, Vermont statesman and attorney, dated 1798. This set was donated to the Sheldon Art Museum in 1889 by the widow of Strong's grandson. Rubber stamps of the museum to front endpapers. Very good.

The second volume contains much material on treaties with Indian tribes.

ESTC, W20624. Sabin, 15558.

Meriwether Lewis and William Clark. History of the Expedition Under the Command of Captains Lewis and Clark to the Pacific Ocean.... Volume II Only. [Philadelphia: Bradford and Inskeep, 1814].

First edition. Originally published in two volumes, only Volume II is offered here. Octavo. 522 pages, lacking the preliminary pages. Three full-page maps: Great Falls of Columbia River, The Great Shoot or Rapid, and Mouth of Columbia River.

Nineteenth-century binding of full leather. Spine has five compartments between four raised bands. Gilt lettering and rules to spine; gilt dulled. Leather quite worn, particularly at extremities; gouge to lower rear joint measuring approximately a quarter of an inch in diameter. Boards bowed. Green endpapers. Glue discoloration along edges of both pastedowns. The preliminary pages i-vii are missing, and only approximately one-sixth of page ix is present; text begins with beginning of first chapter titled "Up the Missouri" on page [1]. Pages are toned with heavy spotting and soiling, with coffee splashes to last two printed leaves. Several pages are dog-eared, with occasional paper loss to bottom corners, not affecting text; a few closed tears throughout. The leaves containing the Great Falls and the Great Shoot maps have short tears at fore-edge, with the tear to the first map extending approximately three-quarters of an inch into the map. Inked ownership name to front free endpaper, penciled name and inked number to fly-leaf, penciled notations on last two blank pages, and inked names and sentiment to rear endpapers. Binding still tight. Good condition.

"First authorized and complete account of the most important western exploration and the first of many overland narrative[s] to follow" (Howes), published almost ten years after Lewis and Clark's expedition up the Missouri began." Though unsuccessful in their attempt to find a transcontinental water route, they had demonstrated the feasibility of overland travel to the western coast, a feasibility which was greatly enhanced a few year later by the discovery of the South Pass across the Rockies" (Printing and the Mind of Man). Only 1,417 copies printed.

Graff 2477. Howes L317. Printing and the Mind of Man 272. Wagner-Camp 13:1.

Abraham Lincoln and Stephen A. Douglas. Political Debates between Hon. Abraham Lincoln and Hon. Stephen A. Douglas, in the Celebrated Campaign of 1858, in Illinois; Including the Preceding Speeches of Each, at Chicago, Springfield, etc.; also, the Two Great Speeches of Mr. Lincoln in Ohio, in 1859, as Carefully Prepared by the Reporters of Each Party, and Published at the Times of their Delivery. Columbus: Follett, Foster and Company, 1860.

First edition. Octavo. iv, 268 pages. Meets all of Howes three points for first issue of the first edition: no rule above publisher's imprint on copyright page, no ads, and the number "2" at the bottom of page 17.

Original light brown embossed cloth over boards. Gilt lettering to spine. Boards slightly bowed. Moderate foxing throughout, particularly to the endpapers and the pages adjacent to them. Hinges are not cracked or split, but there is a small area of paper loss at rear hinge, measuring approximately three-eights of an inch in length. Inked name of contemporary owner to front free endpaper. An outstanding clean and tight copy in very good condition.

During the debate tour, Lincoln, in a letter, writes quite explicitly on the issue of slavery: "I have made it equally plain that I think the negro is included in the word 'men' used in the Declaration of Independence. I believe the declara[tion] that 'all men are created equal' is the great fundamental principle upon which our free institutions rest..." (Basler). Wright Howes sums up the published debates as "[h]istorically the most important series of American political debates."

Roy Basler, The Collected Works of Abraham Lincoln, III, 327. Howes, L338. Sabin, 41156.

[New York]. Journal of the Convention of the State of New-York: Began and Held at the City of Albany, on the 13th Day of October, 1801. Albany: John Barber, 1801.

First edition. Quarto. 42 pages.

Modern sprinkled calf back over marbled boards with titles stamped in gilt on a morocco spine label. Pages slightly toned, else fine.

The convention was called specifically to consider the numbers of state legislators, and their possible reduction, and to determine the "true construction of the 2d article relative to the right of nomination to office." Included among the names of the distinguished men of the convention are Aaron Burr and De Witt Clinton.

Richard Nixon. Leaders. New York: Warner Books, 1982.

First edition, first printing. Inscribed by Nixon to Caspar Weinberger in 1982 on the half-title page and signed with his initials. Octavo. 371 pages. Photographs. Index.

Publisher's silver-stamped black cloth backstrip over blue paper boards. Dust jacket. Fine.

"Profiles and reminiscences of men who have shaped the modern world," including Churchill, de Gaulle, MacArthur, Yoshida, Adenauer, Khrushchev, and Zhou Enlai.

Caspar Weinberger served in the Nixon administration as Director of the Office of Management and Budget and as Secretary of Health, Education, and Welfare. He later became Ronald Reagan's Secretary of Defense.

Richard Nixon. The Memoirs of Richard Nixon. New York: Grosset & Dunlap, [1978].

First trade edition. Inscribed by Nixon to Caspar Weinberger on a publisher's printed bookplate pasted to the front free endpaper: "[Personally autographed for] Caspar Weinberger With appreciation for his years of dedicated service to the Republican Party, the State and the Nation from Dick Nixon 6-1-78." Octavo. xi, 1120 pages. Photographs. Index.

Publisher's gilt-stamped blue cloth. Cloth lightly faded along extremities. A few light smudges to page edges. Leaf with bookplate a bit puckered. Dust jacket. Fine.

Nixon's autobiography, chronicling his childhood, to his time in Congress, to the Presidency, to Watergate, to the impeachment, and beyond. A wonderful political association item.

Richard Nixon. The Real War. [New York]: Warner Books, [1980].

First edition. Presentation copy signed by Nixon to Caspar Weinberger on a publisher's printed bookplate tipped to the half-title page. 341 pages. Index. Review slip laid in.

Publisher's red cloth. Minor smudge to fore-edge. Dust jacket yellowing slightly at edges. Fine.

"We must face up to the stark reality ... World War III has begun, and we are losing it."

Richard M. Nixon. Six Crises. Garden City: Doubleday & Company, 1962.

First edition. Inscribed by Nixon to Caspar Weinberger: "To Cap Weinberger with appreciation for his friendship from Dick Nixon." Octavo. xvi, 460 pages.

Publisher's gray cloth with gilt titles in a blue inset box. In rubbed but crisp dust jacket. Fine.

Nixon's bestseller about political crises he was involved in as congressman, senator, and vice president, inscribed to Caspar Weinberger, who, as President Reagan's Secretary of Defense, would also find himself embroiled in international crises.

Ronald Reagan with Richard G. Hubler. Where's the Rest of Me? The Ronald Reagan Story. New York: Duell, Sloan and Pearce, 1965.

Third printing. Signed and dated (7/27/65) by Ronald Reagan. Octavo. 316 pages. Eight pages of photographs. Index.

Black cloth over boards. Gilt lettering to spine. Several small, shallow closed tears and some sunning to the spine of the dust jacket. Inked sentiment of previous owner on front pastedown. Overall, a very good copy.

This book chronicles the pivotal period in Reagan's life as he transitions from actor to politician. The book closes with a variation on Reagan's "A Time for Choosing" speech he made famous during the Goldwater campaign of 1964.

James Rumsey. A Short Treatise on the Application of Steam, Whereby is Clearly Shewn, From Actual Experiments, That Steam May be Applied to Propel Boats or Vessels of Any Burthen Against Rapid Currents With Great Velocity. The Same Principles are Also Introduced with Effect, by a Machine of a Simple and Cheap Construction, for the Purpose of Raising Water Sufficient for the Working of Grist-Mills, Saw-Mills, &c. and for Watering Meadows and Other Purposes of Agriculture. Philadelphia: Joseph James, 1788.

First edition, second issue with corrected title page. Octavo. 26 pages. With the bookplate of prominent nineteenth-century Buffalo, New York businessman W. H. H. Newman.

Stitched, unbound, and inserted into contemporary paper folder. Rather ragged about the edges with some toning to pages, else a very good copy of this typically fragile rare work.

Rumsey's pamphlet was first published under a slightly different title (A Plan Wherein the Power of Steam is Fully Shown...) in 1788 and then reprinted under this title, in two different issues. According to the "Advertisement" on the verso of the title, Rumsey states that this treatise is reprinted with corrections and additions from "a pamphlet published in Virginia," of which "a few copies were then thought sufficient." During the 1780s Rumsey and rival John Fitch both produced designs for steam-powered boats, each claiming priority. Though neither man was financially successful, Fitch at least went on to inaugurate the first commercial steamboat service on the Delaware River in 1790.

[Henry R. Schoolcraft, LL.D. editor]. Information, Respecting the History, Condition and Prospects of the Indian Tribes of the United States: Collected and Prepared Under the Direction of the Bureau of Indian Affairs, Per Act of Congress of March 3d, 1847. Illustrated by Seth Eastman, Capt. U.S.A. Published by the Authority of Congress. Philadelphia: Lippincott, Grambo & Company, 1852-1857.

First edition, except for Volume I, which is a second edition. Inscribed at the time of publication by the Commissioner of Indian Affairs, George Moneypenny to Charles Mason, Commissioner of Patents, on a preliminary blank in Volumes I and II. Six large quarto volumes. Volume I: half-title, engraved title, printed title, v-xxiii, 13-568 pages; Volume II: half-title, engraved title, printed title, [v]-xxiv, 17-608 pages; Volume III: half-title, engraved title, printed title, v-xviii, 19-635 pages; Volume IV: half-title, engraved title, printed title, v-xxvi, 19-668 pages; Volume V: half-title, engraved title, printed title, vii-xxiv, 25-712 pages; Volume VI: half-title, frontispiece, printed title, [v]-xxviii, 25-756 pages. Profusely illustrated with 310 plates (of 332 called-for), many of which display contemporary hand-coloring, and numerous woodcuts in the text.

Modern dark brown half leather over marbled paper boards with red leather title labels lettered in gilt. Blind-stamped ornaments to spines within five raised bands. All edges sprinkled red. New endpapers, with the original endpapers bound in. The bindings have minimal shelf wear, but are mostly impeccable. Uneven toning throughout the text, with varying degrees of toning to the plates and text. Some offsetting to adjacent pages from the plates. Scattered minor foxing. Library call numbers in ink on the first preliminary page following the title page of each volume. A large number of tissue guards not present. A stunning set of this rare Western Americana classic in very good condition.

"This differs from No. 77849, supra, only in 'Part I.,' which is a reissue with new titles uniform with the other parts" (Sabin).

"Schoolcraft's work was intended to be a great encyclopedia of information relating to the American Aborigines. With great earnestness, some fitness for research, and a good degree of experience of Indian life, Mr. Schoolcraft had but little learning and no scientific training...[Schoolcraft] has indeed performed a very important service for Indian history, in collecting and preserving an immense amount of historic data. Vocabularies of Indian languages, grammatical analyses, legends of various tribes, biographies of chiefs and warriors, narratives of captivities, histories of Indian wars, emigrations, and theories of their origin, are all related and blended in an extraordinary and perplexing manner. A very large number of beautiful steel engravings, representative of some phase of Indian life and customs, are contained in the work, but the most valuable of its illustrations are the drawings of weapons, domestic utensils, instruments of gaming and amusement, sorcery and medicine, objects of worship, their sculptures, paintings, and fortifications, pictograph writing, dwellings, and every form of antiquities, which have been discovered" (Field).

Howes S183. Sabin 77855.

State Papers and Publick Documents of the United States from the Accession of George Washington to the Presidency.... Boston: T. B. Wait & Sons, 1815. First edition. Three octavo volumes, complete. [and:] State Papers and Publick Documents of the United States from the Accession of Thomas Jefferson to the Presidency.... Boston: T. B. Wait & Sons, 1814-1815. First edition. Five octavo volumes, complete. [and:] a duplicate copy of Volume IV of the Jefferson set. [and:] Volume X of the second, combined edition, "including confidential documents, now first published." 1817. All uniformly bound in contemporary paper over boards. Mild soiling to boards. Wear and some chipping to spines. Hinges tender on many volumes. Occasional foxing. Inked name and ex-library markings to front endpapers and title pages. An important collection of early public documents from the early years of the United States. Very good.

Sabin, 90636, 7, 8.

[George Washington]. Scarce Personal Bookplate. One page, 2.5 x 4 inches, hinged at top of the verso to a mat, overall size of 4.5 x 5.75 inches. The motto Exitus acta probat (the outcome justifies the deed) is printed across the ribbon at the base of the shell-like shield, which is ornamented with sprays and rose branches. Washington's name is engraved on the bracket at the bottom. In the past, many forgeries and re-strikes have fooled collectors looking for original Washington bookplates. The present example is an original with these points: chain-lines in the paper, and the small line near the bottom-right of the shield, which is present on the authentic plate, but not in the more widely available re-strike used in the late-nineteenth century.

There is evidence of adhesive on verso, most likely from being attached to one of the books in Washington's library. Some wrinkling to the bottom of the plate, though no separations or tears. Toned and in very good to near fine condition. A very rare chance to acquire an authentic Washington bookplate.

Noah Webster. An American Dictionary of the English Language: Intended to exhibit, I. The origin, affinities and primary signification of English words, as far as they have been ascertained. II. The genuine orthography and pronunciation of words, according to general usage, or to just principles of analogy. III. Accurate and discriminating definitions, with numerous authorities and illustrations. To which are prefixed, an introductory dissertation on the origin, history and connection of the languages of western Asia and of Europe, and a concise grammar of the English language. In two volumes. New York: Published by S. Converse. Printed by Hezekiah Howe..., 1828.

First edition. Two large quarto volumes (11.75 x 9.25 inches; 298 x 235 mm). Engraved frontispiece portrait by A. B. Durand after the portrait of Webster painted by S. F. B. Morse, printed by J. R. Burton. With the final leaf of "Additions" and "Corrections" at the end of Volume II, which is often lacking. 'Advertisement' leaf at the beginning of the first volume. Laid into this copy is one bifolium (four pages) of manuscript lexicographical notes in Noah Webster's hand. It comprises a working copy (with numerous corrections) of an alphabetical list of 126 words, listed from A to W, with the origin of each word written next to it (for example: "testimony...tystiolaith"). Leaf measures 7.875 x 13.125 inches (200 x 334 mm) folded once to make four pages. Noah Webster manuscripts related to his dictionary are noteworthy as they are exceedingly scarce.

Uncut in original boards, newer printed paper spine labels. Spines mostly perished but volumes still solid and tight. Some expected wear and scuffing to boards and a small amount of browning to text. Chemised and housed in slipcases of gilt quarter tan morocco over marbled boards. A wonderful and very clean copy, very scarce in the original boards.

"'The most ambitious publication ever undertaken, up to that time, upon American soil.' Webster began work on his Dictionary in 1800. Along the way he produced his fat duodecimo Compendious Dictionary of the English Language, New Haven, 1806 ... and an abridgement of this for schools in 1807, and by 1813 he had learned twenty languages, seven of which were Asiatic or dialects of the Assyrian, to which twenty he later added Portuguese, Welsh, Gothic and the early dialects of English and German. He spent a year abroad in 1824-25 to perfect the work, and began printing May 8, 1827 ... Webster set a new standard for etymological investigation, and for accuracy of definition ... and included 70,000 words, as against the 58,000 of any previous dictionary. There were 2,500 copies printed, in boards uncut or full calf...Webster wrote every word of the manuscript of the dictionary himself" (Grolier, 100 American).

"This dictionary, which almost at once became, and has remained, the standard English dictionary in the United States, was the end-product of a stream of spelling books, grammars, readers and dictionaries which flowed from the pen of the industrious Noah Webster ... Webster's great dictionary, all the 70,000 entries of which he wrote with his own hand, has been reprinted and brought up to date innumerable times ... the book marked a definite advance in modern lexicography, as it included many non-literary terms and paid great attention to the language actually spoken. Moreover, his definitions of the meaning of words were accurate and concise (Sir James Murray, editor of the Oxford English Dictionary, called him 'a born definer of words') and have for the greater part stood the test of time superbly well" (Printing and the Mind of Man).

Grolier, 100 American, 36. Printing and the Mind of Man 291. Sabin 102335. Skeel 583.

J. Wright. The American Negotiator: or the Various Currencies of the British Colonies in America. London: J. Everingham, 1761.

First edition. Octavo. ii, 464 pages. List of subscribers. Conversion tables.

Full morocco over boards. Rebacked with some restoration to the corners. Library rubber stamp and light penciled notations to title and dedication pages. Remnant of removed library pocket on rear pastedown. Some scarring and bumping to the boards. Slight loss of leather to head of spine. Overall, a very nice copy.

A comprehensive collection of tables to be used for the conversion of various currencies depending on shifting rates of exchange. This was a title mostly of interest to merchants, businessmen, shopkeepers, and such. The list of subscribers runs well over 2,200 individuals, listing their names and professions, offering an interesting overview of the range of vocation in the American Colonies of the time. Benjamin Franklin, one of the subscribers, is listed as "merchant." This title is in Wolf and Hayes' The Library of Benjamin Franklin.

Howes, W697. Sabin, 105606. Wolf and Hayes, 3721.

John Adlum. A Memoir on the Cultivation of the Vine in America, and the Best Mode of Making Wine. Washington, DC: William Greer, 1828.

Second edition. Twelvemo. 179 pages. Errata page. Facsimile fold-out letter from Thomas Jefferson to the author as a frontispiece.

Contemporary morocco over marbled boards. Gilt lettering to spine. Front hinge cracked. Rubbing to binding. Some foxing throughout. Very good.

John Adlum first published his book on the cultivation of American wine in 1823, which the Standard Cyclopedia of Horticulture calls the "first separately published American grape book" (Bailey). In 1828 he brought out this second, expanded edition. Not in Bibliotheca Vinaria. A quite scarce item and surely a must for the serious devotee of nineteenth-century American viticulture.

Bailey, The Standard Cyclopedia of Horticulture, Vol. 3, page 1563.

[Francis Bacon]. The Historie of the Raigne of King Henry the Seventh. Written by the Right Honourable, Francis, Lord Verulam, Viscount St. Alban. London: W. Stansby, 1622.

First edition. Small folio. 248 pages. Frontispiece. Decorated title page.

Full early mottled calf over boards. Morocco title label to spine with gilt lettering.

After being removed from the position of Lord Chancellor, Francis Bacon turned more seriously to his literary concerns. Or, as James Spedding puts it, in the introductory chapter of the Works of Francis Bacon: "The history of the reign of King Henry the Seventh was the first work composed by Bacon after his fall; the fruit of his first few months of leisure."

ESTC, S122252. STC, 1160. The Works of Francis Bacon, edited by James Spedding, XI, 13.

Twenty Baedeker's Travel Guides Published Between 1894 and 1928, Including a First Edition of the Russian Guide Book.

All volumes published in Leipsic by Karl Baedeker between 1894 and 1928. Twenty twelvemo travel handbooks, in publisher's limp red cloth boards with gilt lettering. A few maps are detached but present. Almost all maps appear to be accounted for. The previous owners' names are in most, if not all, books, and all belonged to the same impressively tireless world-traveling couple from Des Moines who have made a few inoffensive notes throughout some of these volumes. All are in very good condition.

Travel destinations included in this collection are: Austria, Including Hungary, Transylvania, Dalmatia, and Bosnia. 1900. Ninth edition, revised and augmented. [and:] Belgium and Holland, Including the Grand-Duchy of Luxembourg. 1897. Twelfth edition, revised and augmented. [and:] The Dominion of Canada, With Newfoundland and an Excursion to Alaska. 1907. Third revised and augmented edition. Back board creased. [and:]Egypt. 1902. Fifth "remodelled" edition. [and:] Great Britain. 1927. Eighth revised edition. [and:] Greece. 1894. Second revised edition. Penciled name to front cover. [and:] Italy; First Part: Northern Italy, Including Leghorn, Florence, Ravenna, and Routes Through Switzerland and Austria. 1899. Eleventh "remodelled" edition. First map may be missing. [and:] Italy; Second Part: Central Italy and Rome. 1900. Thirteenth revised edition. [and:] Italy, From the Alps to Naples. ("Abridged.") 1928. Third revised edition. [and:] London and Its Environs. 1900. Twelfth revised edition. [and:] Northern Germany, As Far as the Bavarian and Austrian Frontiers. 1900. Thirteenth revised edition. [and:] Norway, Sweden, and Denmark, with Excursions to Iceland and Spitzbergen. 1912. Tenth edition, revised and augmented. Some color illustrations pasted in. [and:] Palestine and Syria. 1898. Third edition, revised and augmented. [and:] Paris and Its Environs. 1900. Fourteenth revised edition. [and:] The Rhine, From Rotterdam to Constance. 1900. Fourteenth revised edition. [and:] Russia, with Teheran, Port Arthur, and Peking. 1914. With no additional editions noted, this appears to be a first edition. Closed tear to front fold-out map. A newspaper notice detailing the upcoming new Russia guide book is pasted onto the blank page facing the half-title page. A few pencil notations throughout. A very nice, crisp copy. [and:] South-Eastern France, Including Corsica. 1898. Third edition. [and:] Southern Germany, Including Wurtemberg and Bavaria. 1895. Eighth revised edition. Gouge to front cover. [and:] Spain and Portugal. 1901. Second edition. [and:] United States. 1909. Fourth revised edition. From the library of American film actor Glenn Ford.

John Banks. The Innocent Usurper: or, The Death of the Lady Jane Gray. A Tragedy. London: Printed for R. Bentley, at the Post-House, in Russel-street, in Covent-Garden, 1694.

First edition. Small quarto. vi, 60 pages.

Modern plain gray wrappers. Scattered minor foxing. Headlines and pagination occasionally shaved. Tobacco burn at pp. 30-31. Very good condition.

"This play was prohibited the stage on account of some mistaken censures and groundless insinuations that it reflected on the government..." (David Erskine Baker: Biographia Dramatica, p. 326).

Edward Barnard. The New, Comprehensive and Complete History of England: from the Earliest period of Authentic Information, to the Middle of the Year MDCCLXXXIII. London: Alex. Hogg, 1782.

First edition. Folio. iv, 712 pages. Frontispiece. Three maps, one folding. Over 100 copper plate engravings. Index.

Attractive twentieth-century full calf binding. Rectangular inlaid leather to boards. Tape repair to several leaves and plates. Near fine.

Issued to subscribers in seventy weekly installments.

ESTC, N5822.

Joshua Barnes. The History of the That Most Victorious Monarch Edward IIId, King of England and France, and Lord of Ireland. And First Founder of the Most Noble Order of the Garter: Being a Full and exactly Account of the Life and Death and the Said King, Together with That of His Most Renowned Son Edward, Prince of Wales and of Aquitain Sirnamed the Black-Prince. Cambridge: Printed by John Hays for the Author, 1688.

First edition. Folio. [16], iv, 911 pages. Title page printed in red and black. Portrait frontispiece and three engraved portraits

Full polished calf, rebacked to style. Six raised bands with two gilt-stamped red leather title labels. Blind-stamped rules and decorations to boards. Leather is worn and scarred, with corners renewed. Hinges cracked, but binding quite sturdy. Pages bright. Bookplate of George Thornhill. Generally very good.

ESTC R7544. Wing B871.

William Blackstone. Commentaries on the Laws of England. Oxford: The Clarendon Press, 1765-1769.

First edition, with the "Supplement to the First Edition" which was issued later and is usually lacking. Four quarto volumes. viii, 473; 520, xix; 455, xxvii; 436, vii pages. Index. With the engraved tables of "Consanguinity" and "Descents" in Volume II.

Contemporary full calf. Raised bands. Leather title labels to spines with gilt lettering. In a custom slipcase with felt-lined compartments for each volume. Protective fabric jackets for each volume with title number in gilt on spine. The spine of the slipcase is in leather with gilt lettering and shows some staining. Hinges cracked, joints tender, but bindings are tight. Internally clean and fresh. A bright set, in very good condition.

"The volumes were not all issued at once, but followed one another at different times during a period of four years. They were printed at the Clarendon Press, which Blackstone, when appointed a delegate in 1755, had 'found languishing in a lazy obscurity,' and whose quickening was in no small measure due to his 'repeated conferences with the most eminent masters, in London and other places, with regard to the mechanical part of printing,' his recommendations, and to his own examples of good typography supplied in the Magna Charta, published in 1758, and in this his magnum opus" (Grolier Club).

ESTC, T57753. Grolier Club: Bibliographical Notes on One Hundred Books Famous in English Literature, 121.

Ralphe Brooke. A Catalogue and Succession of the Kings, Princes, Dukes, Marquesses, Earles, and Viscounts of This Realme of England Since the Norman Conquest to This Present Year 1622. Together with their Armes, Wines, and Children; the times of their Deaths and Burials with many of their memorable Actions. Collected by Raphe Brooke, Esquire, Yorke Herauld, and by him inlarged, with amendment of divers faults, committed by the Printer, in the time of the Authors Sicknesses. [London]: [Printed by William Stansby], 1622 altered to 1633 by hand.

Second edition. Folio. [6], 392, [2] pages. Title within woodcut architectural border and profusely illustrated with woodcut coats of arms.

Contemporary vellum with front board detached between pages [4] and [5]. Contents with some scattered foxing and toning, otherwise tight and sound. With the library mark of John Sparrow, noted English book collector, on the front pastedown. Very good.

Second edition of Brooke's famous and controversial catalog of English nobility. Ralphe Brooke (1553-1625) was an English Officer of Arms in the reigns of Elizabeth I and James I. The first edition was published in 1619 by William Jaggard, best known for printing and publishing the First Folio edition of Shakespeare's plays, and was full of errors, for which Brooke refused to take responsibility. The second edition (not printed by Jaggard) was Brooke's attempt to correct the mistakes of the first edition (though his name is misspelled on the title page "Raphe"). It was later proved that Brooke was indeed responsible for the mistakes in the first edition.

Cedula de S. M. para el Establecimiento de la Real Compañia Maritima de 19 de Setiembre de 1789. Madrid: n.p., 1789.

Presumed first edition. Signed at the end with the paraph of Antonio Valdés, minister of the Spanish Navy. Quarto. 44 pages. One color plate of a maritime flag, inserted. Text in Spanish.

Full modern vellum with black lettering to spine. Text printed on laid paper. Vellum yellow and foxed; boards bowed. Chip to title page at lower spine-edge corner. Shallow horizontal folds throughout. Most lower corners also have a shallow crease. Except for one spot, contents are quite bright. Very good or better.

Samuel Clarke. The Life and Death of William, Surnamed the Conqueror. King of England, and Duke of Normandy. Who dyed Anno Christi, 1087. London: Printed for Simon Miller at the signe of the Star, at the West end of St. Pauls, 1671.

Twelvemo. Engraved woodcut frontispiece, title, [1, blank], 1-18, 91, 20-40, 37-39, 36. Mispaginated.

Modern plain, stiff paper boards with a printed label adhered to the front cover. New endpapers. Significant soiling and paper loss to the fore-edge margin of the textblock, most noticeable on the terminal pages. Scattered very minor contemporary marginalia, including the title page. Though the pagination is technically incorrect, the catchwords match. A very good copy of an intriguing antiquarian title.

[Coins]. Edict du Roy Portant Novvelle fabrication d'especes d'argent. Paris: Sebastien Cramoisy, 1641.

Twelvemo. 131, [10] pages. Index. Examples in woodcut of 197 European coins, obverse and reverse.

Later full calf over boards. Raised bands. Gilt designs and morocco title label to spine. Marbled endpapers. Some toning to the pages. Very good.

A Complete History of England: With the Lives of All the Kings and Queens Thereof; From the Earliest Account of Time to the Death of His Late Majesty the King William II - In Three Volumes. London: Printed for R. Bonwicke, et. al., 1719.

Second edition, corrected and with amendments and additions. Three folio volumes, complete. 640 plus index; 792 plus index; 855 pages plus index. Title pages lettered in red and black. Full-page engravings throughout.

Full polished calf with rectangular leather insets to all boards, and with blind-tooled rules, borders, and decorations. Gilt spines with six raised bands and red morocco title label. Leather quite rubbed and worn. Bindings sturdy, but all volumes have cracked and splitting joints; front hinges of Volumes II and III starting. Minor toning to pages. "Levenside" labels mounted to all front pastedowns. Overall, an imposing set in very good condition.

The first two volumes were compiled by John Hughes (1677-1720) with contributions from several authors, including John Milton and Francis Bacon. Volume III was written (anonymously) by White Kennet, Bishop of Peterborough (1660-1728).

ESTC T145259.

Eduardi Corsini. Institutiones Philosophicæ ad Usum Scholarum Piarum. Volume I Only. Bononiæ [Bologna]: Ex Typographis Laelii a Vulpe, 1741.

An early edition. One small octavo volume, this appears to be Volume I of a five-volume set. lxxxxii, 398 pages. Text in Latin.

Old mottled calf. Flat spine has two red title labels: one, with gilt-stamped title, has been amateurishly repaired, and one has lettering rubbed out. All edges red. Marbled endpapers. Extremities rubbed. Some minor spotting throughout. Old inked ownership name on title page. Very good.

[Hernán] Cortés. De Insulis nuper inventis Ferdinandi Cortesii ad Carolum V. Rom. Imperatorem Narrationes, cum alio quodam Petri Martyris ad Clementem VII Pontificem Maximum confimilis argumenti libello. His Accesserunt Epistolæ duæ.... Cologne: Melchoir Novesiani, 1532.

Second Latin edition. Small folio. 82 leaves, unpaginated. Title with engraved border of twenty-five coats of arms and a portrait of Charles V, this portrait repeated on leaves A1 and F1. At the end is printer Arnold Birckman's device of two foxes shaking hands over a brood of chickens. Text in Latin.

Full contemporary vellum over limp boards. Inked title to spine. Scattered throughout are inked notations in the margins from a contemporary hand, some of the letters, however, have vanished because of the trimming of the pages for a later binding of this copy. Minor darkening of the pages, some wrinkling to the vellum. Overall a very attractive copy in very good condition.

"Contains the 'De Insulis' of Martyr, the second and third letters of Cortes, with the two dedications, &c., as in the editions of 1524; also missionary reports, here first published, and reprinted in 1543" (Sabin).

"The Epistolæ referred to on the title-page are the celebrated Letters of Martin de Valencia and Bishop Zumarraga, giving an account of the Franciscan schools in Mexico, their teachers and the Indian converts - here printed for the first time... (Quaritch).

HV Jones, 21. Bernard Quaritch, A Catalogue of Geography, Voyages, Travels, Americana, p. 44. Sabin, 16949.

[Samuel Daniel]. S. D. The Collection of the History of England. London: n.p. [Nicholas Okes], 1621.

Early edition. Tall octavo. 222 pages.

Half-bound in modern sheep over marbled paper boards. Gilt-stamped leather title label to spine. Leather rubbed and flaking, especially along extremities. Pages remarkably bright, with only very occasional spotting. A small amount of paper loss to dedication page. A better than very good copy.

An early history of England, encompassing Roman times to Edward III. Quite popular when originally published in 1618.

ESTC S107341. STC 6249.

Domesday Book. [London, 1783].

Two folio volumes, 382 leaves; 450 pages. No title pages, as issued.

Full contemporary calf. Raised bands. Rebacked in olive leather with polished morocco title labels to spines. Some scuffing to boards and bumping to corners. Hinges cracked, but bindings tight and square. Endpapers browning at edges. Front free endpaper to Volume I detached but present. Armorial bookplates to front pastedowns of Eustachius Strickland, author and barrister. Later inked presentation inscription (dated 1854) to the Rev. Robert Machell on the front free endpapers of each volume. Also, penciled name of yet another previous owner (dated 1993) to the front pastedowns - in the same hand are light penciled notations of a bibliographic nature concerning the book. Very good.

"The Domesday Book is the most ancient record in the [British] kingdom, and the register from which judgment was to be given upon the value, tenure, and services of the lands therein described. It was made in consequence of a survey order by William the Conqueror, and completed in 1086. Hume calls it the most valuable piece of antiquity possessed by any nation" (Lowndes and Bohn). The two volumes published in 1783 marked the first time this work had been printed in its entirety. There were no title pages issued at this date. A third volume of indices was published in 1811; and a forth volume, which included the Boldon Book, the Exon Domesday, etc., came out in 1816. Lowndes and Bohn note that "vols. 1 and 2, 1783, were never reprinted, but titles printed for them in 1816, and again in 1833."

ESTC, T97297. William Thomas and Henry George Bohn, The Bibliographer's Manual of English Literature, III, 659.

James E. Doyle. A Chronicle of England, B.C. 55-A.D. 1485. London: Longman, Green, Longman, Roberts, & Green, 1864.

First edition. Quarto. viii, 462 pages. Eighty-one illustrations. Index.

Original full straight-grained green morocco. Gilt borders to boards. Inlaid red morocco between double raised bands; gilt lettering and designs to spine. All edges gilt. Marbled endpapers. Hinges tender. Some minor rubbing to joints and extremities. Near fine.

English engraver Edmund Evans was acclaimed for his meticulous and colorful wood-engraved book illustrations. For A Chronicle of England, James E. Doyle provided the art.

Martin Hardie, English Coloured Books, 270.

Eusebius Pamphili. De Demonstratione Evangelica Libri Decem [with] Praeparationis Evangelicae Libri Quindecim. Cologne: Mauritii Georgii Weidmanni, 1688.

Editio Nova. Includes his Liber Contra Hieroclem and Adversus Marcellum Ancyrae Eipscopum. Two folio volumes. [viii], [1]-24, [xii], [1]-548, 196, 82 pages (notes); [xvi], 856 pages, [xxiv]. Parallel texts in Greek and Latin.

Bound in full period vellum with hand-lettered spine titles. Minor soil to covers; corners bumped. Vellum of second volume is cracked along spine and joint and has been repaired. Moderate foxing to title page, else clean. All quite tight and presentable. Both volumes very good.

Eusebius (c. AD 260-c. 340), Greek ecclesiastical historian, is known as the father of church history. "The apologetic writings of Eusebius are the Praeparatio Evangelica [...] and the Demonstratio Evangelica [...]. They are both, but especially the former, a rich storehouse of information on antiquity, particularly on the philosophy and religion of the Greeks" (Seyffert. Dictionary of Classical Antiquities).

John Fenn. Original Letters, Written during the Reigns of Henry VI, Edward IV, and Richard III, by various Persons of Rank and Consequence; containing many curious Anecdotes, relative to that turbulent and bloody, but hitherto dark, Period of our History; and Elucidating, not only Public Matters of State, but likewise the Private Manners of the Age.... London: G. G. J. and J. Robinson, 1787, 1789; and London: John Murray, 1823.

Second edition, Volumes I and II (bound together); first edition, Volumes III, IV, and V. Five octavo volumes in four. lxxxvii, 301, 363; xxxv, 451; xxxii, 478; lxxvi, 472 pages. Frontispieces, some in color. Plates. Parallel mediaeval and modern texts.

Uniform nineteenth-century binding, half morocco over cloth boards. Raised bands. Gilt lettering to spines. Marbled endpapers. Armorial bookplates to front pastedowns of Henry Edward Bunbury, 7th Baronet (1778-1860) of Stanney Hall. Corners bumped; extremities rubbed. Some foxing to plates and title pages. Overall, a sound and tightly bound set in very good condition.

When English antiquary John Fenn purchased a collection of letters relating to the Paston family (1422-1509) he set about publishing them. The first two volumes proved such a success that two years later he published another batch - Volumes III and IV. Some time later, after his death, his son brought out a fifth and final volume.

Henry Stanley Bennett, The Pastons and Their England, xx. ESTC, N10150, T149304.

John Foxe. Acts and Monuments of Matters Most Special and Memorable, Happening in the Church; with an Universal History of the Same. London: the Company of Stationers, 1684.

Ninth edition. Three folio volumes. [124], 895; 551, 131; 959, [45] double column pages. Frontis portrait of Foxe. Red and black lettering to title page. Three folding plates. Engraved illustrations in text throughout.

Modern half leather over marbled boards. Raised bands. Gilt lettering to spines fading. Some light foxing. Occasional marginal notations. Custom slipcases. Ex-library rubber stamp marks on first two and final page of each volume. A handsome, clean set in very good condition.

"In his popular 'Book of Martyrs,' John Foxe (1516-87) presents the ordeals of early English Protestants in the context of the persecution and martyrdom of early Christians under the Romans, and contributes to the formation of England's national Protestant identity" (Cressy & Ferrell).

Cressy & Ferrell, Religion and Society in Early Modern England, 32. ESTC, R3576.

John Froissart. Chronicles of England, France and the Adjoining Countries, from the Latter Part of the Reign of Edward II to the Coronation of Henry IV. Newly Translated From the French Editions, with Variations and Additions from many Celebrated Manuscripts, by Thomas Johnes. Cardiganshire: Hafod Press, 1803-10.

First Thomas Johnes edition. Five quarto volumes. xxiv, 835; xxvi, 744; xx, 656; xx, 692; 221 pages. Index. List of plates. Sixty engraved plates, two of which are maps.

Full contemporary calf. Raised bands. Gilt lettering to morocco title labels on spine. Rebacked. Some hinges cracked; all joints tender, two cracked. Internally clean and sound, all plates slightly foxed, with slight offsetting to adjacent pages. Ex-library, with markings to pastedowns and verso of title pages. Very good.

This is the first English translation of Froissart since the 1500s. Thomas Johnes took it upon himself to oversee the printing of his translation himself and built the Hafod Press on his Welsh estate. Volume I of Froissart's Chronicles was the first book released with the Hafod imprint; and the final supplemental Volume V, one of the last.

Roderick Cave, The Private Press, 67-8.

Thomas Gaspey. The History of England from the Text of Hume and Smollett; Continued to the Present Time by Thomas Gaspey, Esq. London, Edinburgh and Dublin: J. & F. Tallis, [n.d.].

Twenty-three quarto volumes. Illustrated with numerous engravings of English personages.

Uniformly bound in the publisher's red cloth with gilt titles and decoration with additional decorative blind-stamping. Bindings somewhat worn, with rubbed edges and corners. Spine extremities worn, with the spine also darkened on three volumes. Overall, a very good set of a wonderfully illustrated edition of English history.

Two Histories of England published in London by J. Johnson, et al., 1809, including: Grafton's Chronicle; or History of England. To Which is Added His Table of the Bailiffs, Sheriffs, and Mayors, of the City of London. From the Year 1189, to 1558, Inclusive. Two quarto volumes. xvi, 677; 568, plus table and index. [and:] Hall's Chronicle; Containing the History of England, During the Reign of Henry the Fourth, and the Succeeding Monarchs, to the End of the Reign of Henry the Eighth, in Which are Particularly Described the Manners and Customs of Those Periods. Carefully Collated with the Editions of 1548 and 1550. Quarto. 868 pages, plus index. Uniformly bound in contemporary half calf over marbled boards. Gilt lettering on morocco title labels to spines. Spines faded. Scuffing to the extremities, some rubbing to boards. Moderate foxing throughout. Hinge of Hall's cracked. Armorial bookplates to pastedowns. Very good. Reprints, respectively, of Richard Grafton's 1569 A Chronicle at Large, and meere History of the Affayres of England..., and Edward Hall's 1548 The Union of the Two Noble and Illustre Families of Lancastre & York....

William Habington. The Historie of Edward the Fourth, King of England. London: Printed by Tho. Cotes, for William Cooke, 1640.

Folio. [4], 232 pages. Lacking frontispiece.

Contemporary full leather with wear. Rebacked and recornered. Pages are toned with foxing and thumbing. Several leaves have small tears, some repaired with tape. Chips to edges and corners of a few leaves. One-inch hole rubbed through leaf next to publisher's device at rear. Bookplate on front pastedown. Overall, a good copy.

Edward Hall. The Prosperous Reigne of Kyng Edward the Fourth. [London: Rychard Grafton, 1550.]

The entirety of chapter IV of Edward Hall's The Union of the Two Nobel and Illustre Families of Lancastre and Yorke, bound separately. The inclusion of the indexed table suggests this to be from the 1550 printing, as per the English Short Title Catalogue.

Early half morocco over marbled boards. Gilt lettering to spine. Heavy rubbing to corners resulting in loss of much of the leather. Backstrip crumbling. Rear hinge tender. Top board detached, but present. Lengthy notations to blank preliminary page in a contemporary hand; several other short notations in ink. Some mild dampstaining. Three pages showing slight tearing to bottom corner, two resulting in minimal loss, not affecting text. Overall, in very good condition.

Edward Hall's history provided significant source material for Shakespeare's English plays.

ESTC, S120059. STC, 12723.

[Heinrich Henning, Johann Jacob Hoffman. Johann Peter Lotich]. Historia Augusta Imperatorum Romanorum a C. Julio Caesare usque ad Josephum Imperatorem Augustissimum. Amsterdam: Apud Stephenum Roger, 1710.]

Folio (14.5 x 9 inches; 368 x 228 mm). [81] of 83 leaves, each with two engraved images of Roman and Holy Roman Emperors, all approximately 5.125 x 5 inches (122 x 130 mm); many of the plates interleaved with laid paper to prevent offsetting. Laid in at front are two slips of laid paper (one slip with 1822 watermark), one slip of wove paper, and two bifolia of laid blue paper (with 1861 watermark), all of which have contemporary manuscript notes and indices. Bound without title or letterpress pages.

Quarter calf over late-eighteenth-century marbled boards, badly abraded, rounded corners with remnants of calf cornerpieces and pasteboards exposed, brown book tape over perished spine. Ownership inscription of "Paul White, 1794," to front free endpaper. Some soiling, spotting, and foxing, primarily to margins. A few leaves standing proud; leaves [46] and [47] and rear free endpaper disbound. Front board loose. A well-used but respectable copy of these popular images.

This suite of engravings of Roman, Eastern Roman, and Holy Roman Emperors based upon a collection of medallions owned by Christina, Queen of Sweden (1629-1689), was initially included in a work edited by Henning and published in Rome and Trier in 1696 (Imperatores Romani a Julio Cesare, usque ad sacratissimum Imperatorem qui nunc rerum potitur, carmine perpetuo descripti). Evidently a popular subject, the engravings were reproduced in several subsequent books and editions published in the first part of the eighteenth century, including Historia Augusta Imperatorum Romanorum.

David Hume and Tobias Smollet. The History of England. London: C. Correll, 1811.

Fifteen twelvemo volumes. Volumes I through IX contain Hume's The History of England, from the Invasion of Julius Cæsar to the Revolution of 1688. Frontispiece. Index. Volumes X through XV contain Smollet's The History of England, from the Revolution in 1688, to the Death of George II. Designed as a Continuation of Hume. Frontispiece. Index.

Full contemporary calf. Gilt designs and lettering to spines. Marbled edges. Front hinge to Volume X cracked, frontispiece loose. Some signatures starting. Overall, very good.

John Lewis. The History of Great-Britain, From the First Inhabitants thereof, 'till the Death of Cadwalader, Last King of the Britains; and of the Kings of Scotland to Eugene V. London: F. Gyles, Woodman and Lyon, and C. Davis, 1729.

First edition. Folio. [6], 71, [1]; 251, [1]; [22], 52 [i.e.46], [2]; [32] pages.

Contemporary full leather with gilt ruled boards and gilt decoration on spine. Leather spine label with gilt ruling and titles. Page edges stained red. Rubbed and scuffed with worn corners. Toning and foxing to endpapers with remarkably white pages showing minimal foxing throughout. Hinges tender. Title page in red and black. The introduction, which constitutes Book I, has separate register and pagination. The breviary has a separate title page dated 1573, the original date of publication, and separate register and pagination. In The breviary pages 9-46 are misnumbered 13-32, 35-52. The final sixteen leaves contain "A table of principal matters in this history." Overall very good condition.

Thomas Maddox. The History and Antiquities of the Exchequer of the Kings of England, in Two Periods: to Wit, From the Norman Conquest, to the End of the Reign of K. John; and From the End of the Reign of K. John, to the End of the Reign of K. Edward II. London: William Owen, 1769.

Second edition. Two quarto volumes. xxx, 801; 477, unpaginated index.

Contemporary full mottled calf. Raised bands, morocco title labels with gilt lettering to spine. Marbled endpapers. Marbled edges. Armorial bookplates to front pastedowns and verso of front free endpapers. Hinges and joints broken; boards holding by bindery cords. Some bumping and scuffing to binding. Overall, a very good set.

Maddox's research into revenue and administration records has become an important source for scholars of Medieval history. The first edition came out in 1711, without an index. In 1741 the index was issued alone. This second edition of 1769 is deemed the "best edition," as it was published with Maddox's full text as well as the index.

ESTC, T97072.

Mao Zedong ("Chairman Mao"). [Quotations from Chairman Mao, in Chinese]. N.p., n.d. [1964].

First edition. Sixteenmo. 2 (Preface), 2 (Table of Contents), 250 pages. Frontispiece portrait of Mao. Half-title in red; title page in red and green. This copy also has the first state of the one-page endorsement by Lin Biao, leader of the People's Liberation Army, which was subsequently removed. Thirty chapters.

Original white printed wrappers with red star and text to spine, and red rectangular title field with black text to front wrapper. Moderate soiling to the wrappers. A previous owner has changed the title of Chapter 22 in the table of contents and on the chapter heading itself in blue ink; four lines in Chapter 22 have been crossed out in blue ink. Very good.

"The Political Department of the PLA [People's Liberation Army] published the first edition of Quotations from Chairman Mao in May 1964, and over the next three years issued no less than a billion copies of that soon-to-be-fetishized 'little red book.' It was the Defense Minister Lin Biao who orchestrated mass campaigns to study Mao's writings" (Meisner). Some years later, after Lin Biao's purported involvement in an assassination attempt against Mao, the people of China were told to remove Lin Biao's endorsement page from the front of their copies of the book, making intact copies such as this quite scarce.

Maurice J. Meisner, Mao Zedong, 164.

[Mao Zedong]. Quotations From Chairman Mao. Peking: Compiled by the Central Political Department, printed by 2207 printing factory of the People's Liberation Army, August, 1965.

First complete edition (third edition). Sixteenmo. [iii], 270 pages. Frontispiece portrait of Mao. Lin endorsement (uncorrected state). The Lin endorsement sheet curiously repeats the text error found in the 1964 first edition, thus quite rare as most known copies of this edition have the endorsement leaf corrected (when still intact).

Original red vinyl with incised title and star on front cover. Sewn bands at spine ends. Cover slightly soiled, else a very good copy.

There were an estimated 6.5 billion copies of Mao's "Little Red Book" printed making this early, complete copy quite rare. This superb copy is complete with the original certificate for quality inspection by "Agent 12" in a pocket on the inside rear cover, asking owners if any missing or blank pages are found to return the copy to Beijing for a replacement.

William Martyn. The Historie, and Lives, of Twentie Kings of England. London: W. Standby, 1615.

First edition. Small folio. [28], 420, [72] pages. "The Successions of the Dukes and Earles of this Kingdome of England" is bound in at the end, unpaginated, with a separate title page (W. Stansby, 1615).

Early full calf over boards. Expertly rebacked with new backstrip. Raised bands; morocco title label to spine with gilt lettering. Several inked notations to title page and final two pages in an early hand. Very good.

ESTC, S114245. STC, 17526.

Donald Mennie. The Pageant of Peking. Shanghai: A. S. Watson, 1920.

First edition, limited to 1,000 copies of which this is number 436. Folio. Forty pages with sixty-six photographic plates.

Publisher's blue silk with gilt titles and decoration to front. Lightly rubbed and soiled with minor fading to spine and edges. Spine ends worn. Spotting along top edge and moderate foxing throughout. Overall, still a bright, attractive copy.

John Milton. The History of Britain, that part especially now call'd England... London: Printed by J[ohn]. Macocke. for James Allestry, 1670.

First edition, first issue. Quarto. Title page, [1, blank], 1-308, [1-53, Index], [1, blank] pages, Errata.

Contemporary blind-paneled calf, rebacked and recornered in morocco with spine titles (including shelf mark) in gilt. Textblock edges sprinkled red. New endpapers. Lacking the portrait frontispiece. Title page and following two leaves rehinged. Slight cracking to leather. Moderate edge wear. Contemporary ink ownership inscription from William Daniell of Magdalen College. Minimal scattered foxing. A very good copy.

Grolier, Wither to Prior 609. Pforzheimer 710. Wing M2119.

Pair of Rare Nineteenth-Century Books Dealing With Prisons and Prisoners in England, including: Joseph Adshead. Prisons and Prisoners. London: Longman, Brown, Green, and Longman, 1845. First edition. Quarto. xvii, [13]-320 pages. With presentation inscription by the author on the third front free endpaper. With frontispiece engraving by George Cruikshank and folding plate of Pentonville Prison. [and:] Henry Mayhew and John Binny. The Criminal Prisons of London and Scenes of Prison Life. London: Griffin, Boh, and Company, 1862. First edition. Quarto. xii, 634 pages. With numerous illustrations from photographs including a folding frontispiece of London traffic as seen from the top of St. Paul's cathedral. Though not part of a set both volumes have been uniformly bound in half leather and buckram over boards. Decoration is stamped in gilt within six compartments between five raised bands on the spine. Titles are stamped in gilt on morocco labels. Both volumes are also uniform in wear and condition displaying shelf wear at the extremities and slight scuffing to the boards. The joints are tender and are just starting to crack. In fact, the front board of The Criminal Prisons of London has become detached. The contents of both volumes are sound. Overall, both are in very good condition. From the library of American film actor Glenn Ford, with his armorial bookplate.

Walter Ralegh. The History of the World. London: Robert White, John Place, and George Dawes, 1666.

Folio. [58], 1143, [53] pages. Frontispiece, portrait, maps, chronological table, alphabetical tables.

Full early calf, rebacked. Raised bands. Gilt lettering to spine. Front hinge weak. Pages and plates clean and bright. Overall, a very good copy.

According to Brushfield's The Bibliography of Sir Walter Raleigh, this later edition of History of the World was the first appearance of "The Life of Sir Walter Raleigh," which is issued here as an introductory essay.

ESTC, R182348.

Walter Ralegh. The History of the World. London: Robert White, T. Basset, J. Wright, R. Chiswell, G. Dawes and T. Sawbridge, 1677.

Folio. 44, 51-54, [44], 708, 737-885, [46] double-columned pages. Text complete and continuous despite pagination. Frontispiece, portrait, maps, alphabetical table, chronological table.

Full early calf, rebacked with restored corners. Raised bands. Gilt lettering to morocco title label on spine. Front hinge weak. Inked name of previous owner to front free endpaper. Pages and plates clean and bright. Overall, a very good copy.

Brushfield, 2. ESTC, R33510. Sabin, 67568.

[Paul] Rapin de Thoyras. The History of England. London: James, John and Paul Knapton, 1732.

Second edition. Two folio volumes. viii, 849; 807, plus sixteen-page index, errata, and publisher's ads. Translated from the original French and with additional notes by the Reverend Nicolas Tindal. Portrait frontispiece in Volume I. Title pages have engraved vignette and red and black lettering. Maps, genealogical tables, and engraved chapter headings and initials throughout.

Full old leather, rebacked to style with six raised bands and gilt lettering and rules. Boards quite scarred and worn. Title page of Volume I has a small hole and a repaired tear at fore-edge. Pages remarkably bright with only a minimal amount of foxing throughout. Very good.

Paul de Rapin-Thoyras (1661-1725) was a French historian who wrote under the sponsorship of English patronage. His great work, L'Histoire d'Angleterre, originally published at the Hague in 1724, was the culmination of seventeen years' work and was the only English history available in France at the time of its publication. These two volumes cover the period from ancient Britain to the interregnum following the reign of James II. Also included is de Rapin's "A Dissertation on the Whigs and Torys."

Francis Sandford. A Genealogical History of the Kings of England, and Monarchs of Great Britain, & c. From the Conquest, Anno 1066, to the Year 1677. [London] In the Savoy: Thomas Newcomb, 1677.

First edition. Small folio. [12], 82 pages, 83-94 leaves, 95-578 pages. Many plates, and illustrations in the text, some later hand-colored. Extra-illustrated with over a dozen additional plates and embellishments.

Early full embossed calf over boards. Blind-stamped designs to boards with depressed large diamond device bordered with gilt tooling. Rebacked, retaining early boards. Gilt lettering on morocco title label to spine. Marbled endpapers. Restoration to title page, as well as a few internal pages. Some dampstaining, mostly affecting the rear half of the text block. Overall, a very good copy.

Included is a typed letter of provenance from a previous owner, dated 1939. It notes that an earlier owner, renowned eighteenth-century English antiquary George Allan, had been presented with many of the engravings added to this work; indeed, the plates in question have been inscribed on the verso from the esteemed English antiquary and paleographer Thomas Astle to his friend George Allan. A wonderful association item.

ESTC, R8565.

Hartmann Schedel. Liber chronicarum. Nuremberg: Anton Koberger for Sebald Schreyer and Sebastian Kammermeister, 12 July 1493.

First edition of the Nuremberg Chronicle, preceding the German language edition (23 December 1493) by just over five months. Large folio (18.5625 x 13 inches; 472 x 331 mm). 327 (of 328) leaves ([20], CCXCIX, [1], [2, blank], [5] leaves). Complete with final blank leaves but without the blank leaf following the De Sarmacia. This copy contains the three numbered leaves CCLVIIII, CCLX, and CCLXI, blank except for headlines, and the five additional unnumbered leaves (bound at the end) containing the description of Poland, De Sarmacia regione, and the laudatory verse on Maximilian. Gothic type, sixty-four lines plus headline. Table and parts of the text in double columns. Woodcut title and 1,809 woodcut illustrations, of which 1,164 are repeats, from 645 blocks (Sydney Cockerell's count in Some German Woodcuts of the Fifteenth Century (Hammersmith: Kelmscott Press, 1897), pp. 35-36) by Michael Wolgemut, Wilhelm Pleydenwurff, and their workshop, including (supposedly) the young Albrecht Dürer, including double-page maps of the world and of Europe. The portrait of Pope Joan ("Johannes Septimus," verso of leaf CLXIX), usually missing, is present and unmutilated. The verso of leaf CCLVII and the recto of leaf CCLVIII are in an early state, with most uppercase A's omitted (Koberger evidently ran out of this sort and printed about a quarter of this form before resupplying it). Two- and three-line pearled Lombard initials, seven- to fourteen-line capital spaces. Four- to eight-line pearled Lombard initials supplied in red in the Table, that on fol. [14] with black tracery. Rubricated through fol. XXXVI and on fols. XLIII and XLIV, in a additional few places. With early hand-coloring to some of the woodcuts.

Early sixteenth-century German blindstamped pigskin over wooden boards, expertly rebacked with the original spine laid down. One of two clasps. Early leather label on front cover lettered in manuscript in red and black mentioning the names of Ferdinand and Maximilian (Kaiser Ferdinand III and his son Kaiser Maximilian I?) and dated 1534. Title professionally strengthened and with a few repairs at outer margin, lower corner of fol. CCXXV renewed, just touching corner of woodcut on verso, several leaves with marginal tears or repairs, a few corners torn away, fols. XCVIII and XCIX remargined and probably supplied. Occasional staining and browning, marginal dampstaining to a few leaves at the beginning, occasional minor worming in the gutter and additional minor marginal worming at the end. Ink stamp of Ch. Favet and early ink ownership inscription at foot of preliminary leaf [2] and in a few other places in the text, a few early ink marginalia. Overall, a very tall copy in a wonderful near contemporary binding.

The most extensively illustrated book of the fifteenth century. The artists, Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson, Wilhelm Pleydenwurff, are mentioned in the colophon. The woodcuts comprise religious subjects from the Old and New Testament, classical and medieval history, and a large series of city views (including Augsburg, Bamberg, Basel, Cologne, Nuremberg, Rome, Ulm, Vienna), as well as a double-page map of Europe (fols. CCXCIX-[CCC]) and a large Ptolemaic world map (fols. XII-XIII). The text is a year-by-year account of notable events in world history from the creation down to the year of publication, including the invention of printing at Mainz, the exploration of the Atlantic and of Africa, as well as references to the game of chess, and to medical curiosities, including what is believed to be the first depiction of Siamese twins. The passage relating to the alleged discovery of America in 1483 written by Martin Behaim and Jacobus Canus appears on the verso of leaf CCXC.

BMC II, p. 437. Fairfax Murray, German, 394. Goff S-307. Hain *14508. Harrisse 13. Polain 3469. Proctor 2084*. Sabin 77523. Schreiber 5203. Updike, Printing Types, I, p. 65.

Diego Lopez de Sequeira. Ongemeene Scheeps-Togten en Manhafte Krygs-Bedryven te Water en Land, door Diego Lopez de Sequeira, als Kapitein Generaal en Gouverneur ter voortzetting van der Portugyzen Gebied en vryen Koophandel in de Oost-Indien, met IX Schepen derwaarts gedaan in't Jaar 1518. Boekverkoper: Pieter van der Aa, 1707.

Small octavo. 247 pages plus index. Numerous fold-out engraved plates and maps. Text in Dutch.

Full period blind-stamped vellum. Vellum soiled, worn, and somewhat desiccated. Boards slightly bowed. Hinges starting. Scattered foxing. Toning to some pages. Three fold-out maps detached but present. One plate torn at inner margin, not affecting image. In overall very good condition.

Sequeira was a sixteenth-century Portuguese admiral who eventually served as governor of Portuguese India from 1518-1522.

André L. Simon. Bibliotheca Vinaria. A Bibliography of Books and Pamphlets Dealing with Viticulture, Wine-Making, Distilling, the Management, Sale, Taxation, Use and Abuse of Wines and Spirits. London: Grant Richards, 1913.

First edition. Quarto. viii, 340 pages. Limited to 180 numbered copies, of which this is number 109.

Original cloth boards. Gilt lettering. Top edge gilt. Front hinge weak. Corners and bottom edge slightly bumped. Very good.

George William Spencer. A New, Authentic, and Complete History of England, From the First Settlement of Brutus in this Island, (Upwards of a Thousand Years before the Time of Julius Cæsar) to the Year 1795. London: Printed for the author, sold by Alex. Higg, 1793.

Folio. xvi, 884, 4 pages. Index. Frontispiece. Four folding maps. Over one hundred copper-plate engravings.

Full contemporary calf over boards. Gilt lettering on morocco title label to spine. Some minor dampstaining. Front hinge cracked. Armorial bookplate. Very good.

Published in eighty parts for subscribers.

ESTC, T106560.

Philip Dormer Stanhope, Earl of Chesterfield. Letters Written by the Late Right Honourable Philip Dormer Stanhope, Earl of Chesterfield, to His Son, Philip Stanhope, Esq ... Together with Several Other Pieces on Various Subjects. London: J. Dodsley,1774.

First edition, second issue (with "qui auroit" in line 16 of page 55, Volume I). Two volumes. Quarto. vii, 568; 606 pages. Frontispiece. Errata sheet.

Contemporary full calf binding over boards. Professionally rebacked. Raised bands. Original leather title labels with gilt lettering. Corners bumped. Very mild foxing throughout. Very good condition.

John Stow. Annales, or, A Generall Chronicle of England. Begun by John Stow: Continued and Augmented with matters Forraigne and Domestique, Ancient and Moderne, unto the end of the present yeere, 1631 by Edmund Howes, Gent. N.p. [Londini: printed by John Beale, Bernard Alsop, Thomas Fawcett, and Augustine Mathewes, impensis Richardi Meighen], 1631 [i.e. 1632].

An early edition of the Howes amendation. Folio. 1,087, plus 29 pages (with pagination mis-numbered throughout, this volume collates closely with ESTC S117586). Illustrated title page. Alphabetical Table. Inserted into this volume is a portrait frontispiece titled "John Stowe, Historian & Antiquarian" with a brief history of the man and his Chronicle, with the final line reading in part "Published May 10, 1792 by N. Smith."

Half leather binding over maroon-brown cloth; spine has five raised bands and gilt lettering, rules, and decorations. Marbled endpapers. Leather worn quite heavily, especially along edges, joints, and corners. Spine faded. Hinges cracked, but binding quite sturdy. Title page has been repaired, trimmed along ruled border, and laid down. Many leaves throughout unprofessionally repaired, with some loss to the text of the final printed leaf. Occasional dampstaining. Bookplate to front pastedown. Good to very good.

Originally published in 1565 as Summarie of Englyshe Chronicles, this popular work, known commonly as Stow's Chronicle, was reprinted several times, with the Howes "amended edition" first appearing in 1615.

ESTC S117586.

John Stowe [Stow]. A Summarye of the Chronicles of Englande, from the first comminge of Brute into this Lande, unto this present yeare of Christ. 1570. Diligentlye collected, by John Stowe, Citizen of London. London: Thomas Marshe, 1570.

Originally published in 1565, with this possibly the third edition. Sixteenmo. [xx], 413 leaves, [20], pages.

Later nineteenth-century leather binding with titles stamped in gilt on the spine. Marbled endpapers. Wear to the extremities of the boards with a small three-quarter-inch split in the joint at the top of the front board. Text block trimmed with some professional repairs to a few pages. With a typed note mounted to the rear pastedown indicates this copy is from the library of J. O. Halliwell-Philipps, English author and book collector. All things considered, a handsome copy in very good condition.

Rapin de Thoyras. The History of England. Written in French by Mr. Rapin de Thoyras. Translated into English, with Additional Notes, by N. Tindal. London: John and Paul Knapton, 1743.

Third edition. Two folio volumes. viii, 849; 807 pages. Index. One page of publisher's ads. Frontispieces. Maps and many copper-plate engravings and illustrations in the text. Some plates and maps folding.

Full early calf, recently rebacked. Raised bands and gilt lettering to spines. Some mild scarring to the boards and bumping to the corners. Front hinge of Volume I cracked. Armorial bookplates to front pastedowns. Very good.

Originally published in eighty-four parts to subscribers.

ESTC, T140779.

Leon Trotsky. The History of the Russian Revolution. London: Gollancz, 1965.

Second printing of this later edition. Octavo. 1295 pages. Inscribed by film director Joseph Losey to actor Richard Burton: "For Richard / with affection / Joe / Christmas 1971 / Rome."

Rebound in full red leather with gold stamping on spine and gold top page edges. A near fine copy with only a few small abrasions.

Burton portrayed Trotsky in the 1972 film The Assassination of Trotsky which was directed by Losey. An interesting association item for the film enthusiast.

Polydori Vergilii. Urbinatis Anglicae Historiae Libri XXVI. Basileae: Aupod Io. Bebelium, 1534.

First edition. Folio. 610, [48] pages. Index. Woodcut printer's device on title page and the verso of final index page. Woodcut initials throughout. Text in Latin.

Early full calf over wooden boards. Ornate blind-stamping to boards. Corners restored. Rebacked in later calf; raised bands and gilt lettering to spine. Brass clasp catches to edge of top board, missing clasps. Front hinge and joint tender. Inked name of previous owner on front free endpaper. Inked notations in a contemporary hand to title page and occasional marginalia throughout. Some dampstaining to beginning and end of text block. Very good.

"The Historia Anglica of Polydore Vergil is the production of a learned Italian, the friend of Erasmus. [...] He resided in England nearly half a century (A.D. 1503-50), and his work, undertaken at the request of King Henry VIII, appeared at Basil in 1534. It was divided into twenty-six books, of which three relate to the reigns of Henry VI, Edward IV, and Richard III" (Gardiner).

Samuel Rawson Gardiner, Introduction to the Study of English History, 298.

Augustin de Zarate. Histoire de la Decouverte et de la Conquete du Perou. Traduite de L'Espagnol D'Augustin de Zarate, par S. D. C. Amsterdam: J. Louis de Lorme, 1700.

First edition in French. Two twelvemo volumes. 307; 408 pages. Folding map. In addition to the two frontispieces, there are thirteen engraved plates, two folding. Text in French.

Contemporary full calf over boards. Later morocco backstrips added. Raised bands, gilt lettering and designs to spines. Marbled endpapers. Some chipping to spines. Joints weak. Corners slightly bumped. Very good condition.

Augustin de Zarate arrived in South America in 1544 with Blasco Nuñez Vela, the first Viceroy of Peru. His position of Comptroller of Accounts made him privy to various scandals and impropriety, the details of which he felt his countrymen should know. After returning home, "Zarate set about the compilation of his work. His first purpose was to confine it to the events that followed the arrival of Blasco Nuñez; but he soon found that to make these intelligible he must trace the stream of history higher up towards its sources. He accordingly enlarged his plan, and, beginning with the discovery of Peru, gave an entire view of the conquest and subsequent occupation of the country, bringing the narrative down to the close of Gasca's mission" (Prescott). Zarate's work came out in 1555. It proved very popular and was widely translated; however, it wasn't until 1700 that the history was finally made available to a French-speaking audience.

Prescott, History of the Conquest of Peru, Vol. III, p. 299. Sabin 106259.

Three Biographies, including: Eve Curie. Madame Curie. Garden City: Doubleday, Doran & Company, 1937. First edition. Deluxe edition in slipcase, signed by Eve Curie, issued without dust jacket. Octavo. xi, 393 pages. Illustrated. Bookplate to front pastedown. Some sunning to spine. Some chipping and splitting to slipcase. [and:] E. C. Gaskell. The Life of Charlotte Brontë. New York: D. Appleton, 1857. First American edition. Two octavo volumes. viii, 285; vii, 269 pages. Frontispieces. Ads. Inked name of previous owner to front free endpapers. Some foxing. Corners slightly bumped. Wear to head and foot of spines. Very good. [and:] Woodrow Wilson. George Washington. New York: Harper & Brothers, 1897. First edition. Octavo. ix, 333 pages. Index. Illustrations by Howard Pyle and others. Binding cocked. Fading to spine. Very good.

[Pierre Bayle]. Pensees Diverses Ecrites a un Docteur de Sorbonne, a l'Occasion de la Cométe qui Parut au Mois de December 1680. Rotterdam: Reinier Leers, 1683.

Second edition. [2], 811, [15] pages.

Full contemporary vellum. Black lettering to spine. The paper of the front pastedown tearing along the vellum turn-ins. Vellum boards bowing somewhat.. Very good.

Bayle's famous treatise on popular superstition was prompted by the public's reaction to the Great Comet of 1680. "Assuredly, the most enigmatic and controversial, as well as probably the single most widely read and influential thinker of the Early Enlightenment, was the 'philosopher of Rotterdam' - Pierre Bayle (1647-1706). His pivotal role in the onset of the European Enlightenment has never been doubted" (Israel).

Jonathan Irvine Israel, Radical Enlightenment, 331.

Explicacion Clara y Sucinta de los Principales Misterios de Nuestra Santa Fé. Oracion Dominical, Mandamientos y Sacramentos en el Idioma Mexicano. Puebla: Imprenta del Hospital de S. Pedro, 1835.

First edition. Twelvemo. 266 pages. Errata sheet. Frontispiece. Text in Spanish and Nahuatl.

Contemporary polished morocco over buckram boards. Gilt lettering to spine (titling the book "Catecism Mexicano," with the initials at the base of M. R. M., a previous owner, attorney Modesto R. Martinez). Inked name of later owner, George Byron Hyde, an American physician who practiced in Mexico from 1889 until the time of the Revolution. Some scuffing to the boards. Binder's label to front pastedown. Very good.

Sabin, 23424.

Richard Hooker. The Works of the Learned and Judicious Divine, Mr. Richard Hooker, in Eight Books of the Laws of Ecclesiastical Polity. London: R.C., S.S., et al, 1705.

Folio. [10], 553 pages. Portrait, frontispiece.

Full contemporary calf over boards. Backstrip crumbling; boards detached. Significant scarring and bumping to the boards. Text block clean and fresh. Good.

ESTC, T70802.

Louis Richeome. Tableaux Sacrez des Figures Mystiques du Tres-Auguste Sacrifice et Sacrement de l'Eucharistie. Paris: Sonnius, 1601.

Twelvemo. [46], 518, [38] pages. Index. Fourteen engravings of Biblical scenes. Title page and initials in woodcuts. Text in French.

Later full calf over boards. Raised bands. Gilt designs and morocco title label to spine. Marbled endpapers. Joints weak. Armorial bookplate to front pastedown. Very good.

Ferdinand Strobel. Mysteria Fidei Sacro Missæ Officio Reverenter Audiendo.... Cologne: Peter Overradt, 1651.

Sixteenmo. Forty-one unpaginated leaves. Forty-eight numbered woodcuts illustrating the story of the Passion of the Christ. Parallel text in Latin and German.

Handsome nineteenth-century binding of full calf. Raised bands. Gilt tooling to boards and spine. Small ex-library label and armorial bookplate to front pastedown. Bookseller's catalog description neatly tipped to front free endpaper. Mild toning to the pages. Very good.

T. H. Fielding and J. Walton. A Picturesque Tour of the English Lakes, Containing a Description of the Most Romantic Scenery of Cumberland, Westmoreland, and Lancaster, with Accounts of Ancient and Modern Manners and Customs, and Elucidations of the History and Antiquities of that Part of the Country. London: R. Ackerman, 1821.

First edition. Quarto. vi, 288 pages. Forty-nine colored aquatints, including frontispiece and title vignette. List of plates. Index.

Half red morocco over cloth boards by Baytun. Raised bands; gilt lettering and designs to spine. Top edge gilt. Marbled endpapers. Slight discoloration to leather. Two small stains to top board. Moderate foxing throughout. Very good.

Abbey, 192.

George A. Fothergill. Twenty Sporting Designs With Selections from the Poets. Edinburgh: Neill & Co., for the Author, 1911.

Edition de Luxe, limited to 320 copies, of which this appears to be "5" of 10 special "Press copies" (as annotated in Fothergill's hand), signed by Fothergill on the limitation page. Small folio. xiii, 105 pages. With numerous pen and ink illustrations by Fothergill, most of which are full-page, plus five tipped-in plates.

Cloth backstrip over printed paper boards. Gilt lettering on spine dulled. Boards scarred with heavy wear to corners and fore-edges. Foxing to pages edges and endpaper. In generally very good condition.

A beautifully-designed book devoted to horses, fox-hunting, and sporting verse.

W. T. Greene. Parrots in Captivity. London: George Bell and Sons, 1884, 1884, 1887.

First edition. Three tall octavo volumes. x, 144; xiv, 111 plus index; viii,144 pages. "With notes on several species by the Hon. and Rev. F. G. Dutton." Eighty-one hand-finished color-printed wood-engraved plates by Benjamin Fawcett after A. F. Lydon. Plates measure 9.75 x 6.75 inches.

Dark blue-green cloth with gilt lettering to spines and a gilt image of a parrot to front boards; top edges gilt. Blue-green endpapers. Minor rubbing and scarring to boards; top corners of Volume III lightly bumped. Binding of Volumes I and II cracked but still quite sturdy. Very little foxing to Volume I, but moderate to heavy foxing throughout Volumes II and III. Rubber stamp and an inked notation to each pastedown. Considered complete in three volumes, as the supplement published in 1888 containing nine plates is almost never encountered. A very good set, with beautiful vividly-colored plates.

"An account of the habits of eighty-one varieties of parrots (including cockatoos, macaws, parakeets, etc.) with special reference to their behaviour in cage or aviary" (Zimmer).

Ferguson 10071. Fine Bird Books, p. 103. Nissen IVB 393. Whittell, p. 303. Wood, p. 368. Zimmer, p. 274.

Thomas L. McKenney, and James Hall. History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principal Chiefs. Embellished with One Hundred and Twenty Portraits, from the Indian Gallery in the Department of War, at Washington. Philadelphia: Published by Frederick W. Greenough, 1838 (Volume I); Published by Daniel Rice and James G. Clark, 1842 (Volume II); Published by Daniel Rice and James G. Clark, 1844 (Volume III).

First edition of McKenney and Hall's renowned portraits of American Indians. Second issue of Volume I (with title-page in BAL State C), second issue of Volume II (with title-page in BAL State B), and first issue of Volume III (with title-page in BAL State A). Three large folio volumes (19.6875 x 14.125 inches; 510 x 360 mm.). [2, title], [2, contents], [3]-4, [1]-202, [1], [1, blank], [203]-204; [2, title], [2, contents], [3]-237, [1, blank]; [2, title], [2, contents], [1]-196, [2, "The Genuineness of the Portrait of Pocahontas"] pages plus seventeen pages of lithographed facsimile signatures of the original subscribers, on nine leaves.

With 120 finely hand-colored lithographed plates, heightened with gum arabic, including three frontispieces after Peter Rindisbacher and Karl Bodmer, and 117 portrait plates after Henry Inman's copies of the original oil paintings mostly by Charles Bird King, drawn on stone by Albert Newsam, Alfred Hoffy, Ralph Tremblay, Henry Dacre, and others, printed and colored by J. T. Bowen and others. The "War Dance" plate is in BAL State D (with the caption "War Dance" and the imprint of F. W. Greenough, dated 1838), and the "Red Jacket" plate is in BAL State F (with the caption "Red-Jacket. / Seneca War Chief" and the imprint of E. C. Biddle, dated 1837), the order of the states being "all but arbitrary." Volume III with two lithographed maps ("Localities of all the Indian Tribes of North America in 1833" and "Present Localities of the Indian Tribes west of the Mississippi, showing the boundaries of the Indian Tribes in 1843") and one table ("Statement Showing the number of each tribe of Indians, whether natives of, or emigrants to the country west of the Mississippi, with items of emigration and subsistence. 1842 & 1843") printed on the recto of one leaf.

In this copy, the plates in Volume I are dated 1837 (with the imprint of E. C. Biddle) and 1838 (with the imprint of F. W. Greenough); the plates in Volume II are dated 1837 (with the imprint of E. C. Biddle), 1838 (with the imprint of F. W. Greenough), 1841 (with the imprint of J. T. Bowen), and 1842 (with the imprint of Daniel Rice and James G. Clark); and the plates in Volume III are dated 1842 and 1843 (all with the imprint of Daniel Rice and James G. Clark).

Expertly bound to style in half black morocco over original green morocco-grain cloth over heavy boards. Spines in seven compartments with six gilt-decorated raised bands, decoratively tooled in gilt in five compartments and lettered in gilt in the remaining two, front covers decoratively stamped and lettered in gilt, edges stained yellow and sprinkled green. Yellow coated endpapers. The cloth boards are slightly rubbed, with some discoloration. In Volume I, the front pastedown is renewed, there is foxing to the verso of the front free endpaper and front flyleaf, dampstaining to the lower corner of the front free endpaper and the front flyleaf; dampstaining to the lower edge of the rear flyleaf (which is creased vertically and browned, with a small chip at the lower edge), and rear free endpaper and pastedown. In Volume II, the front free endpaper, rear flyleaf, and rear free endpaper are renewed, and the upper and lower corners of the front flyleaf are dampstained. In Volume III, the front endpapers are foxed and browned, there is dampstaining to the lower margin of the front free endpaper and front flyleaf, and the rear endpapers are darkened and soiled at the edges, with a short tear to the lower margin of the rear pastedown.

In Volume I, the contents leaf is torn across, with an expert and almost invisible repair, just affecting a few letters; a tiny repair to the upper corner of the plate facing page 31 ("Push-Ma-Ta-Ha"); a five-inch tear to the plate facing page 59 ("Wesh-Cubb"), between the portrait and the caption, expertly and almost invisibly repaired. In Volume II, the frontispiece is just slightly shorter, with a one-inch tear to the lower blank margin, expertly repaired, and a slight horizontal crease across the lower blank margin. In Volume III, the frontispiece is one-half-inch shorter, remargined at the outer edge, just affecting the top edge of the image, with the black rule supplied in ink; there is a two-inch tear to the outer blank margin of pages 9/10. Occasional faint marginal soiling or foxing to the text, some very occasional slight offsetting from the text to the plate versos, very faint foxing to some plates. A few plates with tiny bits of color rubbed away. Overall, this is an exceptional copy, generally clean and fresh, with the coloring vivid and bright.

"As early as 1824, the practice was begun of taking portraits of the principal Indians who came to Washington, and depositing them in the War Department. They were chiefly painted by Mr. [Charles Bird] King, an artist of high repute, who has been remarkably successful in transferring to his canvas the strong lineaments of the Indian countenance. Col. M'Kinney [sic], who was for many years superintendent of Indian affairs at Washington, and was thus brought in constant association with the principal men of the nations and tribes which sent representatives to the seat of government, conceived the plan of making this rare and curious collection more valuable to the world by publishing a series of engraved portraits exactly copied and colored from these paintings. With each portrait is connected a biographical sketch of the individual whom it is intended to represent, interspersed with anecdotes and narrations. The work contains also a historical account ["An Essay on the History of the North American Indians. By James Hall"] of the various Indian tribes within the borders of the United States" (Sabin).

"The work is one of the most costly and important ever published on the American Indians. The plates are accurate portraits of celebrated chiefs, or of characteristic individuals of the race; and are colored with care, to faithfully represent their features and costumes" (Field).

"With 120 folio plates in three volumes, this the grandest color plate book issued in the United States up to the time of its publication, and one of the most important of the century. Its long and checkered publication history spanned twelve years and involved multiple lithographers (mainly Peter S. Duval and James T. Bowen) and publishers, but the final product is one of the most distinctive and important books in Americana. Almost all the plates are portraits of individual Native Americans, the majority painted from life by Charles Bird King (who also reworked the less skillful portraits of James Otto Lewis). The complicated circumstances of its production have left a bibliographical stew of issues and issue points that are yet to be satisfactorily resolved" (Reese, Stamped with a National Character: Nineteenth Century American Color Plate Books, 24).

In the winter of 1832-1833, McKenney commissioned Henry Inman "to copy the Indian portraits which hung in his former office in the Bureau of Indian Affairs, Washington, D.C. The paintings were used for the superb lithographic reproductions in McKenney and Hall's famous History of the Indian Tribes of North America...In 1836, to stimulate sales of the McKenney-Hall portfolio, Inman's portraits were placed on exhibition in Masonic Hall, Chestnut Street...As McKennney wrote: 'Visitors to the Gallery will see on comparing the likeness of this Specimen No. with the portraits with what fidelity the portraits are lithographed. The portraits are by Inman, from the celebrated collection in the War Department in Washington, most of which were taken from life by [Charles Bird] King of that City'" (Horan, The McKenney-Hall Portrait Gallery of American Indians, page 358).

"McKenney survived near-poverty and bitter battles with a succession of printers before his portfolio was published. It was a staggering, expensive project...The three-volume set is now one of the most valued items of Americana, usually found only in rare book rooms of big city libraries and museums. They offer the finest example of early American lithography on stone...It is fortunate that McKenney forced his dream to become a reality. In 1865, the gallery of original portraits, then housed in the Smithsonian Institution, was destroyed by fire. McKenney's portfolios are truly a landmark in American culture...The value of this magnificent work is chiefly in its faithful recording of the feature and dress of celebrated American Indians who lived and died long before the age of photography" (Horan, The McKenney-Hall Portrait Gallery of American Indians, page 23).

BAL 6934. Bennett, page 79. Field 992. Howes M129 ("Originally issued in twenty parts (in nineteen); but few sets were retained in that impracticable form"). Sabin 43410a.

Thomas McKenney and James Hall. History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principal Chiefs. Embellished with One Hundred and Twenty Portraits, from the Indian Gallery in the Department of War, at Washington. ... In Three Volumes. Philadelphia: Published by D. Rice & A.N. Hart, 1858.

Early octavo edition of one of the most celebrated nineteenth-century American color plate books. Three royal octavo volumes (10.375 x 6.75 inches; 264 x 171 mm). Complete with 120 lithographic plates by J. T. Bowen after paintings by Charles Bird King and James Otto Lewis, all colored by a contemporary hand, many highlighted with gouache. Original tissue guards intact.

Uniformly bound in publisher's original full brown morocco, boards elaborately stamped in blind, spines lettered in gilt and stamped in blind in compartments, five raised bands, board edges and turn-ins tooled in blind. Cream colored endpapers. All edges gilt. Near-contemporary ownership inscription ("Lucy Whitfield") to front free endpapers. Small annotation in blue ink to third leaf recto of Volume I. Foxing, spotting, and offsetting to tissue guards throughout, as is nearly always the case. Endpapers soiled. Rubbing to board extremities, upper outer corner of Volume II front board slightly abraded. Volume I hinges reinforced with book tape; Volume II hinges and Volume III front hinge starting but all boards still holding very tight. Volume I frontispiece split along inner margin and rebound between the third and fourth leaves at an early date; the frontispieces in Volumes II and III creased along inner margin but still intact. Plate [11] in Volume III ("A Winnebago") and tissue guard loose. Overall a very good copy of this respected set.

"[O]ne of the most costly and important [works] ever published on the American Indians. The plates are accurate portraits of celebrated chiefs, or of characteristic individuals of the race; and are colored with care, to faithfully represent their features and costumers" (Field).

"The most colorful portraits of Indians ever executed" (Howes).

McKenney, head of the Bureau of Indian Affairs from 1824-1830, collaborated with Illinois journalist James Hall to produce the folio edition of History of the Indian Tribes of North America (1838), largely to instruct the American public about Native American culture but also to preserve for posterity the images of the great chiefs. The work was celebrated in its time for its beautiful color plate portraits, and as with another renowned nineteenth-century American color plate book, Audubon's Birds of America, a more inexpensive and accessible royal octavo version was published later.

The remarkable hand-colored lithographic plates, which capture in extraordinary detail the elaborate costumes, tattoos, and face paint designs of the chiefs and warriors from various tribes, were executed after original oil paintings by Washington portrait painter Charles Bird King, commissioned by McKenney to paint visiting tribal delegates (King also based several paintings on watercolors undertaken by frontier artist James Otto Lewis). As King's original paintings were destroyed in a fire which ravaged the Smithsonian in 1865, the plates in Indian Tribes of North America remain the only visual record of many nineteenth-century Native American leaders.

Field 992. Howes M129. Sabin 43411.

Samuel Rush Meyrick. A Critical Inquiry into Antient Armour, as it Existed in Europe, Particularly in Great Britain, from the Norman Conquest to the Reign of King Charles II. Illustrated by a Series of Illuminated Engravings. With a Glossary of Military Terms of the Middle Ages. London: Henry G. Bohn, 1842.

Second edition, corrected and enlarged. Three folio volumes. Seventy beautiful and vibrant hand-colored plates, plus frontispiece; ten black and white plates.

Contemporary polished half morocco over marbled boards. Marbled endpapers. All edges gilt. Raised bands. Olive morocco title labels with gilt lettering to spines. Gilt designs to compartments. Some scuffing to boards; corners bumped. Armorial bookplates of John Gretton, 1st Baron Gretton and 1900 Olympic gold medalist. Front hinge to Volume I broken. Frontispiece loose, as are many plates in the first volume, though all are present. Overall, very good.

[Mornay]. A Picture of St. Petersburgh, Represented in a Collection of Twenty Interesting Views of the City, the Sledges, and the People. Taken on the Spot, at the Twelve Different Months of the Year: and Accompanied with an Historical and Descriptive Account. London: Edward Orme, [n.d.].

Folio. Thirty-four pages of text. Text bears a dated watermark of 1825. Fifteen colored aquatints, which show watermark dates of 1829 and 1831. Missing uncolored frontispiece, as well as five of the colored plates.

Contemporary half morocco over marbled boards. Leather title label to front board. Missing backstrip. Boards detached. Pages disbound. Boards heavily worn. Pages chipping at the edges. Some of the plates have a narrow strip of brown tape mounted to the rear at the top edge. Overall, a good copy.

The plates are all after drawings by Mornay, engraved by John Heaviside Clark and Matthew Dubourgh, and printed by J. F. Dove.

Abbey, 226.

David Roberts. The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia. From Drawings Made on the Spot by David Roberts, R.A. With Historical Descriptions, by the Revd. George Croly, L.L.D. Lithographed by Louis Haghe. London: F. G. Moon, 1842-1849. [Together with:] David Roberts. Egypt & Nubia, from Drawings Made on the Spot by David Roberts R.A. With Historical Descriptions by William Brockedon, F.R.S. Lithographed by Louis Haghe. London: F. G. Moon, 1846-1849.

First edition of "the most ambitious work ever published in England with lithographed plates" (Twyman). The Holy Land in three elephant folio volumes (24.5625 x 17.375 inches; 625 x 442 mm.), in the original twenty parts in eighteen. Volume I (Parts I-VI): uncolored lithographed frontispiece portrait of Roberts after C. Baugniet, dated 1844, on india paper mounted; tinted lithographed vignette title, dated 1842; dedication leaf; two leaves of text, "List of Subscribers"; one leaf of text, "Notice of Mr. Roberts's Journey in the East"; one leaf of text, "The Armorial Ensigns of Jerusalem," with description of title vignette on verso; fifteen leaves of text, "Israel" (pages 1-30); forty-two tinted lithographed plates, each with one page of descriptive text (twenty-one unnumbered leaves). Volume II (Parts VII-X, XI/XII, XIII): tinted lithographed vignette title, dated 1843; one leaf of text, "Bethlehem"; forty-two tinted lithographed plates, each with one page of descriptive text (twenty-one unnumbered leaves). Volume III (Parts XIV-XV, XVI/XVII, XVIII-XX): duplicate of the tinted lithographed vignette title for Volume II; one leaf of text, "Idumea" (pages [1]-2); thirty-six tinted lithographed plates, each with one page of descriptive text (eighteen unnumbered leaves). Together 122 tinted lithographed plates (two vignette titles, one in duplicate, and 120 plates), all drawn on stone by Louis Haghe after David Roberts. The plates are all in the scarcest form, finely colored by hand, cut to the edge of the image, and mounted on card in imitation of watercolors, as issued.

This copy is complete as issued, without the vignette title to Volume III (which did not appear until 1849), the engraved map ("Map to Illustrate the Route of David Roberts Esq: R.A. in the Holy Land, Petrea & Syria"), and the leaf of descriptive text for the title vignettes for Volumes II and III. Part I does have the "List of Subscribers", the rare printed slip explaining "The delay which has unavoidably occurred in the publication of 'Roberts's Sketches in the Holy Land'", and one leaf of advertisements, beginning "Mr. Moon, having received Her Majesty's Commands, has the honour to announce the national and first full-length historical state portrait of Her Most Gracious Majesty the Queen".

The Holy Land text and plates are loosely laid into the original publisher's portfolios, as issued, of quarter brown roan over brown diamond-grain cloth over thin boards. Front covers decoratively stamped and lettered in gilt. Yellow or pale yellow coated endpapers. The portfolios show some rubbing and wear, but are remarkably well preserved.

Egypt & Nubia in three elephant folio volumes (23.875 x 17.125 inches; 607 x 435 mm., with the mounts measuring 23.875 x 16.375 inches; 607 x 417 mm.). Volume I: tinted lithographed vignette title, dated 1846; dedication leaf; four leaves of text, "Egypt. An Introduction" (pages 1-8); one leaf with description of title vignette; forty-two tinted lithographed plates, each with one page of descriptive text (twenty-one unnumbered leaves). Volume II: tinted lithographed vignette title, dated 1849; one leaf with description of title vignette and "List of Subjects" of Volumes I and II; forty-two tinted lithographed plates, each with one page of descriptive text (twenty-one unnumbered leaves); engraved map ("Map to Illustrate the Sketches of David Roberts, Esq: R.A. in Egypt and Nubia. 1849"). Volume III: tinted lithographed vignette title, dated 1849; one leaf with description of frontispiece and title vignette and "List of Subjects" of Volume III; thirty-seven tinted lithographed plates, each with one page of descriptive text (eighteen unnumbered leaves). Together 124 tinted lithographed plates (three vignette titles and 121 plates), all drawn on stone by Louis Haghe after David Roberts, and one engraved map. The plates are all finely colored by hand, cut to the edge of the image, and mounted on card in imitation of watercolors, as issued. Guarded throughout.

The three volumes of Egypt & Nubia are bound in contemporary burgundy morocco, expertly rebacked to style. Covers decoratively panelled in gilt, spines in six compartments with five gilt-decorated raised bands, decoratively tooled in gilt in three compartments and lettered in gilt in the remaining two, with the date in gilt at the foot, board edges decoratively tooled in gilt (a little rubbed), gilt inner dentelles, marbled endpapers, all edges gilt. Volume I with a neatly repaired tear to the front free endpaper, Volume II with a short tear to the front free endpaper.

A beautiful copy of this exceptionally rare set, with the images generally very clean, and the delicate hand-coloring quite vivid. Light foxing and slight rippling or occasional faint creasing to some of the plates, a few plates very slightly browned at the edges, a few with very slight rubbing, occasionally causing the loss of tiny areas of color, a few neatly reattached to mounts. The plate "Convent of St. Saba April 4th 1839" (Abbey 51, Tooley 50) in Part VII of The Holy Land has two ink splotches at the top of the image. Occasional light foxing and a few small neat marginal repairs to the text leaves, a few corners faintly creased, a few text leaves in The Holy Land with offsetting from the plates, where guard sheets have been misplaced, a few text leaves in Egypt & Nubia splitting or strengthened at the gutter. Occasional thumbsoiling and a few tiny tears or repairs to the edges of the mounts. Guard sheets occasionally browned and chipped or worn at the edges, a few with tears or repairs, a few guard sheets in Egypt & Nubia splitting or strengthened at the gutter.

Together the six volumes are uniformly housed in six custom quarter burgundy morocco gilt over maroon cloth clamshell cases lined with felt. The spines of the cases match the rebacked spines of Egypt & Nubia. The corners and lower edges of the cases are rubbed.

The Holy Land "was originally published between January 1842 and the end of 1845 in twenty parts, in eighteen wrappers, containing all of the plates above, but not the map ("Map to Illustrate the Route of David Roberts Esq: RA in the Holy Land, Petrea & Syria"), and not in the same order. There were two title-pages only. Each part was available at £1. 1s. for Prints in Covers (i.e. paper wrappers), at £1. 11s. 6d. for Proofs in Portfolios, and at £2. 2s. Coloured and Mounted as Originals, in Portfolios...The entire work, consisting of the twenty parts of the above, and the twenty-one parts of the Egypt and Nubia...was apparently available in parts in 1849 at prices which are simply the multiplication of the part prices, that is £43. 1s. for Prints Tinted in Paper Parts, £64. 11s. 6d. for Proofs Tinted in thin Cloth Cases, and £86. 2s. Coloured and Mounted, in thin Cloth Cases" (Abbey).

The Holy Land and Egypt & Nubia were originally issued in forty-one parts over seven years, in three states: tinted, tinted proofs, and hand-colored and mounted on card. "It is worth noting in this connection that all the plates in the above work (The Holy Land) were printed with a single tint, while those in the later Egypt and Nubia are in many cases, in two tints" (Abbey). Later editions were published in quarto, with the plates reduced photographically. This set, with the plates mounted on card and with splendid contemporary hand-coloring, is by far the most desirable, and because so many copies have been broken up for framing, complete sets with all of the plates are very scarce.

David Roberts (1796-1864) "was brought up in a village outside Edinburgh, the son of a poor shoemaker, and began his working life as an apprentice house-painter. Soon after completing his apprenticeship he began to design and paint stage scenery, practising this trade for several years before moving to London in 1822 to work at Drury Lane and Covent Garden. He began to exhibit and sell oil paintings, and was soon able to give up his theatre work in order to concentrate on painting as a career. From 1824 he travelled on the Continent in search of picturesque subject-matter, to France, Belgium and the Rhineland. Drawings made in Spain between 1832 and 1833 established his reputation as a topographical draughtsman, but his most successful venture by far was the Near Eastern journey of 1838-1839.

"In August 1838 David Roberts left England for Alexandria to begin his extensive travels through Egypt, Sinai and Palestine. His journey was the fulfillment of a long-held desire to draw Egyptian antiquities and scenes of biblical history, and he was determined to bring back a portfolio that would surpass anything that had yet been seen in Britain. As a topographical artist he was constantly faced with the necessity of finding novel subjects for his paintings, and he was well aware that the relative unfamiliarity of Egyptian temples, Islamic mosques and Holy Land scenery would make images of them highly desirable. As he wrote in the journal he kept during his journey, his sketches would make 'one of the richest folios that ever left the East'.

"The first leg of his journey was a voyage by boat up the Nile as far as Abu Simbel, and he returned to Cairo with over 100 sketches of the Egyptian monuments. 'I am the first artist, at least from England, that has yet been here', he claimed, 'and there is much in this'.

"He knew well the Description de l'Egypte, the ambitious French survey of Egypt and its antiquities made by Napoleon's team of savants after the French invasion in 1798. But he now dismissed it as conveying 'no idea of the splendid remains'. Although several English draughtsmen had in fact preceded him up the Nile during the 1820s and early 1830s, their records of the tombs and temples were not widely known because few were published, and in any case few possessed the same degree of artistic skill as Roberts. Unlike these earlier topographical draughtsmen-many of them architects by training-who visited Egypt under the auspices of a rich aristocratic patron, Roberts was a well known professional artist, an exhibitor at the Royal Academy who was travelling independently primarily to further his career. In Cairo he could draw with confidence the city's crowded streets and intricate medieval architecture, and he even obtained permission to sketch inside the mosques, provided he wore Turkish dress, shaved his side whiskers and did not use pig's bristle brushes. Travelling through Sinai to Petra, on to Jerusalem and other biblical sites in the Holy Land, and finally to the magnificent Roman ruins at Baalbek, he encountered further curious and mighty monuments as well as a bleak and rugged landscape that held significant historic associations for his audience at home.

"Roberts returned to England in July 1839 with 272 sketches, most of which he redrew during the following decade for his great series of lithographs The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia, published...between 1842 and 1849. Their success assured Roberts's fame as an artist (which continues to the present day) and encouraged many others to follow in his footsteps" (Hisham Khatib, Palestine and Egypt under the Ottomans: Paintings, Books, Photographs, Maps, Manuscripts (London: 2003), pages 121-123).

"There is a deep and absorbing interest in the subject, for in no other publication have the sites and buildings famous in sacred history and Eastern legend been so vividly represented. It is difficult to speak in sufficiently high terms of the beauty and interest of the varied subjects in this great work. It represents the results of Roberts's travels in the East during the years 1838 and 1839. The extraordinary merit and interest of the drawings which he exhibited on his return created a great sensation. The fidelity of his accurate pencil, his skilful adherence to truth of costume and surroundings, his attention to characteristic effect in architecture and landscape, won immediate recognition and praise. Commissions from royal and other patrons of art crowded upon him for pictures of his Eastern subjects, and a publisher, F. G. Moon, was soon found to undertake their reproduction for wider circulation. The result was the present work with about two hundred and fifty plates, accompanied by an admirable descriptive text by the Rev. Dr. Croly and W. Brockedon. The book was published in parts from 1842 to 1849, and the original cost for subscribers for a coloured copy was close on £150. For the coloured edition the plates were all executed in two tints by Louis Haghe, and were exquisitely coloured by hand in imitation of the original drawings" (Martin Hardie).

"In point of bulk and ambition Roberts's Holy Land was one of the most important and elaborate ventures of nineteenth-century publishing, and it was the apotheosis of the tinted lithograph...[There] is pleasure to be had from many of the individual plates, where Haghe's skilful and delicate lithography, and his faithful interpretation of Roberts's draughtsmanship and dramatic sense, combine in what are undoubtedly remarkable examples of tinted lithographic work. Particularly in the Egypt and Nubia section, one feels that the colossal subjects and broad vistas were ideally suited to Roberts's talent, trained as he was in theatrical scene-painting during his early days in Carlisle, Glasgow, Edinburgh, and London...Roberts was fully appreciative of Haghe's work, [writing that]: 'Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple, and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'" (Abbey).

Abbey, Travel, 385 and 272. Blackmer 1432. Gay 25. Ibrahim-Hilmy II, page 176. Lipperheide 1590 and 1591. Martin Hardie, pages 251-252. Tooley 401-402. Twyman, Lithography 1800-1850, pages 220-224.

Robert Smith Surtees. Seven Sporting Novels with Many Hand-Colored Plates, including: Hawbuck Grange: or, The Sporting Adventures of Thomas Scott, Esq. London: Bradbury, Agnew, & Co., [n.d., circa 1850]. Illustrations by Phiz. [and:] Mr. Sponge's Sporting Tour. London: Bradbury and Evans. 1853. Illustrations by John Leech. [and:] Handley Cross; or, Mr. Jorrocks's Hunt. London: Bradbury and Evans, 1854. Illustrations by John Leech. [and:] Ask Mamma; or, The Richest Commoner in England. London: Bradbury and Evans, 1858. Illustrations by John Leech. [and:] Plain or Ringlets? London: Bradbury and Evans. 1860. Illustrations by John Leech. [and:] Mr. Facey Romford's Hounds. London: Bradbury and Evans, 1865. Illustrations by John Leech and Hablot K. Browne. [and:] Hillingdon Hall, or The Cockney Squire, A Tale of Country Life. London: John C. Nimmo, 1888. Illustrations by Wildrake, Heath and Jellicoe. Original cover bound in at rear.

All volumes uniformly bound in full red calf. Gilt-stamped leather labels and gilt horse and horseshoe decorations to spines. Gilt borders and inner dentelles. Top edges gilt. Marbled endpapers. Wear to spine ends; spines and labels faded. A set in very good condition. From the library of American film actor Glenn Ford, with his armorial bookplate.

[Otto] Wessell, [Adam] Nickel, [Rudolph] Gross. Illustrated Catalogue of Piano-Forte Actions. New York: Wessell, Nickel & Gross, 1893.

First edition. Oblong quarto. Unpaginated. Illustrated title page, two lithographic views of the factory, portraits of the three company owners, four pages of text, and fifty-three spectacular illustrations, most lithographed in color, silver and gilt, of the firm's products.

Publisher's maroon pebbled cloth with gilt titles on front. Cloth is rubbed and lightly soiled with fraying to spine ends. Front hinge separated with chipping to front endpaper. An internally very good copy.

A detailed trade catalog of piano actions produced by Wessell, Nickel & Gross. Established in 1874, Wessell, Nickel & Gross was one of the leading manufacturers by the time of this publication, having opened a sizeable factory between 45th and 46th Streets on Tenth Avenue in New York City. This catalog is a testament to the company's acclaimed attention to quality and detail. The actions and individual pieces are clearly and simply diagrammed with detail and precision.

Remmet Teunisse Backer. Celestial Chart Sterre Kaert of Hemels Pleyn Originally Published in Boeck zee-kaardt, ca. 1750. This fine large Dutch celestial chart with the original hand-coloring shows the constellations of both hemispheres on Mercator style projection measures 25.5 x 21.5 inches. The twelve signs of the Zodiac dominate the center. The full title is, "Sterre Kaert of Hemels Pleyn, waer door met kan wete hoe laet dat het is over de gehele aertkloot op alle meridiane en polus hoogte, en op wat lengte en brete, de voorsz sterre staen, bezuyde en benoorde de Liniae Aequinoctiael." Originally published by Johannes (Gerard) van Keulen in 1709, this example is a later printing published by Reinier and Josua Ottens of Amsterdam in 1750. A fine, professional repair at "Leo" and along the verso of the vertical fold. Minor mounting residue around the edge of the verso, else, very good.

John Bevis. Celestial Map "Cetus Tab. XXXIV" from Uranographia Britannica (Atlas Celeste), ca. 1786. Copper-plate chart, published by John Neale of London and issued for sale in 1786, is uncolored and measures 14.75 x 12.5 inches (platemark) and 15.75 x 13 inches (overall). Plate is inscribed at bottom, "To M. Le Comte d'Argenson Minister & Secretary of State to His Most Christian Majesty This Table is most humbly inscrib'd." René-Louis de Voyer de Paulmy, marquis d' Argenson served as French King Louis V's Secretary of State for Foreign Affairs, 1744-1747. Lightly toned; mounting residue at top, else, very good.

Joan Blaeu. America, Quæ Est Geographiæ Blavianæ Pars Quinta: Liber Unus. Volumen Unidecimum. Amsterdam: Ioannis Bleau, 1662.

First edition of the eleventh and final volume of Blaeu's Atlas Major. Folio (20.75 x 12.875 inches; 522 x 326 mm). [2, blank], [1, title], [1, blank], 1-19, [2], 20-287, [1, blank], [2, index], [2, blank] pages. Complete with twenty-three double-page maps, all of which are beautifully hand-colored. Title-page with a hand-colored vignette.

Contemporary full speckled calf, spine elaborately stamped and lettered in gilt. Internally very clean with maps brightly colored. Boards slightly rubbed. Outer hinges along the head and tail of the spine cracked but firm. Head and tail of the spine worn, with some minor bits of loss. Previous owner's stamp on blank verso of the title-page. Some very minor worming to top margin from front free endpaper through 2Q1. Index leaf with a crease and some light dampstaining. Overall, a very good copy of this beautiful volume.

A magnificently handsome volume from the work that Dutch cartographer and bibliographer H. de la Fontaine Verwey once called "the greatest and finest atlas ever published" (cited in Koemann, I, 199).

In 1596 Willem Janzoon Blaeu (1571-1638) founded the Blaeu family firm, and with the collaboration of sons, Cornelius (1616-1648) and Joan (1596-1673), it became the most productive cartographic establishment in the Netherlands for most of the seventeenth century. In 1633 the Dutch East India Company made Willem Blaeu its official mapmaker, granting the Blaeus unique access to the latest geographical information. From this development (and owing to a competition in atlas production with the rival firm headed by Johannes Janssonius, son-in-law and successor of Jodocus Hondius, publisher of the first Mercator-Hondius atlas in 1606), sprang a series of atlases that culminated in the Atlas Major, in which Joan Blaeu incorporated and expanded upon much of the cartographic knowledge compiled by his father. The foremost product of what is known as the "Golden Age" of Dutch cartography, Blaeu's Atlas Major is by most accounts unequalled in the history of mapmaking.

Published in several different languages at the end of the seventeenth century, Dr. Joan Blaeu's monumental Major Atlas was popular from the first, and even a cursory examination of any one of the work's eleven volumes reveals why: meticulously researched and encyclopedically comprehensive, in addition to being an exemplar of modern cartography, the Atlas major is also a masterpiece of book design, with remarkably high production standards. The illustrations and nearly six-hundred folio maps are the result of accomplished engravings on paper of the highest quality, vivid and expert hand coloring, and Baroque design elements which coalesce in what are arguably many of the finest maps ever produced, famous for their attention to detail as much as their lavish decorative elements. For all of these reasons, in the latter half of the seventeenth century the Republic of the United Netherlands made an official gift of Blaeu's Atlas Major to royalty, diplomats, and dignitaries, including the Sultan of Turkey, who received his copy in 1668. Not surprisingly, this sumptuous work remains one of the most prized and highly sought illustrated books of the period.

In addition to its impressive scope, accuracy, and artistic preeminence, owing to its location at the leading edge of geographical knowledge and discovery, the Atlas Major also occupies a special place in cartographic history. The twenty-three maps of America -- including the justly famous general map of the continent with pictorial side panels -- were among the first accurate maps of the continent produced and contained the first version of John Smith's map of Virginia to be published in Europe. It is not hyperbole to suggest that this atlas of America helped to shape contemporary European views of this part of the world more than any other source.

The maps in this volume are as follows: 1. Americæ nova Tabula -- 2. Extrama Americæ versus Boream, ubi Terra Nova, Nova Francia, Adjacenticg -- 3. Nova Belgica et Anglia Nova -- 4. Nova Virginiæ Tabula -- 5. Virginiæ partis australis, et Floridæ partis orientalis, interjacentiumq regionum nova Descriptio. -- 6. Nova Hispanica et Nova Galicia -- 7. Yucatan Conventus luridici Hispaniæ Novæ Pars Occidentalis , et Guatimala conventus luridicus -- 8. Insulæ Americanæ in Oceano Septentrionali cum Terris adiacentibus -- 9. Canibales Insulæ -- 10. Mappa Æstivarum Insularum . -- 11. Terra Firma et Novum Regnum Granatense et Popayan -- 12. Peru -- 13. Chili -- 14. Tabula Magellanica ... -- 15. Paraquaria vulgo Paraguay cum adjacentibus -- 16. Brasilia -- 17. Sinus Ominum Sanctoru -- 18. Præfectura De Ciriii val Seregippe Delrey cum Itapuåma -- 19. Præfecturæ Paranambucæ Pars Borealis, una cum Præfectura de Itamaraca -- 20. Præfecturæ Paranambucæ Pars Meridionalis -- 21. Præfecturæ de Paraiba, et Rio Grande -- 22. Guiana fiue Amazonum Regio -- 23. Venezuela cum parte Australi Novæ Andalusiæ

Phillips, Atlases, 3430.

[Elijah Hinsdale Burritt, ed.]. Celestial Chart from Atlas of the Heavens, ca. 1835. Copper-plate chart, engraved by W. G. Evans and published by F. J. Huntington of Hartford, Connecticut, has hand coloring and measures 14 x 16 inches overall. This particular print depicts "March, February, January" showing the constellations visible in the northeast United States during those months. Light soiling and tape residue on verso, else, very good.

[Elijah Hinsdale Burritt, ed.] Celestial Chart from Atlas of the Heavens, ca. 1835. Copper-plate chart, engraved by W. G. Evans and published by F. J. Huntington of Hartford, Connecticut, has hand coloring and measures 14 x 16 inches overall. This particular print depicts "December, November, October" showing the constellations visible in the northeast United States during those months. Modest soiling, light foxing, and tape residue on the verso, else, very good.

[Elijah Hinsdale Burritt, ed.]. Set of Six Celestial Charts from Atlas of the Heavens, ca. 1835. Six copper-plate charts, engraved by W. G. Evans and published by F. J. Huntington of Hartford, Connecticut, all have vivid hand coloring and measure 14 x 16 inches. Four of the prints are divided into quarters of the year each showing the constellations visible in the northeast United States. The other two prints are circumpolar maps showing the northern and southern skies. Light soiling and short edge tears, else, near fine.

Andreas Cellarius. Celestial Chart from Harmonia Macrocosmica, ca. 1708. Copper-engraved celestial map, Hæmisphærium Stellatum Australe Antiquum [The Southern Celestial Hemisphere of Classical Antiquity], with full color, is from 1708 Gerard Valck and Petrus Schenk edition of Cellarius's atlas. Harmonia Macrocosmica is generally accepted as the finest celestial atlas ever produced. This wide-margined example is 20 x 17 inches (23.25 x 19.25 inches overall). Central fold, one re-enforcement on the verso, and small ink notation, else, very good.

David Funck. Celestial Chart Planisphaerium Coeleste, ca. 1708. This beautiful hand-colored celestial map by David Funck depicts the northern and southern skies as well as six models of the solar system at the top and bottom. Published in Nuremberg in 1708, the map measures 24.25 x 21 inches (overall). This map, perhaps the rarest of all of Funck's maps, seldom comes on the market. Bright clean colors. Near fine.

Johann Baptist Homann / Johann Gabriel Doppelmayr. Celestial Chart Globi Coelestis in Tabulas Planas Redacti Pars I from Atlas Coelestis, ca. 1745. Vividly hand-colored copper-plate star chart is 24.25 x 19.75 (overall) and was published in Nuremberg. Two star tables flank decorative vignettes of celestial monsters and animals. Upper and lower margins shaved closely, corners have been extended, not affecting image, else, good.

Johann Baptist Homann / Johann Gabriel Doppelmayr. Celestial Chart Hemisphaerium Coeli Boreale from Atlas Coelestis, ca. 1745. The hand-colored copper-plate chart of constellations is 23.5 x 20 inches (overall) and was published in Nuremberg. The full title is "Hemisphaerium Coeli Boreale: in quo Fixarum loca secundum Eclipticae ductum ad annum 1730 completum...." In addition to the decorative vignettes of celestial monsters and animals, there are two tables flanking the chart. All corners have been extended and professional repairs along the verso of the vertical fold. Lower margin shaved into the plate mark, else, good.

Johann Baptist Homann / Johann Gabriel Doppelmayr. Celestial Chart Hemisphaerium Coeli Australe, in quo loca Stellarum fixarum secundum Aequatorem... from Atlas Coelestis, ca. 1745. The hand-colored copper-plate chart of constellations is 24.75 x 21 inches (overall) and was published in Nuremberg. Each corner is decorated with cherubs depicted with various instruments; a pendulum clock, an azimuth circle, a telescope, and a sextant. Two tables flank the chart. Mounting tape residue at the top verso and one tiny tear at the bottom, else, very good.

Johann Baptist Homann / Johann Gabriel Doppelmayr. Celestial Chart Hemisphaerium Coeli Boreale from Atlas Coelestis, ca. 1745. Hand-colored copper-plate chart of constellations is 24.25 x 20.75 (overall) and was published in Nuremberg. Full title is "Hemisphaerium Coeli Boreale : in quo Fixarum loca secundum Eclipticae ductum ad annum 1730 completum...." In addition to decorative vignettes of celestial monsters and animals there are two tables flanking the chart. Near fine.

Johann Baptist Homann / Johann Gabriel Doppelmayr. Celestial Chart Motus Cometarum in Hemisphaerio Australi from Atlas Coelestis, ca. 1745. Hand-colored copper-plate chart of the southern hemisphere constellations is 23.5 x 19.5 inches (overall) and was published in Nuremberg. Full title is "Motus Cometarum In Hemisphaerio Australi qui intra anum 1530 et 1740 cum duabus stellis novis, nostro tempore visis, à celeberrimis Astronomis Observati, geometrice nunc descripti." In addition to decorative vignettes of celestial monsters and animals, there are geometrical planetary diagrams in each corner and two tables flanking the chart. All corners have been extended not affecting image, else, good.

Alexander von Humboldt, and Aimé Jacques Alexandre Bonpland. [Vues des Cordillères et monumens des peuples indigènes de l'Amérique]. Voyage de Humboldt et Bonpland. Première partie, Relation historique. Atlas pittoresque. Paris: Chez F. Schoell, 1810[-1813].

First edition of one of the most important publications resulting from the monumental expedition to America in 1799-1804 by German scientist and explorer, Alexander von Humboldt, and his companion, botanist Aimé Bonpland. Large folio (22.5 x 16.25 inches; 566 x 411 mm.). [10], xvi, [2], 350, [2, blank] pages. Complete with sixty-nine plates on sixty-eight leaves (of which twenty-four are hand-colored, color-printed, or color-printed and finished by hand, including one double-page, and four are printed in sepia), depicting views, plans, archaeological ruins, codices, and native costumes. Plates with protective tissue guards laid in. This copy is complete, containing the text (pages 272-350) and plates (50-69), missing in many copies.

Contemporary half green morocco over marbled boards, spine decoratively tooled and lettered in gilt in compartments with six raised bands, marbled endpapers, top edge gilt, others uncut. Twentieth-century bookplate affixed to front pastedown. With some light foxing to the beginning and end of the book and some slight offsetting throughout, not affecting the plates. A very beautiful copy, clean and bright, of this magnificent atlas.

"This atlas was issued to accompany the first part of the Voyage de Humboldt et Bonpland. Alexander von Humboldt was an eminent German naturalist, geographer, traveler, and scientific explorer. He was the son of the King of Prussia's chamberlain, brother of a prominent Prussian diplomat, and a friend of Georg Forster. From 1799 to 1804, he traveled with the French botanist Aimé Bonpland on a scientific journey to Spanish South America, Cuba, Mexico, and Central America. They sailed from La Coruña on board Pizarro for America, where the Orinoco River was explored by boat. The extensive scientific explorations were made in the Andes and in Mexico. Humboldt, the inventor of isothermic lines, was especially interested in climate, in particular the effects of elevations and of ocean currents, in tropical storms, and in volcanoes. One of the more spectacular plates in this work depicts the great volcano of Chimborazo in the Andean highlands. Humboldt's expedition was fundamental to the development of the sciences of physical geography and meteorology, and he made important contributions to the study of ethnicity and culture. Local peoples and Mexican and Peruvian antiquities received attentive analysis. After his return to Europe, Humboldt spent twenty years in Paris supervising the publication of the results of his explorations. Many of the plates were engraved from Humboldt's drawings, and he supervised the hand-coloring of the plates for accuracy. Contained herein is the first publication of any part of the famed Dresden Codex, the most extensive surviving pre-Columbian codex, as well as color plates derived from the Codex Mendoza and other important codices" (Hill).

The Vue des Cordillères is notable not only for its remarkable colored plates of scenes in Central and South America, particularly the magnificent double-page plate of the great volcano of Chimborazo in the Andean highlands, but also as being the first extensive treatment of surviving pre-Columbian and immediately post-Columbian Indian codices.

"Every class of Mexican or Aztec, and Peruvian Antiquities, receives in this work the clearest philosophical analysis. Many of the plates are beautifully coloured; indeed, it is the most beautiful and generally interesting of Humboldt's Works" (Sabin).

Field 739. Hill 839. Lipperheide 1630. Palau 117026. Sabin 33754.

Samuel Leigh. Seven Hand-Colored Celestial Cards from Urania's Mirror, or, a View of the Heavens, ca. 1830. Engraved cards, each showing one or more constellations, have holes of various sizes to depict the size and position of the stars when held up to a light source. Cards included are: Gloria Frederici, Andromeda, and Triangula; Draco and Ursa Minor; Orion; Auriga; Cassiopeia; Delphinus, Sagitta, Aquila, and Antinous; and, Cepheus. All cards are 5.5 x 8 inches, with hand coloring, and all but one with tissue on verso. Modest foxing, else, very good.

[Massachusetts]. Galley Proof of The Atlas of Massachusetts, Completed under the Direction of O. W. Walker, C. E.; assistance rendered by more than one hundred prominent civil engineers and surveyors.... [Boston: Geo. H. Walker & Co., 1891]. Fifty-eight uncut and unbound sheets, each measuring 28 x 20 inches, joined by cord on the left and housed in a soft canvas and leather rolling case. The maps are modestly toned and chipped at the edges. The leather case is dry and flaking. In generally very good condition.

Matthaus Seutter. Celestial Chart Planisphaerium Coeleste, ca. 1730. Published in Augsburg, the hand-colored copper-plate chart measures 25.5 x 21.75 inches (overall). The magnificent double-hemisphere celestial chart shows the northern and southern sky with constellations in allegorical form derived from Hevelius. A diagram in the upper right corner shows the monthly orbit and illumination of the moon, while another in the upper left represents day and night on the earth; both diagrams contain quotations from Genesis in Latin. Five additional diagrams along the bottom represent the monthly orbit and illumination of the moon, the different planetary hypotheses of Copernicus, Tycho [Brahe], Ptolemy, and the annual orbit of the sun and the seasons. There is no engraver's imprint. Extremely clean, vivid, and crisp, thus, fine.

Peter Schenk. Celestial Chart Planisphaerium Coeleste, ca. 1700. The hand-colored copper-plate chart of constellations measures 23 x 19.5 inches (overall) and was published in Amsterdam. The double-hemisphere celestial chart shows the northern and southern sky with constellations in allegorical form. There are six diagrams at the top and bottom that show the solar system and illumination of the moon. With lavish use of gold and silver highlighting. A very impressive example. Reinforced and repaired to support old color and cracking. Narrow top margin, else, very good.

[Léon Bakst]. Arsene Alexandre. L'Art Decoratif de Léon Bakst. Essai Critique par Arséne Alexandre. Notes sur les ballets par Jean Cocteau. Paris: De la More Press, 1913.

First edition. Folio. [4], 49, [3] pages of text. Portrait and seventy-seven mounted plates, of which fifty are in color. Text in French.

Original half vellum ruled in gilt on covers over marbled boards. Spine stamped in gilt, green morocco lettering label. Top edge gilt. A near fine copy.

A fine example of Léon Bakst's contribution to the Russian ballet of the Diaghilev period. It includes a fine text by Alexandre and Cocteau, and numerous plates representing the various scenes and costumes he created for Diaghilev's ballet company. Bakst's greatest works are included in this volume, such as Schéhérazade, Cléopatre, Daphnis and Chloé, and the notorious L'Après-Midi d'un Faun, the erotic ballet choreographed and performed by the legendary Nijinsky.

Colas 193. Hiler, 60. Magriel, 186.

[Léon Bakst]. Comœdia Illustré 1908-1910. Paris, 1908-1910.

Two volumes. Bound issues of Comœdia Illustré; Revue Parisienne Theatrale, Artistique, Literaire, ranging from 1908 to 1910. An unbroken run from the first issue of December 15, 1908, to September 15, 1910. Missing are the covers to Volume I, Number 10; Volume II, Numbers 17 and 18 (all three featuring the art of Léon Bakst). Text in French.

Contemporary green illustrated cloth over boards. White and gilt text and designs to spines and boards. Top edges gilt. Decorative endpapers. Some bumping to corners. Moderate shelf wear. Internally clean and sound. A very good set.

"Many Parisian journals catered to [the] elite public, but the standout among them was Comœdia Illustré, a weekly [sic] supplement to the French daily newspaper Comœdia, which itself was devoted to coverage of the arts. Directed by Maurice de Brunhoff, scion of one of the most powerful publishing families in France, the glossy new magazine was a hybrid that combined the arts coverage typical of Comœdia with the conventions of contemporary fashion magazines; it offered up a mix of photographs, illustrations, reports on popular entertainers, and reviews of art exhibitions, plays, and musical performances" (Davis).

Mary E. Davis, Classic Chic, 16.

[Léon Bakst]. Comœdia Illustré 1909-1914. Paris, 1909-1914.

Two volumes. Bound issues of Comœdia Illustré; Revue Parisienne Theatrale, Artistique, Literaire, ranging from 1909 to 1914. Included are Volume I, Numbers 10, 11, 12; Volume II, Numbers 17, 18; Volume III, Numbers 15, 16, 17, 18; Volume IV, Numbers 15, 16. Also included are supplementary issues concerning the Ballets Russes, an official seasonal program for the 1914 season of the Ballets Russes, as well as "Serge de Diaghileff's Ballet Russe" (a souvenir from the Metropolitan Ballet Company with many color plates by Léon Bakst). Text in French.

Contemporary half morocco over decorative paper boards. Matching paper to endsheets. Raised bands and gilt lettering and designs to spines. Top edges gilt. A handsome binding of a collection of immaculate magazines. Fine.

This collection of Comœdia Illustré includes issues which have articles or art concerning the Ballets Russes or Léon Bakst, providing a rich and contemporary insight into the public face of Sergei Diaghilev's famous and influential Ballets Russes, known for such illustrious dancers and choreographers as Vaslav Nijinsky, Tamara Karsavina, Michel Fokine, Lydia Sokolova, Enrico Cecchetti, not to mention Bakst, whose skills in designing sets, backdrops, posters, and costumes gave the Ballets Russes its distinct look. Included are many color plates and illustrations of Bakst's art work.

[Léon Bakst]. Louis Réau, Denis Roche, V. Svietlov, and A. Tessier. Inedited Works of Bakst. New York: Brentano's, 1927.

First edition. Octavo. 127 pages. Limited to 600 numbered copies, this being number 434. Thirty plates of Bakst's art, twenty hand-colored using the pochoir method. Additional illustrations throughout the text, some mounted.

Attractively custom bound in half polished morocco in olive and scarlet. Gilt lettering to spine. Decorative paper doublures. Colored Bakst illustration mounted to front doublure. Custom slipcase. Fine.

Four essays accompany the art work, expounding on Bakst's work as an artist, theatrical scene designer, and costume designer.

[Léon Bakst]. André Levinson. The Story of Léon Bakst's Life. London: The Bayard Press, 1923.

First British edition. Limited to 315 numbered copies, of which this is number 46. Folio. 240 pages. Sixty-eight full-page color plates with printed tissue guards. Many color and black and white illustrations with the text. A Bakst color print has been mounted to the rear fly leaf.

Full original vellum over boards. Some discoloration to the boards. Uniform soiling to vellum. Very good.

Léon Bakst was a revolutionary Russian painter who mentored the likes of Marc Chagall. He was elected to the Imperial Academy of Arts in 1914. The Story of Léon Bakst's Life is a gorgeous and rare biography of Bakst written by French art journalist André Levinson.

[Mark Beard, illustrator]. Harry Kondoleon. The Côte d'Azur Triangle. New York: Vincent FitzGerald & Co., 1985.

First edition, limited to 125 numbered copies, of which this is number 38, signed by the author, as well as the illustrator, Mark Beard. Folio. Illustrated with colored lithographs.

Original yellow cloth over boards. Title in blue on front board. Clamshell case. In original shipping box. As new.

The seventh title printed by Vincent FitzGerald, and the third to feature the artwork of Mark Beard.

Giuseppe Galli Bibiena. Architetture, e Prospettive. Dedicate alla Maesta di Carlo Sesto Imperador de' Romani. Augustæ [Augsburg]: Sotto la Direzione di Andreas Pfeffel, 1740[-1744].

First edition. Large folio. Forty-one (of fifty) engraved architectural and theatrical plates, mostly engraved by Johann Andreas Pfeffel.

Contemporary full vellum over pasteboard. Scarring and chipping to the binding. Boards bowing. Front hinge broken and an attempt has been made to repair this with brown paper tape. Missing nine of the plates. Rear plate has been re-attached with brown tape. Eight of the plates have shallow closed tears which have been mended with tape, all but one on the verso. Moderate foxing throughout. Overall, a very good coy, with the plates are clean and attractive.

"The book entitled Architettura e Prospettive contains, on large-format plates, 50 engravings of designs by the Imperial theatre engineer Giuseppe Galli Bibiena [1695-1757]. It was a celebration of the author's own artistic work, and a monument to the short era during which Charles VI (1685-1740, Emperor from 1711) at the court of Vienna used the arts to demonstrate the absolute power of the House of Habsburg. This included festivals and theatre productions for marriages and state celebrations. As such, Giuseppe Galli Bibiena's designs are examples of an 'imperial' style, and furthermore of the artist's highly developed architectural fantasy and decorative art. The publication of Architettura e Prospettive made a major contribution to the modernization of the theatre, establishing the so-called 'scena ad angolo,' curved backdrops, on Europe's states. Giuseppe Galli came from a family including a total of 13 artists. They were active for four generations from the middle of the 17th century as artists and architects in Italy, Austria, Germany, Sweden, and in cities such as Lisbon and St Petersburg...Architetture e Prospettive appeared in 1740-the ear of the Emperor's death-in five parts, each with five plates. The illustrations are not annotated. Apart from the dedication to Charles VI and the preface, the work contains no text whatever. Of the ten parts planned in total, parts six and seven came out in 1744. There is no system to the way the material is divided up, each part containing examples of various building assignments...The range of motifs in the views embraces topics that were of great interest at the end of the Baroque era, for example the fantasy-laden reconstruction of Classical ruins as ell as examples of 'Gothic' architecture. In his designs, the artist made use of various methods to make architecture monumental, working above all with views from below and cropped sections. In many designs he used the scena ad angolo technique and in others (in particular for the depiction of festive decorations for imperial ceremonies) he used a central perspective as a dignified form...In Architettura e Prospettive Giuseppe Galli Bibiena elevated this synthesis of painting, architecture and scenography to a form of art in its own right, which had its greatest effect in the 'staging' of architecture in the service of absolutist power" (Christoph Thoenes and Bernd Evers, Architectural Theory: From the Renaissance to the Present, pages 156-163).

Berlin Katalog 4152. Brunet I, col. 839. Cicognara 431. Fowler 136.

[Brian Froud and Jim Henson]. The Dark Crystal. [N.p.]: [Henson Associates], [1982].

First edition. Signed on the title page by Brian Froud, conceptual designer of the Jim Henson film Dark Crystal; Froud has also drawn a charming goblin face above his signature. Oblong octavo. Unpaginated (forty pages).

Publisher's brown, stiff paper covers in comb binding. Front cover with design printed in relief and gilt title. Title page and map page modestly stained along the bound edge, not affecting text. Illustrated throughout with color and black and white photos, and with design drawings by Froud. A near fine copy.

A scarce item believed to have been given out in only very limited quantities at the film's wrap banquet and never available to the public. When Froud saw this copy, he was truly surprised and commented that there were possibly no more than fifteen to twenty copies that might have circulated beyond that evening. His incredible designs and wonderful imagination influenced all aspects of the film and can be seen throughout the book. Though not well-received by American audiences when originally released, the film was enormously popular in Europe and Japan and has steadily gained a strong following here. A visually magnificent film that owes much to Brian Froud's incredible vision and talent.

Edme Sébastien Jeaurat. Traité de Perspective a l'Usage des Artistes. Paris: Charles-Antoine Jomert, 1750.

First edition. Quarto. vi, [2], 232, [ten leaves of plates], 233-240, [errata] pages. 110 numbered engraved plates, with nineteen plates duplicated (not uncommon with this edition), bringing the total plate count to 129. Engraved head- and tail-pieces by Pierre Soubeyran and P. E. Babel.

Full early mottled calf. Raised bands. Gilt lettering to spine. Marbled endpapers. Some scarring to the boards. Wear to head and foot of spine. Corners slightly bumped. Hinges weak. Inked name of contemporary owner to title page. Some toning to pages. Very good.

Andrea Palladio. Architettura di Andrea Palladio Vicentino di Nuovo Restampata, E di Figure in Rame diligentemente intagliate arricchita, correta, e accresciuta di moltissime Fabbriche inedite; Con Le Osservazioni Dell'Architetto N.N. E Con La Traduzione Francese. Tomo Quarto [Sesto, Settimo]. Venice: Pasinelli, 1743-1747.

Three of eight folio volumes (17.25 x 12 inches; 433 x 235 mm). [4, titles], [4, dedication], viii, 38; [4, titles], [2, dedication], 47, [1, blank]; [4, titles], 43, [1, blank] pages. Each volume with one title page in Italian and one in French (printed in red and black, each with engraved vignettes by Francesco Zucchi after Francesco Fontebasso). Engraved head- and tailpieces, woodcut and engraved initials, text in Italian and French in parallel columns. With 101 engraved plates, thirteen of which are folding.

Contemporary full vellum, smooth spines lettered and tooled in gilt and stained in imitation of labels, edges sprinkled red. Twentieth-century engraved bookplate of noted Swiss architect and author Hans Schmidt affixed to front pastedowns. Some occasional light foxing, primarily to endpapers and outer margins. Boards and spines somewhat soiled and stained. Some rubbing to board edges and corners, just barely exposing pasteboards in a few instances. Head- and tailcaps rubbed; headcap of Book IV perished. Boards bowed significantly. Overall, very good copies of these volumes, with notably clean and bright plates.

A rare and beautiful work, volumes from this edition have come up just three times at auction in the last two decades.

One of the earliest surveys of Palladio, edited by architect-scholar Francesco Muttoni, with stunning architectural engravings by Francesco Zucchi and Giorgio Fossati. The volumes here include a description of the buildings in Venice attributed by Muttoni to Palladio; and Book III and Book IV, part I of Palladio's Four Books of Architecture.

Palladio (1508-1580), one of the few architects of the early Renaissance to be trained as a builder, was recognized by the great Italian architect and scholar Trissino and adopted as his protégé. For two years Palladio studied in Rome and in 1570 published his Quattro Libri, which "deals with every aspect of architecture from proportions to town-planning, the whole imbued with the gravitas that Palladio had derived from his study of ancient Rome ... No architecture book has ever had wider influence, more especially in England. It was swiftly translated into other languages and went through numerous editions. There can be no major city in Europe that does not contain a building influenced by Palladio, and there are a great many more in America" (Great Books and Book Collectors, 175).

"Of all architectural books except that of Vitruvius, Palladio's has had the greatest continuing impact" (Roth, 113)

Brunet IV, 321. Fowler 230.

C. F. Tomkins and J. R. Planché. Twelve Designs for the Costume of Shakespeare's Richard the Third. London: Colnaghi and Son, 1830.

First edition. Quarto. Unpaginated. With illustrations after the drawings and with the descriptions of J. R. Planché. Twelve full-page hand-colored costume portraits plus color title page, all with gold highlights.

Modern quarter black leather over blue cloth boards. Two raised bands to spine. Gilt lettering and rules. Illustrations on wove paper watermarked "J Whatman 1828" and "J Whatman 1829." Corners bumped. Moisture stain to front board. Minor foxing throughout. Colors still bright and vivid. Very good.

Historically-accurate theatrical costume designs with descriptive text.

[Andy Warhol]. Andy Warhol's Exposures. New York: Andy Warhol Books/Grosset & Dunlap, [1979].

First edition, first printing. Signed by Warhol on the front panel of the dust jacket; also inscribed and signed by Warhol on the title page, with an original doodle by him. Quarto. 249 pages. Photographs by Andy Warhol. Text by Bob Colacello.

Publisher's silver-stamped black cloth. Index endpapers. Boards very lightly faded along edges. Dust jacket yellowing slightly; a few short closed tears. Overall, near fine.

Portraits and profiles of Andy Warhol's friends, in a collection of 360 of his photographs.

Four Artists' Monographs, Each Signed by the Artist, including: [José Luis Cuevas]. Carlos Fuentes. El Mundo de José Luis Cuevas. [Mexico City]: Galería de Arte Misrachi-Mexico, [1969]. First edition; appears to be one of the 110 deluxe editions, but this copy is not numbered. Signed by Cuevas and Fernando López Valencia on the colophon page. Large quarto. Forty-seven pages of text and illustrations, plus seventy-one plates, several in full color. Bilingual edition in Spanish and English; English translation by Consuelo de Aerenlund. Publisher's deluxe binding in full brown and tan leather with gilt lettering to spine and geometric gilt rules to boards. Top edge gauffered gilt. Brown moiré silk endpapers. Spine sunned. A couple of small white spots to front endpapers. Insect damage to fore-edge and bottom edge. In publisher's leather and moiré slipcase. Near fine. [and:] David Alvara Siqueiros. Siqueiros. [Mexico City]: Galeria de Arte Misrachi, [1965]. First edition, second impression. Inscribed by Siqueiros in 1970 on the front free endpaper. Folio. Forty-six pages of text and illustrations, plus Thirty-two full-page color plates. Introduction by Enrique Gual. Bilingual edition in Spanish and English; English translation by Emma Gutierrez Suarez. Publisher's full blue cloth with gilt lettering to front board. A fine copy in a rubbed and lightly worn dust jacket. [and:] Rufino Tamayo. Tamayo. [Mexico City]: Galeria de Arte Misrachi, [1967]. First edition. Signed by Tamayo on the title page. Folio. Unpaginated. Introduction by Juan García Ponce. Bilingual edition in Spanish and English; English translation by Emma Gutierrez Suárez. Publisher's gilt-stamped blue cloth. Cloth puckered on front board. Insect damage to front free endpaper. Chipped and worn dust jacket. Very good or better. [and:] Francisco Zuñiga. Zuñiga. [Mexico, City]: Galeria de Arte Misrachi-Mexico, [1969]. First deluxe edition, limited to 100 copies, this being number 18, signed by Zuñiga, the editor, the printer, and the binder. Large quarto. Forty-seven pages of text and illustrations, plus [100] pages of plates, many in color. Introduction by Ali Chumacero. Autobiographical notes by Zuñiga. Bilingual edition in Spanish and English; English translation by William K. Boone. Publisher's deluxe binding in green and tan leather with gilt lettering to spine and geometric gilt rules to boards. Top edge gauffered gilt. Green moiré silk endpapers. Spine sunned. Insect damage to fore-edge. In publisher's leather and moiré slipcase. Near fine.

Charles Darwin [and others]. Robert Fitzroy [editor]. Narrative of the Surveying Voyages of His Majesty's Ships Adventure and Beagle, between the years 1826 and 1836, describing their examination of the southern shores of South America, and the Beagle's circumnavigation of the globe. In three [i.e. four] volumes. London: Henry Colburn, 1839.

First edition, with Volume III comprising the first edition, first issue of Darwin's first published book. Four octavo volumes, including appendix to Volume II. xxviii, [4], 597, [3, blank]; xiv, [2], 694, [1], [1, blank]; viii, 352; xiv, 608, [609]-629 (addenda), [609]-615 (index), [1, blank] pages. Volume I with seventeen plates, including frontispiece and one folding, and two folding maps bound at rear. Volume II with twenty-five plates and maps, including frontispiece, and two folding maps bound at rear. Appendix to Volume II with six charts and diagrams and two folding maps bound at rear. Volume III with two folding maps bound at front and two more bound at the rear, plus four woodcuts in the text. All half-titles called for present. Bound without publisher's ads at end of Appendix.

Contemporary half red morocco over marbled boards, spines with gilt and blind tooled bands and gilt lettering, green-gray endpaper, top edges gilt. Gilt leather bookplate affixed to front pastedowns; small Japanese ownership stamp in orange ink to front free endpapers. Very subtle paper and adhesive remnants of a paper bookplate on front free endpapers. Minor old dampstain to lower blank margin of last volume. Frontispiece of first volume with outer margin a bit trimmed. Overall an excellent set, very bright and fresh, of this monumental work.

One of the most famous nineteenth-century accounts of voyages of exploration, "[Darwin's] first published book is undoubtedly [his] most often read and stands second only to On the origin of species as the most often printed. It is an important travel book in its own right and its relation to the background of his evolutionary ideas has often been stressed. ...The first issue forms, as is well known, the third volume of The narrative of the voyages of H.M. Ships Adventure and Beagle, edited by Captain Robert Fitzroy and published, in three volumes and an appendix to Volume II, in 1839. In this form, it bears the subsidiary title Journal and remarks. Since then it has changed its name four times, so that today it is universally referred to as The voyage of the Beagle" (Freeman, Darwin, pp. 31-32).

Freeman, Darwin, 10.

Charles Darwin. On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life. London: John Murray, 1859.

First edition, with two quotations only, from Whewell and Bacon, on the verso of the half-title (p. [ii]), and with the misprint "specieis" on page 20, line 11. Octavo in twelves (7.8125 x 4.875 inches; 198 x 125 mm.). ix, [1, "Instructions to Binder"], 502 pages plus 32 pages publisher's catalogue ("Mr. Murray's General List of Works"), dated June, 1859 (in Freeman's third form). Folding lithographed diagram by William West, indicating Darwin's views of possible sequences of evolution facing, page 117.

Original green ripple-grain cloth with covers decoratively paneled in blind and spine ruled, decoratively stamped, and lettered in gilt (Freeman's variant "a," although the gap between the lower triangle and the gilt rule below it is closer to 1 mm. than 2 mm.). Original light brown coated endpapers. Evidence of a binder's ticket having once been present on the rear pastedown. Corners rubbed, a few short splits to cloth at spine extremities (three tiny splits and one quarter-inch split at head of spine, tiny split at foot of spine), board edges very lightly bumped in a few places, a few small areas of slight discoloration to cloth on rear cover. Front hinge cracked, but holding, rear hinge starting and very neatly strengthened. Overopened in a few places, but no gatherings actually sprung. A few leaves poorly opened, tiny tear and crease to lower edge of leaves Y9-Y11(pages 497-502), a few additional tiny marginal holes, a few corners faintly creased. Paper slightly browned, some very occasional light foxing and marginal soiling. A few marginal pencil marks in the publisher's catalogue. Overall, an excellent copy, with both the cloth and the gilt on the spine still very fresh and bright. From the library of Punch artist Charles Keene (1823-1891), with his bookplate on the front pastedown. Chemised in a custom green cloth slipcase lettered in gilt on the spine.

One of the most influential scientific works of the nineteenth century, On the Origin of Species was (and still is) one of the most controversial. In it "Darwin not only drew an entirely new picture of the workings of organic nature; he revolutionized our methods of thinking and our outlook on the natural order of things. The recognition that constant change is the order of the universe had been finally established and a vast step forward in the uniformity of nature had been taken" (Printing and the Mind of Man).

"What the dropping of the first atomic bomb was to the twentieth century, the publication of Darwin's On the origin of species was to the nineteenth century. Battle lines were drawn on both religious and scientific grounds" (Heirs of Hippocrates).

Dibner 199 ("the most important single work in science"). Freeman 373 ("the most important biological book ever written"). Garrison and Morton 220. Grolier, 100 English, 96. Grolier/Horblit 23b ("the most influential scientific work of the nineteenth century"). Heirs of Hippocrates 1724. Printing and the Mind of Man 344b.

Charles Darwin. Sixteen Volumes of Charles Darwin's Works.

The following thirteen small octavo volumes, published in London by John Murray, are bound uniformly in half leather over marbled boards with gilt-stamped morocco spine labels, raised bands, and gilt top edges. Bookplates in all. The (un-numbered) set is in very good condition. Titles in this group include: The Power of Movement in Plants. Assisted by Francis Darwin. 1880. [and:] Different Forms of Flowers on Plants of the Same Species. 1888. [and:] The Effects of Cross and Self Fertilisation In the Vegetable Kingdom. Second edition. 1888. [and:] The Formation of Vegetable Mould, Through the Action of Worms, with Observations of Their Habits. 'Corrected' edition. 1888. [and:] Insectivorous Plants. Second edition, revised by Francis Darwin. 1888. [and:] The Movements and Habits of Climbing Plants. 1888. [and:] The Variation of Animals and Plants Under Domestication. Volume I. Second edition, revised. 1888. [and:] The Variation of Animals and Plants Under Domestication. Volume II. Second edition, revised. 1888. [and:] The Various Contrivances by Which Orchids Are Fertilised by Insects. Second edition, revised. 1888. [and:] The Descent of Man, and Selection in Relation to Sex. Second edition, revised and augmented. 1889. [and:] A Naturalist's Voyage. Journal of Researches Into the Natural History and Geology of the Countries Visited During the Voyage of H. M. S. Beagle Round the World. 1889. [and:] The Expression of the Emotions In Man and Animals. Second edition, edited by Francis Darwin. 1890. [and:] The Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle For Life. Sixth edition, with additions and corrections to 1872. 1890.


The following (numbered) three-volume set is comprised of slightly larger octavo volumes, bound in the same leather and marbled paper as the set above. These volumes also have bookplates and are also in very good condition. This set, complete in three volumes, is The Life and Letters of Charles Darwin, Including an Autobiographical Chapter, Edited by His Son, Francis Darwin. London: John Murray, 1887. Second edition.

A very nice collection of books by one of the finest and most controversial scientific minds of the nineteenth century. From the library of American film actor Glenn Ford, with his armorial bookplate.

Albert Einstein. Mein Weltbild. Amsterdam: Querido Verlag, 1934.

First edition. Presentation copy, inscribed by Albert Einstein in black ink on the front free endpaper to his friend and mentor, Max Talmey: "Was im Leichtsinn mir entfahren / That der Teufel aufbewahren. / Herrn Talmey mit herzlichen / Geburtstags Grussen / A. Einstein / 1934" ("What I let slip carelessly / the Devil kept. / Mr. Talmey with / best wishes on your birthday. / A Einstein / 1934").

Octavo (7.8125 x 5.125 inches; 198 x 130 mm.). 269, [3, blank] pages. Publisher's black cloth lettered in gilt on the front cover and lettered in black against a gilt panel on the spine. Corners and head of spine lightly bumped, small ding to the outer edge of the front board, endpapers slightly browned. Short tears to the outer margin of pages 31-40. A very good copy. In the original dust jacket (jacket with some chips and tears).

On the front flap of the dust jacket, Einstein has crossed through Mein Weltbild, and written "Quatsch" ("Nonsense") beneath it.

This collection of eleven of Einstein's essays was translated into English by Alan Harris as The World as I See It (1934).

Max Talmey (born Max Talmud) was a Polish medical student who introduced the young Albert Einstein to the wonders of science, mathematics, and philosophy. "It was the custom among European Jewish families to help impoverished students by regularly giving them good meals. Every Thursday, Talmey came to dinner at the Einstein house, and he and Albert became good friends even though there was a ten-year difference in their ages. In appreciation for the weekly meal, Talmey loaned Albert books on science, beginning with a series called Popular Books on Natural Science by Aaron Bernstein. Then he brought somewhat more advanced books such as Force and Matter by Ludwig Buchner and Kosmos by Alexander von Humboldt. The book that made the greatest impression was a geometry textbook [Theodor Spieker's Lehrbuch der ebenen Geometrie] that Talmey loaned to twelve-year-old Albert" (John B. Severance, Einstein: Visionary Scientist (New York: 1999), page 25).

"During his medical school years in Munich, Max Talmey (1867-1941) had an important early influence on the education of Albert Einstein (1879-1955). Their five-year association occurred between 1889 and 1894. Einstein was a boy, 10 1/2 years old, when they first met. Talmey was 11 years older than Einstein, actually twice his age, and was studying at the University of Munich medical school. Talmey helped direct Einstein's thinking in mathematics, physics and philosophy. Their paths separated after Talmey graduated from medical school and emigrated to the United States. They met again several times, but only for short visits. This tale of two students provides insights into the development of an astute physician and a scientific genius" (Ravin, page [1]).

After Talmey emigrated to the United States, he practiced medicine, mainly ophthalmology, in New York City, where "made significant contributions to medicine, the popularization of Einstein's work, and to the development of international languages" (Ravin, page [1]). Talmey remained in New York until his death in 1941. Einstein emigrated to America in 1933, and lived in Princeton, New Jersey, until he died in 1955.

"Einstein received the Nobel prize in physics for 1921, but the decision to give him the award was not made until late in 1922...During the years just before Einstein received the Nobel prize, many articles were published in the lay literature about him and his spectacularly brilliant work. Talmey realized that this man was his old friend. He spent much of 1919 and 1920 at the New York Public Library, learning what he could about his friend's work. In 1920 Columbia University was considering honoring Einstein, and Talmey was asked to create a report about his relationship with the famous scientist" (Ravin, pages 11-12).

In his 1932 Max Talmey published his book The Relativity Theory Simplified and the Formative Period of Its Inventor, in which he attempts to explain Einstein's work to the public. "While he admitted that he was not the first to make the attempt, Talmey showed how his unique knowledge of the creator of relativity theory offered some advantages. The most important aspect of his book is the tale of the relationship he had with Einstein, for it gives us insights into the development of one of the greatest scientists who has ever lived" (Ravin, pages 13-14).

In Part III of his book, "The Formative Period of the Inventor of the Relativity Theory," Talmey reports on Einstein's early years and describes his relationship with the young scientist. Talmey writes (on page 159): "Extraordinary mentality was already evident in Albert Einstein when he was only a young boy. This I observed at close range through my associations with him from his tenth to his fifteenth year, and I had the good fortune even to play some part in its unfolding during this highly formative period of his life." He continues (on page 160): "With the exception of his nearest relatives I am the only one who was personally familiar with that important stage in the life of this preeminent scientist, when the first stones for the foundation of his future greatness were laid."

"Although Albert was eleven years younger than the medical student, close fellowship soon developed between them, due to the young boy's exceptional intelligence which enabled him to discuss with a college graduate subjects far above the comprehension of children of his age. He showed a particular inclination toward physics and took pleasure in conversing on physical phenomena. I gave him therefore as reading matter A. Bernstein's 'Popular books on Physical Science' and L. Büchner's 'Force and Matter,' two works that were then quite popular in Germany. The boy was profoundly impressed by them. Bernstein's work especially, which describes physical phenomena lucidly and engagingly, had a great influence on Albert, and enhanced considerably his interest in physical science. He never forgot Bernstein's books. Even since he has become famous, he has often praised them...On the occasion of a visit of Professor and Mrs. Einstein to my home, in 1921, I asked him what he thought of the vilification of Bernstein's books by the biographer who calls them an obsolete work of 'sham science.' These are almost the very words of Professor Einstein's reply: Bernstein's work is a very good book even now, and at that time it was the best of its kind. It has exerted a very great influence on my whole development. I do not think much of 'Force and Matter,' but at that time this book, too, made a deep impression on me'" (Talmey, pages 162-163).

"After his promotion to the fourth grade...I gave him...for self-study, Spieker's text-book of geometry [Lehrbuch der ebenen Geometrie]. I used to visit his home every week, and whenever I came he delighted in showing me new problems from the book which he had solved in the preceding week. At first I aided him in solving difficult problems and thus followed closely his introduction, in this way, to the study of mathematics. After a short time, a few months, he had worked through the whole book of Spieker. He thereupon devoted himself to higher mathematics, studying all by himself Lübsen's excellent works on the subjects. These, too, I had recommended to him if memory serves me right. Soon the flight of his mathematical genius was so high that I could no longer follow. Thereafter philosophy was often a subject of our conversations. I recommended to him the reading of Kant. At that time he was still a child, only thirteen years old, yet Kant's works, incomprehensible to ordinary mortals, seemed to be clear to him after read through his 'Critique of Pure Reason' and the works of other philosophers" (Talmey, pages 163-164).

"For five years I had the good fortune of associating very often with the young mathematician and philosopher. In all these years I never saw him reading any light literature" (Talmey, page 164).

"Max Talmey, a doctor of medicine and a personal friend of Einstein, has succeeded as probably no other man has in producing a book, explaining the relativity theory which any person of ordinary intelligence can read with understanding...Dr. Talmey has explained the facts so clearly that any person with an interest in this subject can grasp them" (from a review of The Relativity Theory Simplified by C. S. Atchison which appeared in The Mathematical Association of America, Vol. 41, No. 2 (February 1934), pages 96-97).

"The soundness and authoritative character of this volume are attested by a statement by Professor Einstein himself in a letter to the author [dated 21 January 1933], as follows: 'Only yesterday I found time to read in your new book. I was glad to see how thoroughly you have occupied yourself with the intellectual basis of the relativity theory. I do believe your book can bring home the theory to many an intelligent educated layman and to many a student who does not want to penetrate more deeply into the mathematical basis'" (from another review of Talmey's book, which appeared in Popular Astronomy, Vol. 41 (1933), pages 237-238).

In her biographical sketch of Einstein, Einstein's younger sister Maja writes of Talmey that he "initiated the youth into the world of philosophical thought. He discussed with him all of the questions raised by the youth thirsting for knowledge and recommended the reading of books on natural philosophy (Kraft und Stoff [Force and Matter] by Büchner, Kosmos by Humboldt, the Naturwissenschaftliche Volksbücher [Popular Books on Natural Sciences] by Bernstein, among others). Moreover, despite the difference in their ages, he treated the boy as an equal and friend. Whereas Uncle Jakob's style of teasing skepticism about his abilities always spurred him on anew, and the teachers at the Gymnasium pedantically looked more for ready answers than for the ability to probe and reflect, the more insightful medical student offered young Albert far more. For he invested his whole person in examining everything that engaged the boy's interest. This occurred at that very crucial age when the child matures into a thinking person. His scientific interests were broadened as a result; he was no longer engrossed solely in mathematics, but had already begun to concern himself with the fundamental problems of the natural sciences in general" ("Albert Einstein-A Biographical Sketch by Maja Winteler-Einstein (Excerpt)," in The Collected Papers of Albert Einstein. Volume I: The Early Years, 1879-1902 (Princeton, New Jersey: 1987), page xxi).

James G. Ravin, "Albert Einstein and his mentor Max Talmey. The Seventh Charles B. Snyder Lecture," in Documenta Ophthalmologica 94 (1997): pages 1-17. Max Talmey, The Relativity Theory Simplified and the Formative Period of Its Inventor (New York: Falcon Press, 1932), pages 159-179.

[Albert Einstein]. Alexander von Humboldt. Kosmos. Entwurf Einer Physischen Weltbeschreibung. Stuttgart und Tübingen: Cotta'scher Verlag, 1845, 1847, 1850.

First edition. Three (of five) small octavo volumes. xvi, 480; 544; iv, 310 pages.

Contemporary half black calf over marbled boards. Paper labels on the spines lettered in manuscript. Binding rubbed, some chipping to paper spine labels, hinges cracked or weak. Front free endpaper to Volume I detached, but present. Lacking Volumes IV (1858) and V (1862). Very good.

"In his 'Autobiographical Notes,' Einstein tells us that an early religious phase around the age of twelve came to an abrupt end through the reading of popular scientific books (Einstein 1979, p. 2). Which books these were we learn from his sister's biographical sketch and from Max Talmey, the young Polish medical student who helped move the adolescent's focus beyond mathematics to philosophy and natural science. Maja Winteler-Einstein records that Talmey recommended to young Albert the Kosmos of Alexander von Humboldt [Kosmos: Entwurf einer physischen Weltbeschreibung ("Cosmos: A Sketch of Physical Description of the Universe")], Ludwig Büchner's Kraft und Stoff ["Force and Matter"], Aaron Bernstein's Naturwissenschaftliche Volksbücher ["Popular Books on Natural Science"], and other materials (Winteler-Einstein 1987, p. lxii). According to Talmey, the young Einstein was eager to discuss natural science, including the copies of Büchner and Bernstein that Talmey gave him (Talmey 1932, p. 162). There is no surprise in the mention either of von Humboldt's Kosmos or Büchner's Kraft und Stoff. William Langer reports that earlier in the century the Kosmos was read more than another work except the Bible, while the sensation Büchner's book produced and its widespread availability in the nineteenth century have been well documented" (Frederick Gregory, "The Mysteries and Wonders of Natural Science: Aaron Bernstein's Naturwissenschaftliche Volksbücher and the Adolescent Einstein," in Don Howard, Einstein: The Formative Years, 1879-1909 (Boston: 2000), page 23).

"Alexander von Humboldt [1769-1859] produced in his 'Cosmos' one of the last really comprehensive physical surveys ever to be attempted...For twenty years Humboldt was occupied in composing, in collaboration with Cuvier, Latreille, Gay-Lussac and others, his monumental account of South America. The first part was entitled Voyages aux Régions Equinoxiales du Nouveau Continent fait en 1799-1804, which serves usually to describe the whole work; thirty large volumes were published between 1805 and 1834, but even then it remained uncompleted. But it was Kosmos-'The Cosmos, Outline of a Description of the Physical World'-based on lectures delivered at the Berlin Singakademie in 1828-9, which Humboldt really considered as his life work. The last of the five volumes was published posthumously from his notes. In his own words it was meant 'to represent in one work the whole material world, everything we know today of the phenomena in the celestial spaces and of life on earth, from the nebulae to the geography of mosses on granite rocks...it is meant to describe a chapter in the intellectual development of mankind (the knowledge of nature)'. The book contains a complete survey of the physical sciences and their relation to each other" (Printing and the Mind of Man 320).

This copy of Kosmos belonged to Max Talmey, and it is possible that it is the very copy that Talmey loaned to Einstein.

Thomas Forster. Researches About Atmospheric Phaenomena. London: Harding, Mavor, and Lepard, 1823.

Third edition. Octavo. xiv, 442 pages. Index. Six hand-tinted copper-plate engravings, including frontispiece, of cloud formations. Also, an appendix "Calendar of Nature," new to the third edition.

Half leather over marbled boards. Rebacked with original boards. Gilt lettering to spine. Some rubbing to boards. Hinges cracked. Moderate foxing throughout. Some inked notations in a contemporary hand throughout the preface. Very good.

Galileo Galilei. Il Saggiatore nel quale con bilancia esquisita e giusta si ponderano le cose contenute nella libra astronomica e filosofica di Lotario Sarsi Sigensano ... Rome: Appresso Giacomo Mascardi, 1623.

First edition, first issue, with the shorter errata list (eight lines in two columns) on the verso of 2F6 and bound without the introductory verses by Johannes Faber and Francesco Stelluti (a1-a4) which were printed later, on different paper. Small quarto (7.8125 x 6 inches; 199 x 153 mm). [6], 236 pages. With engraved title and engraved portrait by Francisco Villamena. Eighteen engraved diagrams in the text, typographic head-piece, and woodcut initials and tail-pieces.

Contemporary half vellum over rose, yellow, and green decorated boards. Gilt lettering and rules on the spine in imitation of a lettering piece. Edges sprinkled rose. Previous owner's inscription in ink, dated 1789, on front free endpaper. First two leaves starting but still holding tight. Boards slightly soiled and rubbed, especially to extremities. Some light dampstaining to first five leaves. Some pages slightly darkened throughout. Small marginal closed tear to leaf K3, just touching page numbers, and a dark spot on leaf P2. Overall a very good copy of this important book.

"Galileo's masterful polemic on the new science was written in response to Orazio Grassi, mathematician at the Jesuit Roman College, who in 1619 had published, under the pseudonym Lotario Sarsi, an attack on Galileo after the latter had criticized his views on comets. Unable to defend the Copernican doctrine, declared heretical in 1616, Galileo avoided all discussion of the world's movement in his response, addressed to a young admirer named Virginio Cesarini, concentrating instead on a general discussion of the proper scientific approach to the investigation of celestial phenomena. The crux of his argument was that no theory of comets could be advanced unless it could be proven that they were concrete moving objects rather than mere optical effects of solar light, a proof that he considered impossible

"Il Saggiatore was dedicated at the last minute to the new Pope Urban VIII, Maffeo Barberini, Galileo's friend and a patron of science and the arts. Galileo was in Florence during the printing and could not supervise the corrections, so the first issue contains only 16 errata; Galileo had an additional errata leaf printed for the second issue, which was revised to a total of 137 errata for the third and final issue ...The engraving on Ee1r is the earliest published illustration of the ring of Saturn, the planet Mars in inferior and superior conjunction, and the phases of Venus" (The Haskell F. Norman Library, Christie's New York, 15 and 16 June 1998, lot 456).

"In the course of his argument, Galileo distinguished physical properties of objects from their sensory effects, repudiated authority in any matter that was subject to direct investigation, and remarked that the book of nature, being written in mathematical characters, could be deciphered only by those who knew mathematics" (DSB).

Carli & Favaro 95. Cinti 73. Honeyman 1405. Norman Library 857. Riccardi I (1), col. 511.

Galileo Galilei. Systema cosmicum ... In quo quatuor dialogis, de duobus maximis mundi systematibus, Ptolemaico & Copernicano, utriusque rationibus philosophicis ac naturalibus indefinite propositis, disseritur. Ex Italica lingua Latine conversum. Accessit appendix gemina, qua SS. Scripturæ dicta cum terræ mobilitate conciliantur. Strassburg: Impensis Elzeviriorum, Typis Davidis Hautti, 1635.

First edition in Latin of Galileo's Dialogo (first published in Italian in 1632). Translated by Kepler's friend and Strassburg humanist Matthias Bernegger. Quarto. [16], 495, [1, blank], [24] pages. including added engraved title ("Dialogus de systemate mundi") depicting Aristotle, Ptolemy, and Copernicus, and engraved portrait of Galileo by J. von Heyden. Numerous intertextual woodcut diagrams, decorative head- and tailpieces, and initials throughout.

Full eighteenth-century mottled sheep. Single fillet borders rolled in gilt, spine ruled in gilt in compartments with four raised bands, edges sprinkled brown. Very minor worming to upper extremity of front joint. Text slightly browned, due to the poor quality of paper used in this edition ("L'impression et le papier sont des plus médiocres" (Willems).) Occasional minor foxing. Some minor abrasion to lower outer board edge, with the pasteboard just showing. Overall an excellent copy. Housed in a green leatherette slipcase.

"Eight years after Pope Paul V had forbidden him to teach Copernican theory, Galileo received permission from a new Pope, Urban VIII, to discuss Copernican astronomy in a book, so long as that book provided equal and impartial discussions of the Church-approved Ptolemaic system. Galileo's Dialogue concerning the two chief world systems held to the letter of this command: the device of the dialogue, between a spokesman for Copernicus, one for Ptolemy and Aristotle, and an educated layman, allowed Galileo to remain technically uncommitted. After the book's publication, however, Urban took offense at what he felt to be its jibes against himself and ordered Galileo to be brought before the Inquisition in Rome. Galileo was condemned to permanent house arrest and forced to abjure all Copernican 'heresy'" (Norman Library 858, describing the 1632 first edition).

"If it was not exactly written in defiance of the Inquisition, it was composed with the deliberate intention of bamboozling the censors and of outwitting Galileo's clerical enemies. The censors were the more easy to deceive; after the book was published Galileo's enemies dragged him to Rome in 1633, set him before the Inquisition, and forced him to abjure all that the Dialogo professed ...The book itself remained on the Index Librorum Prohibitorum until 1823 ... In 1615 [Galileo] was officially silenced as regards the truth of astronomy. The Dialogo was designed both as an appeal to the great public and as an escape from silence. In the form of an open discussion between three friends -- intellectually speaking, a radical, a conservative, and an agnostic -- it is a masterly polemic for the new science. It displays all the great discoveries in the heavens which the ancients had ignored; it inveighs against the sterility, willfulness, and ignorance of those who defend their systems; it revels in the simplicity of Copernican thought and, above all, it teaches that the movement of the earth makes sense in philosophy, that is, in physics. Astronomy and the science of motion, rightly understood, says Galileo, are hand in glove. There is no need to fear that the earth's rotation will cause it to fly to pieces ...The Dialogo, far more than any other work, made the heliocentric system a commonplace" (Printing and the Mind of Man 128).

This first Latin edition is notable for containing in the Appendix two tracts not present in the original Italian edition: on pp. 459-464 the introduction to Kepler's Astronomia nova ("Perioche ex introductione in Martem Johannis Kepleri, Mathematici Cæsarei") and on pp. 465-495 the first Latin edition of Paolo Antonio Foscarini's "Letter concerning the Opinion of the Pythagoreans and Copernicus about the Mobility of the Earth and Stability of the Sun, and about the New Pythagorean System of the World" ("Epistola R.P.M. Pauli Antonii Foscarini, Carmelitani, circa Pythagoricorum, & Copernici opinionem de mobilitate terræ, et stabilitate solis: et de novo systemate seu consitiutione mundi"). In this work, first published in 1615, Foscarini defended the Copernican theory as true and defended it against charges that it conflicted with Scripture.

Carli & Favaro 148. Cinti 96. Printing and the Mind of Man 128. Riccardi I (1), cols. 512-513. Sotheran, Second Supplement, I, 3156. Willems 426.

Robert H. Goddard. A Method of Reaching Extreme Altitudes. Washington, DC: The Smithsonian Institution, 1919.

First edition. Octavo. 69 pages. Ten pages of photographs.

Later binding in buckram over boards. Gilt lettering to the spine. Decorative endpapers. Near fine.

"Goddard published his first major work in 1919. A sixty-nine-page treatise titled 'On a Method of Reaching Extreme Altitudes.' It was a serious technical study of how two-stage, solid-propellant rockets could be used to lift scientific instruments high into Earth's atmosphere, and ended with brief discussions of liquid-propellant rockets and the possibility of sending a rocket to the moon. Funded and published by the Smithsonian Institution, Goddard's pamphlet-sized work oozed respectability. The argument was dense, the writing dry, and the pages studded with equations and tables of data. It was, in other words, a model of respectable scientific writing, and it addressed an important scientific problem: how to gather atmospheric data from altitudes higher than the seven miles balloons could reach" (Van Riper).

A. Bowdoin Van Riper, Rockets and Missiles, 29.

Hippocrates. Magni Hippocratis Medicorum Omnium Facile Principis, Opera Omnia Quae Extant.... [bound with:] Anuce Foes. Oeconomia. Genevae [Geneva]: Samuel Chouet, 1657 and 1662.

Early edition in Greek and Latin. Two folio volumes. [xlvi], [1]-934; 935-1344, [54], title page, 418 [Oeconomia] pages. With wood engraving of Hippocrates as frontispiece in Volume I and with additional woodcut capitals and decoration within text.

Vellum bindings with rules and decoration in blind. Titles in ink by hand on the spines of each volume. Seven compartments between six raised bands on the spine. Boards dirty with wear at the corners; otherwise, remarkably sound. Sprinkled edges. Pastedowns need to be re-glued to the boards. Light toning to contents. Some scattered very light foxing throughout. Otherwise, a remarkably handsome set in very good condition.

[Herbert Clark Hoover and Lou Henry Hoover, translators]. Georgius Agricola De Re Metallica. London: the Mining Magazine, 1912.

First edition in English. Folio. xxxi, 640 pages. Inscribed by Herbert Hoover and Lou Hoover, the translators. Reproductions of all 270 woodcuts of the 1556 edition. Index.

Full vellum. Moderate foxing throughout. Some mild wear to the binding. Very good.

Before entering politics and becoming president of the United States, Herbert Hoover worked as a mining engineer. He wrote a standard textbook on the subject. Later, with the help of his wife Lou's expertise in Latin, they collaborated in the translating and annotating of the classic 1556 work on mining and smelting De Re Metallica by Geog Bauer (aka Georgius Agricola). Theirs remains the standard English translation. The book was privately printed by the Mining Magazine for subscribers, and it is unlikely more than 1,500 were printed.

Sir Isaac Newton. Philosophiæ naturalis principia mathematica. London: Jussu Societatis Regiæ ac Typis Josephi Streater. Prostant Venales apud Samuelis Smith...nonnullos Bibliopolas, 1687.

First edition, the rare second issue, with the cancel title bearing the three-line imprint including the name of the bookseller Samuel Smith. Quarto (9.1875 x 7.0625 inches; 234 x 180 mm.). [8], 383, 400-510, [1, errata], [3, blank] pages. (Numbers 384-399 omitted in pagination because of a change of compositors.) Errata leaf bound in at end. Complete with blank leaf Ooo4. Leaf P4 a cancel, as usual, with the diagram on the verso (page 112) correctly printed. Folding engraved plate showing a cometary orbit bound in at end. Numerous woodcut diagrams in the text. This copy with the following variants as identified by Todd: the woodcut figure on page 22 is correctly oriented; the catchword on page 29 is "ve,"; page 65 is correctly numbered; page 72 is correctly numbered, with the last word "punctum" and the catchword "Scho-"; page 91 is signed "N2"; the last line on page 110 begins "fecet Ellipsin" and the catchword is "quæ-"; page 209 is signed "Dd"; page 261 is misnumbered "262"; page 267 is signed "Kk2"; the catchword on page 481 is "c2,".

Contemporary sheep, expertly rebacked, with original spine laid down and with corners renewed. Covers with gilt single fillet border, spine decoratively tooled and lettered in gilt in compartments, edges sprinkled red and blue. Paper repair to the upper gutter of the front free endpaper. A few leaves slightly browned, occasional light foxing, a few small, mostly marginal, rust spots, especially in gathering W (pages 153-158), including a small rust hole in the outer margin of W2 (pages 155/156), not affecting text. Small wormtrack, expertly filled in, in the upper margin of the four preliminary leaves, just affecting the rule border on the title and on the third leaf. Small stain in the lower margin of the title, in the lower margin of D1 (pages 17/18) and D2 (pages 19/20), to the folding engraved plate, and in the lower margin of the errata leaf at the end. Faint dampstain in the lower inner margin from Kk1 (page 257) to the end, and in the upper inner margin from Nn1 (page 281) to the end, both slightly heavier at the end. Small repaired hole in Y2 (pages 171/172), affecting a few letters in two lines, small hole in Xx3 (pages 357/358), just touching the woodcut on the recto and a few letters on the verso, a few minor marginal paper flaws or tiny holes. Overall, an excellent copy. Housed in a custom book-backed quarter brown morocco clamshell case with the spine decoratively tooled and lettered in gilt.

The second and rarer issue of "the greatest work in the history of science" (Printing and the Mind of Man). In the Principia, Newton formulated the three laws of motion from which he derived the principle of universal gravitation, "wherein all bodies, of whatever mass, attract one another in proportion to their masses and in inverse ratio as the square of the distance between them. This applies to dust particles as to the mightiest celestial bodies" (Dibner).

"Copernicus, Galileo and Kepler had certainly shown the way; but where they described the phenomena they observed, Newton explained the underlying universal laws. The Principia provided the great synthesis of the cosmos, proving finally its physical unity. Newton showed that the important and dramatic aspects of nature that were subject to the universal law of gravitation could be explained, in mathematical terms, within a single physical theory...The same laws of gravitation and motion rule everywhere; for the first time a single mathematical law could explain the motion of objects on earth as well as the phenomena of the heavens. The whole cosmos is composed of inter-connecting parts influencing each other according to these laws. It was this grand conception that produced a general revolution in human thought, equalled perhaps only by that following Darwin's Origin of Species" (Printing and the Mind of Man).

The expenses of publication of the first edition of the Principia were borne by Newton's close friend Edmond Halley (1656-1742), who also edited the work and saw it through the press. William B. Todd, in his "Bibliography of the Principia" states that there were between 250 and 300 copies printed of the first issue, and only fifty printed of the second issue.

A. N. L. Munby "researched the significance of the two states of the title-page of the Principia, concluding that the more commonly found state, with the title page uncancelled and the so-called two-line imprint, reflects Halley's initial sales stategy [sic] of placing the work on consignment with various booksellers ('apud plures Bibliopolas'). The state with the three-line imprint, which includes the name of the bookseller, Samuel Smith, reflects Halley's decision to turn over a significant portion of the edition to Smith, probably for foreign distribution...Copies with the three-line imprint are much rarer than those with the two-line, suggesting that the so-called 'Smith' copies may only have comprised between seventeen and thirty-three percent of the edition. Munby's bibliographical researches have also suggested that the two-line imprint and three-line imprint issues of the first edition were published simultaneously" (Norman Library).

Babson 11. Dibner 11. Grolier/Horblit 78. Honeyman 2302. Milestones of Science 151. A. N. L. Munby, "The Distribution of the First Edition of Newton's Principia," in Notes and Records of the Royal Society of London X (October 1952), pages 28-39. Norman Library 1586. Printing and the Mind of Man 161. William B. Todd, "A Bibliography of the Principia. Part I: The Three Substantive Editions," in Koyré & Cohen, Isaac Newton's Philosophiae naturalis principia mathematica II, pages 851-853. Wallis 7. Wing N1049.

Sir Isaac Newton. Philosophiæ naturalis principia mathematica. Editio tertia aucta & emendate. London: Apud Guil. & Joh. Innys, 1726.

Third edition of "the greatest work in the history of science" (Printing and the Mind of Man). One of 200 large paper copies on "General Royal paper with the "CC" watermark. Quarto (11.25 x 8.75 inches; 289 x 222 mm). [34], 530, [6, index] pages. With engraved frontispiece portrait and numerous diagrams. Bound without rear ad, but with initial privilege leaf and half-title leaf. Collates as copy 2 of Babson.

Contemporary full vellum, front board professionally reattached. Black calf spine label, lettered in gilt. Faint dampstain at upper corner of initial leaves. Faint dampstain at upper corner of initial leaves. An exceptionally large, fresh and bright copy, housed in a quarter black morocco over white cloth slipcase.

"This edition was the last published during the author's lifetime and the basis of all subsequent editions. It was edited by Henry Pemberton, M.D., F.R.S., and contains a new preface by Newton and a large number of alterations, the most important being the scholium on fluxions, in which Leibnitz had been mentioned by name. This had been considered an acknowledgement of Leibnitz's independent discovery of the calculus. In omitting Leibnitz's name in this edition, Newton was criticized as taking advantage of an opponent whose death had prevented any reply" (Babson).

In the Principia, Newton formulated the three laws of motion from which he derived the principle of universal gravitation, "wherein all bodies, of whatever mass, attract one another in proportion to their masses and in inverse ratio as the square of the distance between them. This applies to dust particles as to the mightiest celestial bodies" (Dibner).

"Copernicus, Galileo and Kepler had certainly shown the way; but where they described the phenomena they observed, Newton explained the underlying universal laws. The Principia provided the great synthesis of the cosmos, proving finally its physical unity. Newton showed that the important and dramatic aspects of nature that were subject to the universal law of gravitation could be explained, in mathematical terms, within a single physical theory ...The same laws of gravitation and motion rule everywhere; for the first time a single mathematical law could explain the motion of objects on earth as well as the phenomena of the heavens. The whole cosmos is composed of inter-connecting parts influencing each other according to these laws. It was this grand conception that produced a general revolution in human thought, equaled perhaps only by that following Darwin's Origin of Species" (Printing and the Mind of Man, describing the first edition).

Babson 13. Gray 9. Wallis 9.

[Jacques] Ozanam with Charles Hutton [editor]. Recreations in Mathematics and Natural Philosophy. London: Longman, Hurst, Rees, Orme, and Brown, 1814.

Edition unknown. Four volumes in two. Octavo. 379, 389; 422, 440 pages. Numerous plates, a few decorated with color pencil.

Contemporary red half leather with marbled boards and gilt-stamped spine. Rubbing to extremities. Hinges tender. Occasional notations in pencil. Overall, a very good set.

Francis Bacon. Basil Montagu, editor. The Works of Francis Bacon, Lord Chancellor of England. London: William Pickering, 1825-1834.

New edition. Seventeen octavo volumes.

Uniform brown half morocco bindings with brown cloth boards, gilt titles and decoration. Top edges gilt. Marbled endpapers. Light rubbing and scuffing. Scattered foxing throughout. Bookplates. A very good set.

[Henry Somerset, editor]. The Badminton Library of Sports and Pastimes. London: Longmans, Green, and Co., 1894-1896.

Mixed editions, many firsts. Octavo. Frontispieces. Many illustrations. Indices.

Uniformly bound in scarlet half morocco over cloth boards. Raised bands. Gilt lettering to spines with gilt-stamped sporting devices in the compartments. Marbled endpapers. Top edges gilt. Some rubbing to spine ends. Many volumes have tears to heads of spines. Overall, a handsome set in very good condition.

Includes all twenty-eight of the original Badminton series, including: Hunting; Fishing: Salmon & Trout; Fishing: Pike & Coarse Fish; Racing and Steeple-Chasing; Shooting: Field & Covert; Shooting: Moor & Marsh; Cycling; Athletics & Football; Boating; Cricket; Driving; Fencing, Boxing & Wrestling; Golf; Tennis, Lawn Tennis, Rackets & Fives; Riding & Polo; Mountaineering; Coursing & Falconry; Skating & Figure Skating; Swimming; Big Game Shooting I; Big Game Shooting II; Archery; Sea Fishing; Dancing; Billiards; and The Poetry of Sport. A wealth of information from experts on a variety of sports and gentlemanly pursuits. Editor Henry Somerset, 8th Duke of Beaufort, decided to create this series because, as he states in the preface: "There is no modern encyclopædia to which the inexperienced man, who seeks guidance in the practice of the various British Sports and Pastimes, can turn for information."

Aubrey Beardsley [illustrator]. Sir Thomas Malory. The Birth, Life, and Acts of King Arthur, of His Noble Knights of the Round Table, Their Marvellous Enquests and Adventures, the Achieving of the San Greal, and in the End, Le Morte Darthur, with the Dolourous Death and Departing out of This World of Them All. The text as written by Sir Thomas Malory and imprinted by William Caxton at Westminster the year MCCCCLXXXV and now spelled in modern style. With an introduction by Professor Rhys and embellished with many original designs by Aubrey Beardsley. [London: J.M. Dent & Co.], 1893-1894.

First edition. One of 300 numbered copies of the "superior issue" on Dutch handmade paper, out of a total edition of 1,800 copies. Three quarto volumes. [4], xc, 290; [4], [291]-664; [4], [665]-990, [1], [1, blank] pages. With two photogravure frontispieces on India paper mounted (in Volumes I and III), eighteen wood-engraved plates (including five double-page and one frontispiece in Volume II), numerous text illustrations, and approximately 350 chapter headings, borders, and initials, all after designs by Beardsley. Title vignettes and initials printed in red. With twelve front and back printed paper wrappers from original parts issue bound in throughout the three volumes. With inserted slips to subscribers and binders from the publisher, tipped in at front of Volume I.

Beautifully bound by Cedric Chivers of Bath, at or just after the time of publication, in three superb "vellucent" bindings of full light brown niger morocco over beveled boards. Front covers paneled in gilt and blind around large central inlays of transparent vellum over hand-drawn ink and watercolor scenes from the Arthurian legends, heightened in gilt, back covers ruled in gilt and blind around similar small central inlays. Spines paneled in gilt and blind in compartments, each with two inlays of transparent vellum over hand-decorated ink and watercolor lettering pieces, heightened in gilt, in the style of an illuminated manuscript. Turn-ins ruled in gilt and blind, doublures of transparent vellum over marbled paper decorated with an ink and watercolor border with decorative cornerpieces, marbled free endleaves, top edge gilt on the rough, others uncut. Occasional minor offsetting from plates to text and light browning to the French etching paper, as usual. An absolutely superb set, each volume is housed in a fleece-lined tan buckram clamshell case with manuscript calligraphic paper labels, the whole set housed in a protective slipcase of brown cloth.

The romantic, lush illustrations on the covers (in the style of, or possibly by, the well-known artist of the period H. Granville Fell) and the lovely illuminated lettering pieces on the spines perfectly complement Beardsley's famous and masterly pen-and-ink illustrations to this classic and legendary work, about which John Lewis writes: "In Le Morte D'Arthur Beardsley learnt his job, but the result is no bungling student's work ... If he had never illustrated another book, this edition of Morte D'Arthur could stand as a monument of decorative book illustration" (The Twentieth Century Book, pp. 148-149).

Ray, The Illustrator and the Book in England, 314.

W. Brockedon. Finden's Illustrations of the Life and Works of Lord Byron. London: John Murray, 1833-1834.

First edition. Three quarto volumes. Unpaginated.

Contemporary red half leather with gilt titles and decoration. Lightly rubbed and shelfworn with minor fading along spines. Boards moderately soiled. All edges gilt. Name on front pastedown of all volumes. Inscription on second endpaper. Hinges cracking. Foxing to endpapers. Pages are mildly toned with light, scattered foxing throughout. A very good set.

[Grolier Society]. Secret Court Memoirs. London: Grolier Society, [ca. 1900].

First thus, limited to 500 copies, of which this is number 213. Twenty octavo volumes.

The set in publisher's red half leather with gilt titles and decoration. Top edge gilt. Modestly rubbed and soiled with a hint of fading along spines. Comprising: Henri IV of France and Navarre; Louis XIV; Marguerite de Valois; Cardinal De Retz; Louis XV and XVI (two volumes); Marie Antoinette (two volumes); Empress Josephine (three volumes); Madame de Montespan (two volumes); Court of St. Cloud (two volumes); Court of Berlin (two volumes); Courts of Sweden and Denmark (two volumes); and Court of St. Petersburg. An attractive set in near fine condition.

Elbert Hubbard. The Complete Writings of Elbert Hubbard. East Aurora: Roycroft, 1908.

First edition. The Author's Edition, limited to 1,000 numbered sets (this being number 209), signed by Elbert Hubbard on the limitation page. Two Hubbard manuscript pages bound into Volume I before the title pages. Twenty quarto volumes. Printed on handmade paper with Roycroft watermark. Many illustrated plates with tissue guards.

Original half morocco over black paper boards. Blind tooling. Gilt designs and lettering to the spines. Top edges gilt. Deckle edges. Very good.

Elbert Hubbard became enamored of the crafts movement in England and was particularly influenced by the work coming from William Morris' Kelmscott Press. After traveling to England to visit Morris, Hubbard returned home to East Aurora, New York, where "he set up the Roycroft Shop, a body not unlike the Essex House community, which grew into a vast pseudo-medieval combination of inn, printing shop, smithy, furniture factory and other crafts, which at its height employed some five hundred men" (Roderich Cave, The Private Press, p. 155).

Washington Irving. Irving's Works. New York: G. P. Putnam's Sons, 1886-1889.

Hudson Edition. Twenty-two octavo volumes. Titles include The Legend of Sleepy Hollow, Rip Van Winkle, Knickerbocker, Alhambra, Sketchbook, etc., with three volumes on Irving's life and letters.

Uniform green half morocco bindings with marbled boards and endpapers. Gilt-stamped titles and decorations. Spines tanned with lightly rubbed extremities. Occasional volume with abrasion or light dampstain. Overall, a very good set.

Eugene O'Neill. The Plays of Eugene O'Neill. New York: Charles Scribner's Sons, 1934, 1935.

First edition, thus. Twelve octavo volumes. Limited to 750 numbered sets signed by Eugene O'Neill, this being copy #100. Photogravure portraits and scenes from the plays as frontispieces.

Original red cloth over boards. Gilt lettering to spines. Top edges gilt. Volume one shows some dampstaining to front pastedown, with front hinge repaired with white tape. Frontispiece page of volume seven torn, though not affecting the image. Overall a very good set.

N. M. Penzer. The Book of the Wine-Label. London: Home & Van Thal, 1947.

First edition. Quarto. 144 pages. Frontispiece. Twenty-seven plates. Foreword by André L. Simon. Bibliography.

Full burgundy morocco custom binding, with five silver wine labels mounted to top board. Double silver lines to boards. Raised bands, silver lettering to spine. All edges silver. Custom felt-lined clamshell box. Some minor rubbing to extremities of box, with a snag to the cloth of the top edge of the rear panel. Fine.

Legendary wine expert, André Simon, in his foreword, remarks that "the comparatively high cost of wine in England placed its enjoyment outside the reach of all but the wealthier members of the community," and thus great value was placed upon the sophisticated palate. "It is to this reverend and artistic love of fine wines," Simon concludes, "that we owe the variety and excellence of English wine decanters and wine-labels, the description of which has been made so fascinating in the present book by the enthusiasm and scholarship of Dr. N. M. Penzer."

Sir Walter Scott. Two Leather-Bound Sets, including: Waverley Novels. New York: George Routledge and Sons, [n. d.]. Twenty-five octavo volumes. Uniform tan half leather with spine decoration and leather gilt-stamped spine labels. Marbled boards, endpapers, and page edges. Minor rubbing and abrasions with foxing and toning to preliminary pages. Overall, a very good set. [and:] The Poetical Works of Sir Walter Scott. Edinburgh: Robert Cadell; & Whitaker, 1833. Twelve octavo volumes. Uniform blue three-quarter morocco with gilt titles. Marbled papers and endpapers. Top edge gilt. Spines show minor fading. Scattered light foxing to endpapers and page edges. A near fine set.

William Shakespeare. The Works of William Shakespeare. London: Macmillan and Co., 1891-1895.

Third edition. Nine octavo volumes. Edited by William Aldis Wright.

Contemporary half morocco over marbled boards. Raised bands, gilt lettering and designs to spines. Top edges gilt. Marbled endpapers. Some minor bumping to the corners. Near fine.

Alfred, Lord Tennyson. The Works of Alfred, Lord Tennyson. Boston: Estes and Lauriat, 1895.

Édition de Grand Luxe. Limited to 1,000 copies of which this is number 457. Twelve octavo volumes.

Uniform three-quarter red morocco with gilt titles and decoration on spine. Marbled boards and endpapers. Top edges gilt. Publisher's prospectus laid in to first volume. Minor rubbing and wear to extremities. A very good set.

Lyof N. Tolstoï. The Novels and Other Works of Lyof N. Tolstoï. New York: Charles Scribner's Sons, 1911.

First edition, thus. Twenty-four octavo volumes. Frontispieces.

Original blue cloth over boards. Gilt designs to front boards. Gilt lettering to spines. Top edges gilt. Uniform fading to spines. Some minor loss to the spines at the base of Volume I. Very good.

Walt Whitman. The Complete Writings of Walt Whitman. New York: G. Putnam's Sons / Knickerbocker Press, 1902.

The Paumanok Edition, limited to 300 numbered sets, of which this is number 12, printed on Ruisdael hand-made paper. Nine quarto volumes only, of the ten-volume set. Frontispieces. Illustrations.

Original full polished morocco. Gilt floral designs to boards. Raised bands, gilt lettering and designs to spines. Top edges gilt. Interior doublures with green suede endsheets. Some browning to the edges of suede free endsheets. Missing Volume X. Near fine.

BAL, 21454C.

William Butler Yeats. The Collected Works in Verse and Prose of William Butler Yeats. Stratford-on-Avon: Shakespeare Head Press, 1908.

Edition limited to 1,060 sets, per Allan Wade. Eight octavo volumes, complete. ix, 244; 258; 239; 247; 261; 266; 299; 287 pages. Portrait frontispieces in four volumes.

Publisher's quarter-vellum over gray linen boards. Gilt lettering. Top edges gilt, others untrimmed. Vellum rubbed, lightly soiled and yellowing slightly; cloth lightly soiled. Stray ink marks to boards of two volumes. Minor wear to extremities, primarily corners. Free endpapers toned. With printed label on front pastedown of Volume I reading: " From the Library of Emery Walker, No. VII The Terrace, Hammersmith." A sturdy set with clean pages in very good condition.

Emery Walker (1851-1933) was a London printer who served as mentor and adviser to his close friend William Morris. It was Walker's 1888 presentation on fifteenth-century typefaces that inspired Morris to develop and set up his Kelmscott Press. In 1900, with bookbinder T. J. Cobden-Sanderson as his partner, Walker set up the Doves Press, his own fine press. Walker was an influential exponent and proponent of the ideals of the Arts and Crafts Movement, and in 1930 he was knighted for his contributions to art and society.


Wade 75-82.

Ed Bateman. The Instinct Never Dies. N.p. [self-published in Texas], 1931.

First edition. Inscribed by the author to his sister on the title page: "To Eulah - With the hope that the pleasures you get from this volume will not arise solely from sisterly love - Edw. B." Unpaginated (39 pages). Illustrations by Dick Spencer.

Smooth limp cowhide wraparound cover, secured with a leather thong. Legal-size (7.75 x 12.5 inches) sheets of Japanese handmade paper, printed recto only in two colors. Two faint splotches to the cowhide of the front cover, one to the rear cover. A fine copy.

"Expense was no object for one of the rarest items printed during the Depression era" is the way Al Lowman, in his Printing Arts in Texas, begins his entry on this beautifully-made and almost mythically rare Texas book, produced by Ed Bateman, newspaper reporter-turned-wildcat oilman who, in 1930, brought in the Lou Della Crim No. 1, the biggest discovery well in American history. With his proceeds (rumored to be around two million dollars), Bateman bought a ranch and produced this magnificent book. "I produced this book during the Bateman Age of Extravagance, when money (for which, apparently, I have a native-born contempt) was indeed plentiful. I spent so much on it, the very sum per copy would horrify an intelligent man - not even a Morgan or a Rockefeller could or would pay what I paid" (Bateman, in a letter to bookseller Dudley Dobie, 1941).

Lowman writes: "The Instinct Never Dies reflects what one man can do when he has talent and a lot of money. [...] Bateman's reaction to his new wealth was extraordinary: he wrote, designed, and set with his own hands" this deceptively modest little book which he produced solely for his own pleasure. Though apparently self-taught, Lowman notes: "The careful letterspacing and immaculate presswork are the hallmark of an accomplished and painstaking craftsman." Bateman wrote a few other books on Western themes, but none was as personal to him as this, his first book, a collection of vignettes of people and places he had encountered in his travels. As he writes in his introduction: "...those of you who now hold the volume in your hands have two consoling thoughts for the boredom you may suffer: first, that it cost you nothing, and second, that it is the concrete results of an old newshound having a hell of a good time."

The Instinct Never Dies - the culmination of one man's aesthetic vision - is a wonderfully appealing and thoroughly impressive book that has become almost legendary in its maddening elusiveness. We are proud to offer this copy of a book so exceedingly rare that few fine press and/or Texana collectors have ever actually seen a copy.

J. Frank Dobie, Out of the Old Rock. Lowman, Printing Arts in Texas ("issued in such limited numbers that few bibliophiles have ever seen or heard of it"). C. L. Sonnichsen, Texas Humoresque, quoting Western Horseman, May 1989.

[Cheloniidae Press]. D. H. Lawrence. Tortoises, Six Poems by D. H. Lawrence. [Williamsburg, Massachusetts]: Cheloniidae Press, 1983.

One of six unnumbered artist's proof copies, signed by Alan James Robinson and Daniel E. Kelm, in a special leather binding by Kelm; this particular copy is the only copy that contains an additional full set of prints and original drawings. Designed by Alan James Robinson and Arthur Larson. Text set by Winifred Bixler. Typesetting by Michael Bixler and Arthur Larson. Printed at the Hampshire Typothetae by H. Patrick McGrath. Hand-bound at the Gray Parrot bindery. Printed on Fabriano Perusia. Quarto. Unpaginated. Illustrated with wood engravings by Alan James Robinson. Introduction by Jefferson Hunter. With an etching portrait of the D. H. Lawrence as a frontispiece.

A spectacular art binding by Daniel E. Kelm of the Wide Awake Garage, in which three colors of leather (orange, dark green, and light green) are sculpted to mimic a tortoise shell. The designs of the three-dimensional boards are repeated on the intricate onlaid paper pastedowns. With a suite of prints and original drawings in a cloth chemise which slides into a cleverly hidden slot in the custom box, also designed by Daniel E. Kelm. Fine.

Six poems by D. H. Lawrence which originally appeared in the 1930 edition of Birds, Beasts & Flowers, newly illustrated with eight wood engravings depicting the life cycle and family relationships of the tortoise. An absolutely spectacular art binding of sculpted full leather, and the only copy of this title to include the additional suite of prints and original drawings.

[Cheloniidae Press]. Pierre Louÿs. Leda, or, In Praise of the Blessings of Darkness. [Easthampton]: Cheloniidae Press, 1985.

Special state proof edition limited to 15 copies, this copy being number 1, signed by Alan James Robinson and Daniel E. Kelm. The state proof edition features an interpretive fine binding crafted in full alum tawed pigskin by Daniel E. Kelm at the Wide Awake Garage. The front cover has an inset bas relief paper casting taken from an original wax sculpture by Alan James Robinson. State proofs of the etchings and wood engravings accompany a drawing and an extra suite of prints, all of which are signed by Robinson, laid into an oatmeal cloth chemise. Quarto. Unpaginated. Illustrated with five drypoint etchings and seven wood engravings by Alan James Robinson. Translation for this Cheloniidae Press edition from Comtes Antiques, Paris editions du bois sacrè, 1929, by David Ball, Professor of French and Comparative Literature at Smith College. The wood engravings were printed by Harold McGrath, and the drypoints were printed by the artist at the Cheloniidae Press. The type was set by Mackenzie-Harris, San Francisco. This book was designed by Alan James Robinson and Arthur Larson.

Full white alum tawed pigskin binding by Daniel E. Kelm, with pale blue and white inset of bas relief paper casting to front cover. Pale blue endpapers. Book and chemise containing prints are housed together in a modified oatmeal cloth fall back box designed to emulate a swan's wings. Fine.

The erotic mythical tale of Leda and the swan as told by Pierre Louÿs, one of the fin de siècle's most notorious writers of decadent and sensual poetry and prose, in a stunning fine art binding.

[Cheloniidae Press]. Edgar Allan Poe. The Black Cat. [Easthampton, Massachusetts: Cheloniidae Press, 1984].

Publishers' mock-ups, in various stages containing: a complete set of original watercolors of all the plates signed by Alan James Robinson; a group of original pencil drawings for the images in the book; mock-up 1 with text pasted in place and a few rough drawings; mock-up 2 with text pasted in place and original drawings on the pages; mock-up 3 with the text printed and printed illustrations pasted in place; and mock-up 4 , a printer's mock-up with all text and illustrations printed and with instructions to the printer in the margins. All of the sets of drawings and mock-ups are enclosed in separate black chemises and laid into a custom clamshell case with a spine label done in hand calligraphy. With wood engravings and original artwork by Alan James Robinson. Fine condition. Also included in this lot is a fine copy of the first printing of the 1986 trade cloth edition published by Northeastern University Press, signed by Robinson.

The only mock-up material for the Alan James Robinson-illustrated edition of the Poe classic, containing many illustrations seen nowhere else.

[Cheloniidae Press]. Edgar Allan Poe. The Raven. [Easthampton, Massachusetts: Cheloniidae Press, 1980].

Artist's proof copy, limited to 5 copies, per a typed statement on Cheloniidae letterhead, signed by designer and illustrator Alan James Robinson: "one of five artist's proofs which contain an extra suites of prints. This edition is the first book of the press. It differs from the twenty-five that were part of the numbered edition by a red leather spine on the accompanying box. This particular copy also contains two additional drawings." The book is numbered 5/100 and is signed by Robinson. With five original etchings, printed by the artist at Cheloniidae Press. Text from the original Lorimer Graham version with the author's own corrections. Two wood engravings on Kitakata and text printed by Harold McGrath at The Hampshire Typothetae. Hand-set Centaur type, originally designed by Bruce Rogers in 1914. Hand-bound by David Bourbeau at Thistle Bindery, with a special marbled cover design by Stephen Auger. Printed on Arches Cover. Folio. Unpaginated. Laid in is an original pencil portrait of Poe and an original pencil drawing of the raven's head, both signed by Robinson. Also laid in an additional suite of prints, numbered 17/50, signed by Robinson. Additionally, Robinson's statement of this copy being an artist's proof, a special promotional sheet for the book printed letterpress and signed "Alan," and a wholesale price list are all laid in.

Black marbled rag paper-cover boards, with gilt title to spine. Original drawings and extra suite of prints in a black cloth chemise. Housed in a quarter gilt-stamped red morocco and black cloth-covered clamshell box, a trifle dusty. Fine.

The first fine art binding produced by the Cheloniidae Press, meticulously designed.

[Cheloniidae Press]. Edgar Allan Poe. The Raven. [Easthampton, Massachusetts: Cheloniidae Press, 1980].

Limited to 100 copies signed by Alan James Robinson, this is number 6. Designed and illustrated by Alan James Robinson. With five original etchings, printed by the artist at Cheloniidae Press. Text from the original Lorimer Graham version with the author's own corrections. Two wood engravings on Kitakata and text printed by Harold McGrath at The Hampshire Typothetae. Hand-set Centaur type, originally designed by Bruce Rogers in 1914. Hand-bound by David Bourbeau at Thistle Bindery, with a special marbled cover design by Stephen Auger. Printed on Arches Cover. Folio. Unpaginated. Laid in is an original pencil portrait of Poe, signed by Robinson. Also laid in are the two wood engravings used for the title page and the colophon, both numbered 6/200 and signed by Robinson.

Black marbled rag paper-cover boards, with gilt title to spine. Housed in a quarter gilt-stamped red morocco and black cloth-covered clamshell box, a trifle dusty. Fine.

The first fine art binding produced by the Cheloniidae Press.

[Cheloniidae Press]. Alan James Robinson. Cetacea, The Great Whales. [Easthampton, Massachusetts: Cheloniidae Press, n.d., 1981].

Special artist's proof copy numbered "Special Edition #1" and signed by Alan James Robinson, David Bourbeau, Gray Parrot, and Harold McGrath. A portfolio of seven bleed etchings by Robinson depicting the major species of whales. Numerous blind-stamped line cuts and two wood engravings. Images and text printed on Arches Cover Buff. Type and wood engravings by H. McGrath at the Hampshire Typothetae, and the etchings by the artist at Cheloniidae Press. Loose oblong folio-sized sheets laid in. Unpaginated. Laid in is a one-page prospectus, signed by Alan James Robinson and Gray Parrot.

Sheets laid in a full black Niger oasis goat folder sculpted in low relief with the head of a Right Whale by David Bourbeau at the Thistle Bindery. Folder is housed in a quarter leather Moroccan goat drop back box by E. Gray Parrot, II; short split at lower joint of box. Fine condition.

In addition to the striking large format" bleed etchings" (images of the whales "bleed" off the edge of the paper), there is biological information and twelve two-color maps showing migration routes and breeding areas. Produced in conjunction with a grant from the Environmental Marine Arts Fund, which is part of the Center for Environmental Education and the Whale Protection Fund. A beautiful production.

[Cheloniidae Press]. Alan James Robinson. Cheloniidae - Sea Turtles. [Easthampton, Massachusetts]: Cheloniidae Press, 1987.

Artists' proof copy of the special deluxe edition, limited to four copies, this being number IV/IV, signed by Alan James Robinson. Accompanied by a statement signed by Robinson reading: "The edition of the deluxe Cheloniidae books was fifteen and four artists' proofs. The four artists' proofs differ having a bronze casting of the sea turtle mounted on the cover." The deluxe edition is bound by Daniel E. Kelm of the Wide Awake Garage in quarter leather over cloth, with a leather panel to the front board, and a cast bronze sculpture of a sea turtle mounted to the cover. With an extra suite of prints that has been water-colored and laid in a folder, all numbered IV/IV and signed by Robinson. Design by Alan James Robinson. With a portfolio containing seven etchings and two woodcuts produced by Alan James Robinson and printed by Greta Lintvedt at Cheloniidae. Type set by Mackenzie-Harris of San Francisco, with additional hand composition by Arthur Larson. Papers are Rives BFK and Japanese Moriki. Folio.

Bound in quarter green morocco over taupe cloth, with a green morocco panel to the front board, and a cast bronze sculpture of a sea turtle mounted to the cover. Etchings printed on green paper, text on white. The extra suite of water-colored prints laid into a cloth portfolio, with a green morocco label to front. Also included is an original pencil diagram for the construction of the bronze turtle, signed by Robinson. All housed in a tray case by Peter Geraty and Linda Lembke. Fine.

Each print depicts a single species of sea turtle: the Green, Hawksbill, Loggerhead, Leatherback, Atlantic Ridley, Pacific Ridley, and Flatback Turtles. The text was excerpted from Johnson's Natural History by S. G. Goodrich, 1870. An exceptionally lovely example of book arts and fine printing, with a fine original bronze casting by Alan James Robinson.

[Cheloniidae Press]. Alan James Robinson. A Fowl Alphabet, Twenty-six Wood Engravings by Alan James Robinson. [Easthampton, Massachusetts]: Cheloniidae Press, 1986.

One-of-a-kind publisher's mock-up. With three folders containing the first mock-up of the book, a complete set of original pencil drawings created to guide Suzanne Moore, the calligrapher, and a complete set of new watercolors by Alan James Robinson on special cold-pressed watercolor paper, with corrections and improvements to the original suite. All three folders laid into a custom clamshell box with paper spine label. Also, laid in is a typed letter signed by Robinson detailing his progress on the design of the book. Fine.

Artist and designer Alan James Robinson worked to continually improve the images and coloring for A Fowl Alphabet, arguably his most successful work. In the enclosed letter to one of his patrons, he explains his progress on the book and he enumerates the contents of this "special." A fascinating look into the evolution of a book.

[Cheloniidae Press]. Alan James Robinson. A Fowl Alphabet, Twenty-six Wood Engravings by Alan James Robinson. [Easthampton, Massachusetts]: Cheloniidae Press, 1986.

The full vellum edition, limited to 26 copies lettered A-Z, of which this is copy "A," signed by Alan James Robinson. Bound by Gray Parrot and designed by Robinson, Arthur Larson, and Suzanne Moore. The initial letter and the Latin and common names of the birds hand-lettered by Suzanne Moore. An extra suite of the twenty-six wood engravings (all signed by Robinson), a hand-colored drawing (signed by Robinson), and a full set of Suzanne Moore's alphabet blind-stamped at the top of twenty-six separate sheets are laid in a quarter vellum chemise and housed in a quarter vellum tray case. Printed by master printer Harold Patrick McGrath. Type set by Mackenzie-Harris with some handset by Arthur Larson; printed on Rives lightweight. Octavo. Unpaginated.

Bound in full bleached vellum by Gray Parrot (with his ticket to rear pastedown). Gilt lettering to spine. The full vellum volume and the vellum-backed chemise containing the extra suite of engravings, etc., are housed in a gilt-stamped quarter vellum and cloth clamshell box. Fine.

A collection of bird portraits, with text culled from the Reverend J. G. Wood's Animate Creation (1885) explaining that the classification of birds depends largely upon the shapes of their beaks or bills. Cheloniidae's twelfth bound book.

[Cheloniidae Press]. Alan James Robinson. Gamebirds & Waterfowl, Ten Etchings Hand-Watercoloured by Alan James Robinson. [Easthampton, Massachusetts: Cheloniidae, n.d., ca. 1980].

Artist's proof copy, numbered "II" (Roman numeral "two"), signed by Alan James Robinson. Thirteen loose sheets, measuring 11 x 12.5 inches. Ten hand-watercolored etchings by Alan James Robinson, printed by the artist at the Cheloniidae Press. The title page and colophon were printed at the Hampshire Typothetae, Northampton, by Harold McGrath. Prints are numbered and signed by the artist and laid into individual paper wrappers. Also included is an original watercolor of Canada Geese, signed by the artist. All are contained in a chemise and laid in a quarter leather traycase made by Gray Parrot, II.

Loose sheets are collected in a taupe cloth-covered chemise and laid into a gilt-stamped quarter cinnamon leather and taupe cloth clamshell box. Fine.

Birds included in this set are the Canada Goose, the Pheasant, the Grouse, the Woodcock, the Mallard, the Pintail, the Broad-bill, the Redhead, the Canvasback, and the Wood Duck.

[Cheloniidae Press]. [Alan James Robinson, editor]. H. P. M. Harold Patrick McGrath: 50. [Easthampton, Massachusetts: Cheloniidae Press, 1991].

One of 10 deluxe copies, of which this is number 1, signed by Harold Patrick McGrath and Alan James Robinson. Also included is an extra suite of all the illustrations. Printed at Wild Carrot Letterpress by Daniel Keleher. Type set at M & H Type of San Francisco. Paper is Cheloniidae Rag and an obsolete Italian laid paper. Calligraphy by Suzanne Moore and Elizabeth Curtis. Bound by various binders. Small quarto. Unpaginated. Illustrated with thirty-five wood engravings, etchings, and linecuts contributed by Leonard Baskin, Barry Moser, Fritz Eichenberg, Alan James Robinson, Lance Hidy, and others; also included are pressmarks from several small letterpress shops, and two pages featuring hand calligraphy. Laid in is an invitation to a surprise party for McGrath in June, 1991, at which the book was to be unveiled to him.

Bound in full reddish-orange morocco with gilt lettering and black rules. Extra suite of illustrations is enclosed in a full cloth chemise. Book and chemise housed in a full cloth clamshell box with gilt-stamped red morocco label to spine. Fine.

Printed as a commemoration of the fiftieth anniversary of the acclaimed printing career of "Master Printer" Harold P. McGrath, with letters and artwork contributed by friends, family, and artists who were involved with or influenced by McGrath, a fine American printer who was one of only eight Honorary Members of the Society of Printers. McGrath is best-known for his letterpress printing of engravings for Leonard Baskin at the Gehenna Press, Barry Moser at the Pennyroyal Press, and Alan James Robinson at the Cheloniidae Press. A lovely book, and a warm and fitting tribute to a fine and talented man.

[Cheloniidae Press]. Alan James Robinson and Laurie Block. An Odd Bestiary, or, A Compendium of Instructive and Entertaining Descriptions of Animals, Culled from Five Centuries of Travelers' Accounts, Natural Histories, Zoologies, &tc., by Authors Famous and Obscure, Arranged as an Abecedary. [N.p.]: Cheloniidae Press, 1982.

Artist's proof copy of the deluxe edition of fifty copies, this one being number vi, signed by Alan James Robinson, and bound by Gray Parrot, containing an additional suite of the twenty-six wood engravings, all signed by the artist. This artist's proof copy is accompanied by a set of original pencil drawings, all signed by the artist. Printed on Rives lightweight at the Hampshire Typothetae. Blocks cut by the artist at Cheloniidae Press and printed by Harold P. McGrath. Types were set monotype by Mackenzie-Harris with some hand-setting by Arthur Larson. Small folio. Unpaginated. Illustrations and design by Alan James Robinson. Text and annotations by Laurie Block. Hand calligraphy by Betse Curtis. With prospectus laid in.

Bound in full red morocco with pictorial stamping. Patterned endpapers. Paper embossed with sea turtle design. Loose sheets of drawings and prints in a separate morocco-backed chemise. Book and chemise housed in a quarter gilt-stamped red morocco and cloth clamshell box. Fine.

A collection of twenty-six delightful illustrations drawn to accompany first-hand accounts of unusual and wondrous animals encountered by voyagers, explorers, pirates, and others.

[Cheloniidae Press]. Alan James Robinson. Songbirds, Fifteen Etchings Hand-watercoloured. [Williamsburg, Massachusetts: Cheloniidae Press, 1983].

Special artist's proof copy of the edition limited to 50 copies, of which this is number 8 (the colophon states that these copies are "numbered with roman numerals," but this copy is numbered with Arabic numerals), signed by Alan James Robinson. In addition to the suite of fifteen watercolored etchings, this set also includes hand-colored wood-engraved title and colophon pages, an original watercolor, and an original pencil sketch, both signed by Robinson. A suite of fifteen watercolored etchings by Alan James Robinson, printed by the artist at Cheloniidae Press. The title page and colophon were printed at the Hampshire Typothetae, West Hatfield, by Harold McGrath. Each suite is enclosed in a chemise and laid in a quarter leather tray case made by Gray Parrot. Eighteen loose oblong sheets measuring 8.5 by 11 inches.

Loose prints are laid into separate blue paper wrappers and are housed together in a chemise which is laid into a gilt-stamped pale green quarter leather-backed clamshell case. Shallow bend to lower left corner of the original watercolor. Minor fading to leather backstrip. Else, fine.

Included in this collection are lovely hand-colored illustrations of the heads of the male and female of the following birds: Blue Jay, Robin, Woodthrush, Cedar Waxwing, Cardinal, Red-winged Blackbird, Chickadee, Titmouse, Rose-breasted Grosbeak, Hooded Warbler, Goldfinch, Meadowlark, Red Crossbill, Mockingbird and Bewick's Wren.

[Cheloniidae Press]. Mark Twain. The Jumping Frog. [Easthampton, Massachusetts]: Cheloniidae Press, 1985.

One of 15 state proofs, of which this is number XII. This set includes a deluxe leather binding by Daniel E. Kelm, signed by Kelm and Alan James Robinson, boxed with a complete suite of wood engravings, a state-proof suite of prints, and a copy of the regular edition of the book in wraps, all of which are signed by Alan James Robinson. Book printed by Wild Carrot Letterpress. The fifteen wood engravings printed by Harold McGrath. Centaur and Arrighi types set by Mackenzie-Harris. Octavo. Unpaginated. Illustrations by Alan James Robinson.

Full tan leather binding by Daniel E. Kelm at the Wide-Awake Garage, with four delightful multi-colored inlaid leather frogs, one on each of the covers and each of the doublures. All other materials are laid into three separate paper wrappers and enclosed together in a chemise. All housed in a special cloth-covered tray case with metal clasp. Fine.

The Cheloniidae edition of the Jumping Frog is from "Mark Twain's Sketches, New and Old," as it was first published in complete form in 1875 by the American Publishing Co. It contains three versions of this notorious and celebrated tale: the original version, the version translated into French (inadequately so, according to Twain), and, lastly, the version "restored to the English after martyrdom in the French" by an exasperated Twain. The afterword, "The Private Printing of the 'Jumping Frog' Story," by Samuel Clemens, first appeared in the North American Review in 1894. Twain describes this arduous process thusly: "In English, then in French. Then clawed back into a civilized language once more by patient, unremunerated toil." A beautiful copy of a literary classic.

[Fore-edge Painting]. William Cowper. The Works: His Life, Letters, and Poems. London: William Tegg and Co., 1851.

Third edition. Octavo. 736 pages. With a large fore-edge painting of a river scene with a boat docked in front of an overhead bridge and a large building next to the river bank.

Dark brown leather with gilt spine titles and decorations with gilt decorative ruling to the boards and a crest in gilt in the middle of the boards. All edges gilt. Moderate shelf wear. Rubbing to the spine ends, spine folds and corners. Very good condition with a substantial fore-edge painting of a pastoral scene.

[Fore-edge Painting]. Philip Massinger. The Plays of Philip Massinger. London: Albert J. Crocker Brothers, 1870.

Octavo. 644 pages. With a richly-detailed fore-edge painting of Salisbury Cathedral, part of the town, and the surrounding countryside.

Full brown morocco gilt with gilt spine titles on a red leather title label inside five raised bands. Boards bordered in gilt with fleurs-de-lys in the corners. Gilt-ruled turn-ins. All edges gilt. Marbled endpapers. Moderate shelf wear, with some joint wear. Spine lightly faded. A beautiful copy in very good condition with a lovely pastoral fore-edge painting.

[Fore-edge Painting]. Thomas Moore. The Poetical Works. London: Longman, Brown, Green, and Longmans, 1850.

Octavo. 691 pages. With a fantastic fore-edge painting of a bustling colonial scene in State Street, Boston.

Dark green morocco with gilt spine titles and decorations with gilt decorative tooled borders to the boards. All edges gilt. Moderate shelf wear. Rubbing to the spine ends and corners. A very good copy with a wonderful fore-edge painting.

[Illuminated Manuscript Leaves on Vellum]. Six leaves from a thirteenth-century pocket Bible, in Latin, illuminated manuscript on vellum. [France, thirteenth century].

Twelvemo (5.4375 x 3.5 inches; 138 x 89 mm.). Justification: 3.8125 x 2.5 inches; 98 x 64 mm. Forty-six lines. Double columns. Two leaves with six-line illuminated inhabited initials in red, blue, white, and gold, with elaborate column-length extensions in the margins. One is at the beginning of the book of Proverbs, with the text beginning "Parabola Salomonis filii David regis," and depicts Solomon teaching Reboam. The other is at the beginning of the first book of Paralipomenon (I Chronicles), with the text beginning "Adam, Seth, Enos," and depicts the three Jewish patriarchs. Two-line initials in alternating red and blue with elaborate penwork infill and extensions. Capital strokes in red. Book titles in the top margin continuing from the left to the right pages in alternating red and blue capitals. A few very early ink annotations. The leaves are in excellent condition, and are matted, framed, and glazed together (not inspected out of the frame).

[Kelmscott Press]. Geoffrey Chaucer. The Works of Geoffrey Chaucer now newly imprinted. [Hammersmith: Printed by me William Morris at the Kelmscott Press, 1896].

One of 425 copies printed on "Perch" handmade paper, out of a total edition of 438 copies. Large folio (16.6875 x 11.375 inches; 424 x 289 mm.). [4, blank except for signature], ii, [2], 554, [2, blank] pages. With eighty-seven large woodcut illustrations after Sir Edward Burne-Jones, redrawn by Robert Catterson-Smith and cut by W. H. Hooper. Woodcut title-page, fourteen variously repeated full-page woodcut borders, eighteen variously repeated woodcut frames around the illustrations, twenty-six nineteen-line woodcut initial words, numerous three-, six-, and ten-line woodcut initial letters, and woodcut printer's device, all designed by William Morris and cut by C. E. Keates, W. H. Hooper, and W. Spielmeyer. Printed in black and red in Chaucer type, with the titles of the longer poems printed in Troy type. Text in double columns. Edited by F. S. Ellis.

One of approximately fifty copies in the publisher's original full white pigskin over oak boards by the Doves Bindery, elaborately tooled in blind after a design by William Morris. The front cover lettered in blind with gothic letters "Geoffrey Chaucer" near the top and "Kelmscott" near the bottom, with a series of borders, including a large stylized grapevine (Tidcombe 4e and 4g), framing a central panel divided into lozenges containing, on this copy, alternating rows (2, 3, 2, 3, 2) of pomegranate and rose tools (Tidcombe 2d and 2a), with double plain leaves (Tidcombe 2g) at the top, triple rose leaves (Tidcombe 2f) at the bottom, and pairs of rose leaves on a stem (Tidcombe 2e) at the sides, and with various dots, gouges, and creasers; the back cover with large lozenges containing stylized oak leaves with large rosettes (Tidcombe 1a) at the centers, divided by wide floral-tooled straps; the spine in five compartments with six raised bands, tooled with fleurs-de-lis and pairs of branches (Tidcombe 3a-g); two silver clasps and catches, each clasp attached to the back cover with six symmetrically arranged nails, all edges gilt on the rough. Signed in smoke in Troy type at the foot of the rear pastedown: "THE DOVES BINDERY 1897" (later copies were signed in gilt on the rear turn-in). Minimal rubbing to the edges of the raised bands on the spine and some faint discoloration to the pigskin covers, as usual. A few short very neatly repaired marginal tears: half-inch tear to the upper corner of blank leaf a1, half-inch tear to the lower blank margin of h7 (pages 109/110), tiny tear to the outer blank margin of k7 (pages 141/142), half-inch tear to the upper blank margin of aa5 (pages 361/362). Slight natural crinkling of the paper in the margins of some leaves, once or twice just affecting the printing of the woodcut borders, most noticeable on page 37. Some very occasional mostly marginal light foxing, heaviest on leaves r3 (pages 245/246) and r6 (pages 251/252). Occasional very faint offsetting from the full-page woodcut borders. Two small very faint red smudges in the lower margin of page 487. A near fine copy of this masterpiece of the Kelmscott Press. From the Kelmscott Press collection of E. H. Van Ingen of New York. With a neat pencil note on the front pastedown: "1928 dosg. / bought at Sotheby's 13 Feb 1928 / Sale of Van Ingen's books." With an additional pencil note about the binding on the front free endpaper. Housed in a gray cloth clamshell case with a vellum spine ruled and lettered in gilt.

In a printed announcement (Peterson C40) regarding the special bindings of the "Kelmscott Press Edition of Chaucer's Works," issued on 26 February 1896, Morris indicated his intention to provide four special bindings for the Chaucer: two full white pigskin and two half white pigskin designs, one of each style to be executed by the Doves Bindery and by J. & J. Leighton, who had produced most of the vellum bindings for the other Kelmscott Press books. Because of his illness Morris was only able to complete the present full pigskin design, modeled after a combination of South German fifteenth-century bindings. "Many of the tools were copied directly from bindings in Morris's library" (Tidcombe, page 47). The lower cover, whose final design was probably completed by Cobden-Sanderson, is known to be modeled after a fifteenth-century binding in Morris's own library, a 1478 Koberger Bible bound by the Salzburg binder Ulrich Schreier.

In his bibliography of the Kelmscott Press ("An Annotated List of the Books Printed at the Kelmscott Press," in William Morris, A Note on His Aims in Founding the Kelmscott Press (Hammersmith: 1898), reprinted in H. Halliday Sparling, The Kelmscott Press and William Morris Master-Craftsman (London: 1924), pages 135-174)), Sydney Cockerell stated that the binding to Morris's design had been "carried out, at the Doves Bindery, on forty-eight copies, including two on vellum." "This presumably is the number of bindings commissioned when the books were ordered. However, more than a few copies were bound after Douglas Cockerell left the Bindery [i.e., after November 1897]. Some copies dated 1897 appear to have been tooled by [Charles] McLeish, and a number have later dates, including two copies on vellum bound in 1899 and 1900" (Tidcombe, page 51). These were evidently not included in Cockerell's count. There is apparently no record of the total number of copies of the Kelmscott Chaucer bound by the Doves Bindery to Morris's design, but Cobden-Sanderson continued to accept commissions for it even after the Bindery was closed to outside orders in 1909, the last copy being bound in about 1919, after which Cobden-Sanderson "returned the tools to Miss Morris as an heirloom" (Cobden-Sanderson in a letter to George Millard, dated 26 April 1919, quoted in Tidcombe, page 53).

The tooling of the central panel on the front cover varies among different copies. The present copy, for example, is one of only a few copies to be decorated with alternating pomegranate and rose tools; the majority of copies have alternating rose and fleur-de-lis tools.

The Kelmscott Chaucer is "the most famous book of the modern private press movement, and [especially when bound after Morris's own design] the culmination of William Morris's endeavor" (The Artist and the Book).

"This great edition of Chaucer is certainly the crowning achievement of the Kelmscott Press" (from a "discriminating and enthusiastic review" in the Athenaeum, 3 October 1896, pages 444-445, quoted on page 111 of Peterson).

"In his productions, Morris endeavored to retrieve the spirit of craftsmanship which had characterized printing in its first decades. He redesigned two of the outstanding type faces of that period; all of his books were printed on the hand press; his paper was manufactured according to fifteenth-century standards; and he returned to to the woodcut for his illustrations. In margins and general format his books follow what he considered the best traditions of early printing" (Huntington Library, Great Books in Great Editions).

The Artist & the Book 45. Clark Library, Kelmscott and Doves, pages 46-48. Huntington Library, Great Books in Great Editions, 24. Needham, William Morris and the Art of the Book, 101A. Peterson A40. Ransom, Private Presses, page 329, no. 40. Ray, The Illustrator and the Book in England, 258 ("one of the great books of the world"). Sparling 40. Tidcombe, The Doves Bindery, 408 and pages 46-61. Tomkinson, page 117, no. 40. Walsdorf 40.

[Aristide Maillol, illustrator]. Longus. Les Pastorales de Longus ou Daphnis & Chloé. Version d'Amyot revue et complété par P.-L. Courier. Bois originaux d'Aristide Maillol. [Paris: Philippe Gonin, 1937].

One of 500 copies on Maillol laid paper, this copy being No. 360, signed by the artist. Octavo (8.5625 x 5.375 inches; 218 x 136 mm.). [2, half-title], 217, [1], [1, contents], [1, colophon], [1, printing statement], [1, blank] pages. With fifty-two woodcuts and four decorative woodcut initials. Printed on handmade paper manufactured by an old process rediscovered by Aristide Maillol.

Loose, as issued, in the original mauve printed wrappers. A few leaves very slightly browned. A fine copy. In the original chemise and slipcase (slipcase lightly scuffed and rubbed). Protected in a felt-lined linen clamshell case.

"Aristide Maillol engraved with his own hand the wood-cuts which illustrate this book. The text is that of Thornley's translation of 1657, revised and augmented. Philippe Gonin of Paris undertook the achievement of this work, and printed it on his hand-press, for A. Zwemmer, London" (Colophon).

"Classical themes and figure styles appear throughout Maillol's work, both in sculpture and prints. The Daphnis et Chloé, small in scale, is one of the most harmonious of his books. English and German editions were published at the same time, all printed by Philippe Gonin, some in red and some in gray-brown" (Eleanor M. Garvey and Peter A. Wick, The Arts of the French Book, 1900-1965, 22).

"[The Eclogues (1927) was] the first of several classic books illustrated by the sculptor. The pages of his equally admired, small Daphnis et Chloé by Longus of 1937, like The Eclogues, were based on the Italian Renaissance design in which a picture is placed within a square or rectangle above a well-designed block of type. Both books share the clarity that linear images and type of the proper design and weight give to a page" (Riva Castleman, A Century of Artists Books, page 110).

The Artist & the Book 174. The Artist and the Book in France, page 337.

[Nonesuch Press]. William Shakespeare. The Works of Shakespeare. The Text of the First Folio with Quarto Variants and a Selection of Modern Readings: Edited by Herbert Farjeon. New York: The Nonesuch Press, 1929 [-1933].

Limited to 1,600 copies, of which this is number 1,216. Seven octavo volumes. Designed by Francis Meynel and printed by Walter Lewis at the Cambridge University Press in Monotype Fournier, with all the capitals reduced in size, on Pannekoek mould-made paper.

Publisher's full niger morocco, double-gilt rule on covers. Spines lettered in gilt, top edge gilt, others uncut. Moderate scuffing to top board of Volume I, else an excellent set in fine condition.

"The text is printed literatim from the First Folio, except in the case of Pericles and the poems which were not included in the Folio and hence are reprinted from the Quartos. Six Quartos differ so widely from the First Folio as to render collation impossible; these are reprinted in full, but, in order to facilitate comparison, not in the same volume as the Folio counterpart. The Shakespeare represents the chef d'oeuvre of the Nonesuch Press, and is a model of careful proof reading and imaginative setting. The best of ancient and modern conjectural emendations are unobtrusively set in the margin for the benefit of a glancing eye. This is the finest of all editions of our greatest poet. See T. E. Lawrence's opinion [below]:" (The Nonesuch Century, page 69). "We turn over to the Nonesuch Shakespeare. There you have created a most marvellous pleasure. I have handled it ever so many times, and read The Tempest right through. It satisfies. It is final, like the Kelmscott Chaucer or the Ashendene Virgil. And it is a book which charms one to read slowly, an art which is almost gone from us in these times. Every word which Shakespeare uses stands out glowing. A really great edition. The tact and grace of your editor have been surpassing. I think I like the size and shape and binding almost as much as the text. The paper, too, is just right. Altogether a triumph. One of the best things is that it can be done again. Nobody will ever dare to produce the old type of edition now, while your text stands there to reproach them. It means a permanent improvement in Shakespeares" (T. E. Lawrence letter to David Garnett, The Nonesuch Century, p. 47).

Ransom, Private Presses, page 169. The Nonesuch Century, Number 58.

[Jarmilla Jelena Sobotova, book artist]. [Jirí Trnka, illustrator]. Favorite Tales From Grimm and Andersen. London: Orbis, 1983.

Quarto. 351 pages. Forty color plates by Trnka, with color and black and white illustrations in the text.

Finely bound by renowned book artist Jarmila Jelena Sobotova (student of Jan Sobota). Purple silk moiré over boards. Green polished morocco backstrip. Cameo insets to the boards revealing hand-painted color vignettes after Trnka's illustrations. Purple double endpapers. Purple and green headbands. Purple-stained top edges with silver-tooled floral rolls. In custom box with two original drawings within. Fine.

[Jan Sobota, book artist]. Halton Henderson. Artistry in the Single Action. Dallas: Chama Press, 1989.

First edition. Limited to 450 copies, this copy unnumbered. Signed by designer David Holman. Quarto. x, 110 pages. Illustrated with photographs by Charles DeBus. Edited by Bill Sloan. Foreword by J. Evetts Haley. Original publisher's prospectus laid in.

Finely bound by master book artist Jan Sobota. Front board and spine in gray large grain leather. Rear board in polished black morocco. Front board features a striking Peacemaker-style revolver constructed with leather onlays, gold Texas star, and with author's name and title in black on barrel and ejector shroud. Marbled pastedowns; free endpapers in gun-metal gray. Top silvered edge embellished with rolled interlocking design. Braided leather headbands. Stamp-signed by Sobota on lower rear turn-in. In custom felt-lined solander box. Fine.

The author presented this copy, one of the unbound and unnumbered author copies, to Jan Sobota who took it upon himself to bind the book in its present state. The book is concerned with the single-action revolver in general, and Edmond de la Garrigue's "Grizzly Gun" in particular. A meticulously researched study presented in a clean and handsome design by David Holman of the Wind River Press in Austin, further enhanced by the beautiful one-of-a-kind binding by one of the world's most respected book artists.

[Jarmila Jelena Sobotova, book artist]. Franz Kafka. Metamorphosis. New York: The Limited Editions Club, 1985.

First, thus. Quarto. 61 pages. Limited to 1,500 copies, this being number 858. Signed by the artist, José Luis Cuevas.

Finely bound by renowned book artist Jarmila Jelena Sobotova (student of Jan Sobota) in full black goatskin. Intaglio designs, inspired by Cuevas' illustrations, have been embellished in green and gold; this color motif has been picked up in the green top edge, the black and green headbands, the marbled endpapers, and the green and gold title work to the spine. In a custom solander box. A beautiful work of art, in fine condition.

[Walt Disney]. Deems Taylor. Walt Disney's Fantasia. New York: Simon and Schuster, 1940.

First edition. Quarto. 157 pages.

Publisher's buff cloth with blue stamped titles to front and spine. Minor sunning to top edge of rear board with a one-eighth-inch split at top of rear joint. Spine has a very slight lean. Inscription on front free endpaper. Name embossed on first two leaves. Mild toning to page edges. Dust jacket is rubbed with several small chips and tears. Some material loss at spine head that wraps around to front and rear panel. There is a vertical fold line running almost the length of the front panel. Beautiful, full color illustrations; fifteen of which are on tipped-in plates. Overall, a very good copy of this gorgeous production.

Kay Nielson, a Danish illustrator, worked on the Night on Bald Mountain and Ave Maria sequences in the film version of Fantasia. Some of his brilliant and underrated work is featured in this section of the book.

Walt Disney. Sketch Book of Snow White and the Seven Dwarfs. [London]: Collins, [1938].

Presentation copy of the first edition, signed and dated by Walt Disney on a preliminary page and hand-numbered "4" by him on the front flap of the dust jacket. Quarto. Unpaginated. With twelve tipped-in color plates.

Publisher's beige linen with titles on front stamped in black. In original pictorial dust jacket. Minimal shelf wear. Scattered minor foxing to the boards and endpapers. Internal contents bright and clean. Even toning and mild dust-soiling to the panels and spine of the dust jacket, with only moderate wear to the extremities. Three tiny closed tears along the edges. Overall, a very good copy of a truly rare title, signed by Walt Disney.

Purportedly, Disney signed and numbered five copies for presentation at the time of the book's publication. The first two were given to Princesses Elizabeth and Margaret. The original owner of this copy sold it at auction in 1998.

[Willy Pogany, illustrator]. [Johann Wolfgang von] Goethe. Faust. Toronto: Musson Book Company, [n.d., 1908].

First edition, limited to 100 copies of which this is number 3. Signed by Pogany on limitation page. Quarto. 209 pages. Thirty color plates by Pogany.

Publisher's cream cloth with front title and decoration in gilt and blue, and gilt ruling and titles on spine. Lightly soiled with a leaning spine. Top edge gilt. A few middle signatures sagging. Spine cracked at page 68. Pages lightly toned. Overall, a very good copy.

Eulalie Osgood Grover [editor]. Mother Goose: The Volland Edition. New York Chicago Toronto: P. F. Volland & Co., [1915].

First edition, first printing, with three-line publisher's imprint on the title page, "Entered at Stationers' Hall London" on the copyright page, no other date than 1915, and no mention of "Popular Edition" anywhere. Quarto. Unpaginated. Illustrated by Frederick Richardson. With 108 striking color illustrations integral to the text.

Publisher's light gray-blue cloth with gilt titles and color illustration of Mother Goose and three children on the front cover. In the extremely rare original pictorial box, completely intact, with a small printed label affixed to one spine of the box top. Previous owner's 1915 Christmas gift inscription on the front free endpaper and recipient's corresponding bookplate on front pastedown. Light wear, rubbing, and dust-soiling to the box. An exceptional copy in fine condition, carefully preserved in the original publisher's box.

Johnny Gruelle. Three Raggedy Ann Books in Original Boxes, including: The Paper Dragon. A Raggedy Ann Adventure. Joliet: P. F. Volland, [1926]. Octavo. Unpaginated. Illustrated by the author. Publisher's pictorial boards with wraparound illustration. Modest rubbing with upper corners softly bumped. Original illustrated publisher's box shows light toning and rubbing. A near fine copy in a near fine box. [and:] Raggedy Ann's Magical Wishes. Joliet: P. F. Volland, [1928]. Octavo. 95 pages. Illustrated by the author. Publisher's quarter black cloth with pictorial boards. Original illustrated publisher's box shows some light rubbing and wear to bottom, and some primitive repairs to lid with one long side reattached with tape and recolored with black marker. A fine copy in a very good box. [and:] Raggedy Ann's Lucky Pennies. Joliet: P. F. Volland, [1932]. Octavo. 94 pages. Illustrated by the author. Publisher's quarter black cloth with pictorial boards. Corners touched with black marker. Original illustrated publisher's box has contemporary gift inscription in light pencil on bottom. Shows some minor rubbing and recoloring with black marker. Publisher's contemporary bookmark laid in. A fine copy in a very good box.

Andrew Lang. The Orange Fairy Book. Edited by Andrew Lang. With eight coloured plates and numerous illustrations by H. J. Ford. London: Longmans, Green, and Co., 1906.

First edition. Octavo. xiii, 358 pages. Eight full-page illustrations, including frontispiece.

Publisher's original orange cloth over boards. Front cover and spine pictorially decorated in gilt. All edges gilt. Spine slightly sunned, very minor wear to extremities. Light browning and foxing to endpapers, else a near fine copy.

A. A. Milne. When We Were Very Young. With Decorations by Ernest H. Shepard. London: Methuen & Co. Ltd., [1924].

First trade edition (with p. ix unnumbered). Signed by the author in black ink on the title-page: "A. A. Milne [flourish]." Small octavo (7.4375 x 4.875 inches; 188 x 124 mm.). x, [2], 99, [1] pp. Text illustrations. Original royal blue cloth with front cover pictorially stamped in gilt within a single gilt rule border, back cover pictorially stamped in gilt, and spine ruled and lettered in gilt. Top edge gilt. Just slightly skewed, minor rubbing to corners and spine extremities, a few small areas of slight discoloration to the cloth on the covers. Free endpapers browned from pastedown glue. Over-opened at gathering 2 (between pages 16 and 17), a few tiny ink spots in the gutter on pages 62 and 63. A very good copy. In the original cream-colored pictorial dust jacket printed in dark blue (jacket lightly soiled, with expert and almost invisible restoration to the spine ends and top and bottom edges at the flap folds, jacket spine darkened).

[Together with:]

A. A. Milne. Winnie-the-Pooh. With Decorations by Ernest H. Shepard. London: Methuen & Co. Ltd., [1926].

First trade edition. Signed by the author in blue ink on the title-page: "A. A. Milne [flourish]." Small octavo (7.4375 x 4.9375 inches; 188 x 125 mm.). xi, [5], 158, [1], [1, printer's imprint] pages. Text illustrations. Original dark green cloth pictorially stamped in gilt within single gilt rule border on the front cover and ruled and lettered in gilt on the spine. Top edge gilt. Original pale yellow pictorial endpapers. Corners lightly bumped, cloth fraying a bit a spine ends. Endpapers slightly browned in the gutter. Paper very slightly browned, short (half-inch) tear to upper margin of half-title (pages [iii]/[iv]), small mostly margin stain to pages 107-111, short (half-inch) tear to lower blank margin of pages 121/122, slight creasing to upper gutter of final leaf. A very good copy. In the original golden yellow pictorial dust jacket printed in dark blue (jacket with very minor edge wear, jacket spine very slightly darkened).

[And:]

A. A. Milne. Now We Are Six. With Decorations by Ernest H. Shepard. London: Methuen & Co. Ltd., [1927].

First trade edition. Signed by the author in blue ink on the title-page: "A. A. Milne [flourish]." Small octavo (7.4375 x 4.875 inches; 188 x 124 mm.). x, [2], 103, [1, printer's imprint] pages. Text illustrations. Original dark red cloth with front cover pictorially stamped in gilt within a gilt single-rule border, back cover pictorially stamped in gilt, and spine ruled and lettered in gilt. Top edge gilt. Original pink pictorial endpapers printed in dark blue. Corners lightly bumped, light rubbing to spine extremities. Small stain on the fore-edge of the last two gatherings. Over-opened at gatherings 4 and 5 (between pages 36 and 37 and pages 52 and 53). Recto of half-title and verso of final leaf browned. A very good copy. In the original pale green pictorial dust jacket printed in dark blue (jacket spine darkened and a little rubbed, with a few small chips at spine extremities, and a small piece missing at the lower corner of the front panel).

[And:]

A. A. Milne. The House at Pooh Corner. With Decorations by Ernest H. Shepard. London: Methuen & Co. Ltd., [1928].

First trade edition. Signed by the author in dark blue ink on the title-page: "A. A. Milne [flourish]." Small octavo (7.4375 x 4.875 inches; 188 x 124 mm.). xi, [1, blank], 178, [1], [1, printer's imprint] pages. Text illustrations. Original salmon cloth pictorially stamped in gilt within a single gilt rule border on front cover and ruled and lettered in gilt on spine. Top edge gilt. Original peach pictorial endpapers printed in black. Minimal rubbing to spine extremities, corners very lightly rubbed. Small bookseller's ticket on front pastedown. Paper very slightly browned at the edges. Pages 14 and 15 with tiny adhesion in the lower gutter. Paper flaw to lower corner of leaf 52 (pages 71/72), corner turned up and creased before trimming. A near fine, bright copy. In the original salmon pictorial dust jacket printed in dark blue (jacket with minor edge wear, jacket slightly darkened at the edges, spine darkened).

Altogether, a wonderful set of jacketed first editions of A. A. Milne's four classic "Winnie-the-Pooh" books, each signed by the author.

A. A. Milne. The House at Pooh Corner. With Decorations by Ernest H. Shepard. London: Methuen & Co. Ltd., [1928].

First trade edition of the last "Pooh" book. Small octavo (7.1875 x 4.75 inches; 182 x 120 mm.). xi, [1, blank], 178, [1], [1, printer's imprint] pages. Text illustrations.

Publisher's deluxe binding of full red limp calf pictorially stamped in gilt within a decorative gilt border on the front cover and pictorially stamped and lettered in gilt within double gilt rules on the spine. All edges gilt. Pink pictorial endpapers printed in black. Light rubbing to corners and spine extremities, a couple of tiny dings to the edges of the rear cover, calf separating from the board on the covers near the spine, a few faint scuff marks on covers. Front free endpaper closely trimmed at the fore-edge. Half-inch tear to the lower blank margin of pages ix/x, small stain in the outer blank margin of page 31, two tiny stains in the outer blank margin of page 171, some very occasional minor marginal staining or soiling. Tiny black label of The Times Book Club on the rear pastedown. In the very scarce original dark gray paper-covered cardboard box with white paper labels printed in dark blue on the lid. The box, which is totally unrestored, has a tear to one side of the lid extending one-half inch onto the top of the lid, one corner is bumped, with a short split at the top edge, both labels are a little soiled, and the bottom of the box is considerably worn, with one corner bumped and with the paper split at the edges. A near fine copy.

A. A. Milne. Now We are Six. With Decorations by Ernest H. Shepard. London: Methuen & Co. Ltd., [1927].

First trade edition. Small octavo (7.3125 x 4.75 inches; 186 x 122 mm.). x, [2], 103, [1, printer's imprint] pages. Text illustrations.

Publisher's deluxe binding of blue limp calf pictorially stamped in gilt within a decorative gilt border on the front cover and pictorially stamped and lettered in gilt between double gilt rules on the spine. All edges gilt. Pink pictorial endpapers printed in dark blue. Very slightly skewed, light rubbing to corners and spine extremities, covers with a few small scuff marks, spine very slightly faded. Small flap of extra pink paper at front hinge. Recto of half-title and verso of final leaf slight browned from pastedown glue. Some occasional marginal soiling, tiny tear to lower edge of pages 1/2 and 97/98, over-opened at gatherings 4 and 5 (between pages 36 and 37 and pages 52 and 53), lower corner of pages 89/90 lightly creased. In the scarce original drab paper-covered cardboard box with white paper labels printed in dark blue on the lid. The box is slightly darkened, with light foxing to the label on the top, small crease at one side, rubbed at the corners, but totally unrestored. With an ink inscription on the bottom of the box referring to a letter which is no longer present. A very good copy, with the gilt still bright.

[A. A. Milne]. Charles Robinson. "Once on a Time." Original watercolor over pencil drawing for the dust jacket design for A. A. Milne's Once on a Time (London: 1925). [N.p.: n.d., ca. 1925]. Image size: 10.75 x 14.75 inches; 273 x 375 mm. Signed at lower right. Matted.

The drawing is for the entire dust jacket, with the lettering "Hodder & / Stoughton" on the spine. Mounted with the drawing at the top left is the artwork for the spine and front cover lettering, in black ink on onion skin paper (irregularly shaped, but measuring at its tallest and widest approximately 7.875 x 5.875 inches; 198 x 148 mm.).

[Together with:]

[Charles Robinson, illustrator]. A. A. Milne. Once on a Time. Decorated by Charles Robinson. London: Hodder and Stoughton, [n.d., 1925].

First edition with illustrations by Charles Robinson (first published in 1917). Octavo (7.375 x 4.875 inches; 188 x 125 mm.). 269, [1], [2, blank] pages. Color frontispiece and numerous black and white text illustrations. Original light blue cloth over boards with front cover pictorially stamped in black and gilt and spine decoratively stamped in black and gilt and lettered in gilt. Black and white pictorial endpapers. Boards a bit bowed, spine extremities very lightly rubbed, top edge a little dust soiled. Otherwise a very fine copy. In the original color pictorial dust jacket (jacket with some edge wear, rear panel with two short closed tears and a few faint scratch marks, jacket spine slightly rubbed and faded, affecting a few letters, with some recoloring, with a small piece missing, and with a small stain at the foot, mainly visible on the verso).

"This book was written in 1915, for the amusement of my wife and myself at a time when life was not very amusing; it was published at the end of 1917; was reviewed, if at all, as one of a parcel, by some brisk uncle from the Tiny Tots Department; and died quietly, without seriously detracting from the interest which was being taken in the World War, then in progress" (Preface).

When World War I broke out, "Milne became a signalling officer and was an instructor in England until 1916. Persuaded by his wife, he wrote a children's play for a battalion entertainment at his camp; it had a fairy-tale framework, and his wife played the Wicked Countess. Persuaded again by Daphne, to whom he dictated it, in the evenings he expanded the play into a book, Once Upon a Time. A humorous and elaborate tale in the manner of Thackeray's The Rose and the Ring and Lang's Prince Prigio, it was first published in 1917 and then revived with new illustrations by Charles Robinson in 1925. 'Few people have read it,' wrote Milne in 1939, 'and nobody knows whether it is meant for children or for grown-ups. I don't know myself. But it was the greatest fun to do...It made the war seem very far away'" (The Oxford Companion to Children's Literature).

A. A. Milne. The House at Pooh Corner. With Decorations by Ernest H. Shepard. London: Methuen & Co. Ltd., [1928].

First edition. One of twenty numbered copies printed on Japanese vellum, signed by both A. A. Milne and Ernest H. Shepard. This copy is out-of-series, with "of which this is" and "No." inked out, and is inscribed (by the publisher?) to Milne's literary agent, Curtis Brown: "This is a presentation copy for Curtis Brown, Esq." Small quarto (8.8125 x 6.9375 inches; 224 x 176 mm.). xi, [1, blank], 178, [1], [1, printer's imprint] pages. Text illustrations.

Publisher's vellum over boards with yapp edges. Front cover lettered in gilt. Unopened. Housed in a red cloth slipcase. Boards a bit bowed, small blemish to lower portion of front cover, endpapers very slightly browned. Tiny adhesion to lower gutter margin of title from front free endpaper. Otherwise, a fine copy.

A. A. Milne. Winnie-the-Pooh. With Decorations by Ernest H. Shepard. [New York]: E. P. Dutton & Company, [1926].

First American edition on large paper. Limited to 200 numbered copies (this copy being No. 158), signed by both A. A. Milne and Ernest H. Shepard. Small quarto (8.875 x 7 inches; 224 x 178 mm.). [2, limitation leaf], ix, [1, blank], [4], 158, [1], [3, blank] pages. Text illustrations. Printed on Japanese vellum.

Publisher's quarter lavender fine diagonally-ribbed cloth over salmon-colored laid paper boards. Front cover pictorially printed and lettered in black and back cover pictorially printed in black. Salmon-colored laid paper spine label pictorially printed and lettered in black. Top and fore-edge trimmed, bottom edge uncut. Minimal rubbing to spine ends. In the original matching salmon-colored laid paper dust jacket pictorially printed and lettered in black (tiny crease to upper edge of rear panel of dust jacket). Housed in the publisher's matching salmon-colored laid paper cardboard box pictorially printed and lettered in black on the lid (box very slightly soiled, a couple of small faint stains on the box lid, expert restoration to two corners of the box lid, one corner split). A remarkably fine copy.

M. Boutet de Monvel. Jeanne d'Arc. Paris: Pilon, Nourrit, 1896.

First edition. Deluxe limited edition. No limit of print run listed on limitation page: "Exemplaire papier du Japon, No. 37. Imprint pour Madame Walter Mac Ewen." Oblong folio. Forty-nine plates mounted on wove paper presented as loose portfolio prints.

Original decorative paper over boards. Decorated silk endpapers. Heavily toned boards show some staining. Loss to backstrip and cloth ties. Internally sound. Plates immaculate. Overall, a very good copy.

This is generally considered to be Maurice Boutet de Monvel's masterpiece. As one of the most-celebrated children's book illustrators of the nineteenth century, Boutet de Monvel found himself in great demand to work in collaboration with many successful authors; however, with this history of Joan of Arc for children, Boutet de Monvel provided the text as well as the striking and epic art work. These color lithographs were pulled from stones prepared with both text and images. A beautiful and complete set of this important work.

[Beatrix Potter]. [Transformation Book]. Changing Pictures. A Book of Transformation Pictures. London: Ernest Nister [and] New York: E. P. Dutton & Co., [n.d., ca. 1893].

First edition. Quarto (9.25 x 7.5 inches; 236 x 191 mm.). [16] pages. With six full-page slatted chromolithographed transformation pictures, each with the original stiff paper tab to operate the slats. Numerous black and white drawings in the text. "Printed by E. Nister, at Nuremberg (Bavaria)."

Original glazed chromolithographed pictorial boards with red cloth backstrip (renewed). Floral patterned endpapers. Corners and board edges rubbed, rear hinge neatly repaired, endpapers slightly browned, rear free endpaper lightly chipped at the edges. Text slightly browned, one gathering loose. An excellent copy of this scarce early appearance of a book illustration by Beatrix Potter, preceded only by A Happy Pair, published by Hildesheimer & Faulkner in 1890, with verses by Frederic E. Weatherly.

Children's poems by G. R. Glasgow and Clifton Bingham and dissolving transformation pictures which change when the tab is pulled. The poems include: "Changing Pictures," "Day Dreams," "Tessa and Jacko," "Kept In," and "Night and Morning." One of the three cover illustrations is by Beatrix Potter. It depicts a rabbit opening the door on a snowy morning to see a gift basket full of carrots and turnips.

"In 1892 Beatrix Potter had sold a few of her drawings to a firm called Ernest Nister - a German firm of Fine Art Colour Printers who had a London office at 24, St. Bride Street, E. C. In July of that year, when staying at Heath Park, Birnam, near Dunkeld, she had referred to one of these drawings for Nister: 'I was busy in the morning finishing a drawing of a Jackdaw for Nister & Co. for which, by the way, they have not paid.' The jackdaw in question was carrying a set of long-handled brushes and impersonating a sweep. She now [in 1894] wished to offer Nister something more ambitious, and wondered whether her story of Mr. Jeremy Fisher could be made into a booklet" (Linder, p. 175).

Beatrix Potter. The Tale of Peter Rabbit. London: Frederick Warne and Co., [n.d., 1902].

First published trade edition, first printing, with "wept big tears" on page 51. Twelvemo (5.4375 x 4.125 inches; 138 x 105 mm.). 97, [1] pages. Color frontispiece and thirty color plates (included in pagination). Black and white vignette on title page.

In the publisher's "de-luxe" light green cloth binding. Front cover stamped and lettered in dark reddish-brown, with publisher's monogram at lower right, and with a rectangular color pictorial label (a repetition of the color illustration on p. 26) surrounded by a double-rule box in dark reddish-brown. Spine lettered in reddish-brown with a tiny head of a rabbit in profile facing right after "Rabbit," and the same profile, upside down, to the left of the word "The." Top edge gilt. Gray leaf-patterned endpapers. Minimal rubbing to corners and spine extremities, tiny area of slight discoloration to cloth on front cover at head and foot of spine. Small erasure on the verso of the front free endpaper. A few text leaves with very slight creasing. A very fine copy. In the exceptionally rare original glazed paper glassine wrapper with price of "1/6 net," all on one line, in the lower left corner of the front panel and with vertical black lines at the top and bottom to indicate where the fold for the front edge of the spine is to come. Wrapper with a few tiny chips and tears at the edges and a few very small pieces missing at the head of the spine and on the rear panel. Protected in a dark blue cloth chemise (stamp-signed: "R. Patron Hollywood Ca.") and full light blue morocco book-backed slipcase with sides paneled in gilt with a band of onlaid reddish-brown morocco gilt within an inner and outer gilt fillet and spine in five compartments with four raised bands, gilt-lettered in two compartments, and paneled in gilt with onlaid bands of reddish-brown morocco in the remaining four.

"The charm of The Tale of Peter Rabbit, as Beatrix Potter herself noted, derives in part from the fact that it 'was written to a child' in the form of a letter, 'not made to order' (Linder, p. 110). Some years later she borrowed this letter to a lame boy to use as the basis for an expanded version of Peter Rabbit's story with forty-two black-and-white illustrations, of which she had 250 copies privately printed in 1901. The following year it was published with illustrations in the three-color process printed by Edmund Evans. Its success was immense. So familiar did her animal characters become among children that Miss Potter was told how 'a small boy in church once inquired audibly whether the apostle was Peter Rabbit' (Linder, p. 92). Her next book, The Tailor of Gloucester of 1902, also was first printed privately, but thereafter she had a large and eager audience for everything she wrote" (Ray, The Illustrator and the Book in England, 331A).

"The Warne edition of The Tale of Peter Rabbit was published on 2 October 1902, all of its first printing of 8,000 copies having been sold even before publication" (Judy Taylor, Beatrix Potter 1866-1943: The Artist and Her World (London: 1995), page 22).

Linder records that 2,000 copies from the first 8,000 were issued in the "de-luxe" binding of "green cloth, light green cloth or olive-green, with brown lettering, gilt top."

Linder, p. 421. Quinby 2. V & A 1629 (emerald green cloth) and 1630 (olive-green cloth).

[Arthur Rackham, illustrator]. Jacob and Wilhelm Grimm. [Mrs. Edgar Lucas, translator]. The Fairy Tales of the Brothers Grimm. London: Constable & Co., 1909.

First, thus. Octavo. xv, 325 pages. Limited to 750 copies signed by Rackham, this being number 444. Illustrated with fifty-five drawings in black and white and forty full-page color plates (including frontispiece) mounted on white paper with tissue guards.

Full vellum over boards. Gilt lettering and pictorial vignettes to top board and spine. Yellow silk ties. Top edge gilt. In custom red silk slipcase. Near fine.

"Rackham is often thought of as a master of the grotesque, but such pictures should be set alongside such delicate portraits as the two illustrations for 'The Goosegirl' to keep them in proportion. But it is the dangerous and suspenseful episodes in fairytales that clamour to be illustrated, and Rackham provides them in plenty" (Blamires).

David Blamires, Telling Tales, 174. Latimore and Haskell, 35.

[Arthur Rackham, illustrator]. J. M. Barrie. Peter Pan in Kensington Gardens. London: Hodder & Stoughton, 1906.

Number 308 of 500 limited edition copies signed by Rackham on the limitation page. Quarto. 126 pages. With fifty full-page color illustrations (including the frontispiece) mounted on brown heavy paper after the text protected by captioned tissue guards.

Publisher's full pictorial vellum with gilt titles and decorations on the spine and front board. Pictorial printed map on the front free endpaper. Top edge gilt. Other edges uncut. Minor wear and dust-soiling to the boards. Slight bowing to the front board. Small split of the vellum at the spine head. Gilt on spine almost completely rubbed. No ties. Small fold to the bottom corner of front free endpaper. Internal contents bright and clean. Binding strong. A near fine copy.

"The excitement surrounding the publication of Rip Van Winkle attracted many new admirers, among whom was J. M. Barrie, the author of a play called Peter Pan that had just been successfully produced in London. Barrie urged Rackham to illustrate his first story about Peter Pan, The Little White Bird, and Rackham agreed to prepare fifty illustrations for the publication in 1906. With Rackham's illustrations, the book was published as Peter Pan in Kensington Gardens and received much acclaim throughout the world. The success of the originals sold at the Leicester Galleries and the limited edition of 500 sold through the publisher continued to propel Rackham into the realm of the rarified" (Susan Meyer: A Treasury of the Great Children's Book Illustrators, p. 163).

[Arthur Rackham, illustrator]. Some British Ballads. London: Constable & Co. Ltd., [1919].

Number 155 of 575 limited edition copies signed by Rackham on the limitation page. Quarto. 170 pages. Illustrations by Rackham, including sixteen tipped-in color plates with captioned tissue guards.

Later deep green morocco gilt by Bayntun, Rivière. All edges gilt. Minimal shelf wear and rubbing to the boards. Uneven fading to the spine and rear board. Short tear of the half-title page at the head of the gutter. A spectacular copy in near fine condition.

J. K. Rowling. Harry Potter and the Chamber of Secrets. [New York]: Arthur A. Levine Books/ An Imprint of Scholastic Press, 1999.

First American edition, first printing, with the copyright page reading, "10 9 8 7 6 5 4 3 2 1 9/9 0/0 1 2 3 4" and "First American Edition, June 1999." Also, there is no volume number on the spine of either the book or the dust jacket, and the dust jacket price on the front flap is $17.95. Signed by Rowling on the title page. Octavo. Illustrated by Mary GrandPré.

Publisher's original green cloth over purple diamond-patterned paper boards, with silver spine titles. Original pictorial dust jacket. An exceptional copy in fine condition.

A ticket to the J. K. Rowling autograph signing in Washington, D. C. at the Eric Friedheim Library on October 20, 1999 is laid in.

J. K. Rowling. Harry Potter and the Goblet of Fire. London: Bloomsbury, 2000.

First edition. Boldly signed in ink by the author on the dedication page. Octavo. 636 pages. Jacket illustration by Giles Greenfield.

Publisher's original pictorial boards. A fine copy in a fine, bright dust jacket and a particularly nice Rowling signature.

This remarkable copy is accompanied by the coveted "Golden Ticket" of the Hogwarts Express Book Tour, an ingenious marketing tool by Bloomsbury which entitled the bearer to have one book signed by Rowling. This ticket has been "punched," indicating that it had been used for the intended purpose. An autograph note on the verso of the ticket indicates that the ticket is circa 2000 and was used to have a copy of Harry Potter and the Goblet of Fire signed. Few of these tickets have survived childhood abuse or adult indifference.

J. K. Rowling. Harry Potter and the Philosopher's Stone. [London]: Bloomsbury, [1997].

First edition, first printing, of the first and rarest of the Harry Potter books, with the correct full number line ("10 9 8 7 6 5 4 3 2 1"), "Copyright © Text Joanne Rowling 1997" (rather than "J. K. Rowling"), and "Taylor1997" (rather than "Taylor 1997") on the copyright page, and with "1 wand" appearing twice (first and last) in the list of "Other Equipment" on page 53. Presentation copy, inscribed by the author in black ink on the dedication leaf: "Breathe some more / smoke my way! / J. K. Rowling." Octavo (7.75 x 5 inches; 197 x 127 mm.). 223, [1, blank] pages.

Publisher's stiff color pictorial wrappers illustrated by Thomas Taylor. Very minor rubbing to the lower edges; one central crease down the spine; a diagonal crease to the lower outer corner of the back cover, and another short crease to the middle of the back cover starting at the spine; a few additional tiny creases; tiny area of slight blistering to the outer edge of the back cover. Text very slightly browned, as usual. Very slight, almost imperceptible, crease in the lower blank margin of pages 159-200. A near fine copy.

This copy was inscribed to Daily Telegraph journalist Elisabeth Dunn during an interview for an article published on 29 June 1997 under the title "From the Dole to Hollywood" - Rowling's first interview to be printed in a national newspaper. Ms. Dunn interviewed the author at Nicholson's Cafe in Edinburgh, where the book was inscribed. In a signed letter of authenticity, Dunn explains how she was addicted to Gauloises cigarettes and had, during the interview, blown smoke in the direction of Rowling, who had recently given up smoking. Dunn notes in the letter that signing books was "a novel experience" for Rowling at the time.

Together with the Typed Letter Signed (at lower left) from Elizabeth Dunn, dated 23 April 2003, with her address at the top and with "Elizabeth Dunn" written in pencil above the address. In the original envelope addressed to "Mr R M Collins." The letter is typed double-spaced in eight lines, and is folded twice, with one vertical and one horizontal crease: "This book was inscribed and signed by J.K. Rowling in June 1997 just after its first London publication, / in Nicholson's Café in Edinburgh where much of the story was written. / The enigmatic inscription needs some explanation. We met to conduct an interview (the first to be / printed in a national newspaper) for the Daily Telegraph at a time when Rowling, who had been / very hard up, had recently given up smoking. As the interviewer and addicted to Gauloises, I / hadn't and throughout our meeting, Rowling continually leaned into the smoke to pick up the / secondary nicotine. Asked to sign the book (a novel experience for her at the time), she thought for / some moments before creating this inscription."

Also included is a transcript of the original Daily Telegraph article, and a "Document of Authenticity" from HP4U Authentication Services, dated "28/6/09," signed at lower left: "K. Bradwell" (Kevin Bradwell), with their unique silver hologram attached.

J. K. Rowling. Harry Potter and the Philosopher's Stone. [London]: Bloomsbury, [1997].

First edition signed on a card by author J. K. Rowling, with all first issue points, including "Joanne Rowling," "Thomas Taylor1997" (no space before year) and the complete number sequence "10 9 8 7 6 5 4 3 2 1" on the copyright page, along with "1 wand" listed twice on page 53. Mild toning to pages. The signed card by J. K. Rowling is set into front doublure. Accompanied by a certificate of authenticity from HP4U. Octavo. 223 pages.

Luxuriously bound by The Chelsea Bindery (stamp-signed in gilt on the front turn-in) in full red and purple morocco. Single fillet borders, front board with gilt side title, gilt facsimile signature of the author, and large sunken panel, bordered in blind, reproducing the original color pictorial label for this volume in onlaid multicolored morocco (rear board reproducing the original illustration of Dumbledore on this volume, also in onlaid multicolored morocco, and Hogwarts Castle outlined in gilt onlay on the inside rear cover). Spine decoratively paneled and lettered in gilt in compartments, five raised bands, board edges ruled in gilt, turn-ins ruled and decoratively tooled in gilt, cream-colored watered silk endpapers, all edges stamped in silver with hologram stars. A fine copy housed in a quarter red morocco book-backed clamshell case, lined with felt, by The Chelsea Bindery (stamp-signed in gilt inside the case), the spine decoratively ruled and lettered in gilt with five raised bands. A stunning example of a fine binding, executed with great care by the artist-binders of The Chelsea Bindery.

[J. K. Rowling]. Signed Advance Mini-Poster for Harry Potter and the Philosopher's Stone. Measures 10.75 X 16 inches. Boldly signed "J K Rowling" in the middle of the sheet, just under Harry's address. Minor wrinkling along the top portion of the left edge of the poster, else a fine display piece. A Document of Authenticity from HP4U is included with the poster, certifying the signature. Signed posters by Rowling are very rare in the current market, and this is especially early given that is an advance of the first film under the original UK title.

J. K. Rowling. Harry Potter and the Prisoner of Azkaban. [London]: Bloomsbury, [1999].

Uncorrected proof of the first edition. Octavo. 315 pages.

In the publisher's first issue purple wrappers. A fine crisp copy of a rare pre-publication issue of Rowling's third Harry Potter book.

J. K. Rowling. Three Harry Potter First Deluxe Editions, including: Harry Potter and the Philosopher's Stone. [London]: Bloomsbury, [1999]. Octavo. 223 pages. Publisher's red cloth binding with gilt titles and a color illustration inset into the front cover. All edges gilt. As new. [and:] Harry Potter and the Chamber of Secrets. London: Bloomsbury, 1999. Octavo. 251 pages. Original blue cloth with a color illustration inset into the front cover. All edges gilt. As new. [and:] Harry Potter and the Goblet of Fire. London: Bloomsbury, 2000. 636 pages. Publisher's purple cloth with a color illustration inset into the front cover. All edges gilt. As new, still in publisher's shrinkwrap.

Maurice Sendak. Three Signed Posters and Two Signed Art Prints, including: Signed Seasonal Poster for the Houston Grand Opera, 1997. Signed in ink at the lower right just below the illustration. Measures 28 x 22 inches. One short fingernail indentation on the left side, else fine. The poster reads "Houston Grand Opera The 43rd Season 1997-98" and shows a Sendak illustration depicting a scene from Madame Butterfly. Sendak designed this piece as a generic poster celebrating the HGO's entire 1997-1998 season, where Sendak premiered his own production of Hansel and Gretel. [and:] "New York Is Book Country," 1998. Signed in blue ink at lower right corner. Fine. Poster for the Book Festival on Fifth Avenue, September 27, 1998, the 20th Anniversary of this annual Manhattan street fair, and the 35th anniversary of the publication of Where the Wild Things Are. This time, Mr. Sendak borrows from his own "Literary Lunch" design where a Wild Thing sits at a table of books ready to devour them with raised knife and fork against a backdrop of a composite Manhattan skyline. Measures 19 x 28 inches. Sponsored by the New York Public Library, UPS and the book industry. A stunning Sendak display piece in fine condition. [and:] Signed Art Print: "Milk in the Batter, Milk in the Batter." 1971 Measures 14.5 x 19.25 inches. From In the Night Kitchen 1971, a double-page fine art print produced in 1971 (just one year after this Caldecott Honor Book was published), newly photographed from the original artwork, hand-signed in ink at lower right corner (one of approximately 200 copies autographed for collectors during the 1990s). Measures 14.5 x 19.25 inches. Fine condition. [and:] "New York is Book Country," 1988. Poster for the Book Festival on Fifth Avenue, 27 September 1988. Signed at lower right corner. Fine condition. [and:] Signed Poster Entitled "Maurice Sendak." Signed at the lower right above the printed name. Measures 16 x 20 inches. Fine. Printed in 1990, this gorgeous display piece was originally created in celebration of Maurice Sendak and the planned re-issue of many of his then out-of-print titles by Harper & Row. The acquisition and name change to HarperCollins delayed the project for over ten years which likewise prevented a wider distribution of this poster. Later, the poster was revised to include characters from We Are All In The Dumps and published in 2001 to celebrate Sendak's fiftieth anniversary as a children's book artist. This 1990 version, the earliest design of the poster, is quite rare. Fine condition.

[Hugh Thomson, illustrator]. Robert Buchanan. The Piper of Hamelin. A Fantastic Opera in Two Acts. London: Printed at the Chiswick Press, 1893.

First edition. Twelvemo. 64 pages. Illustrated with an additional title and twelve full-page black and white captioned plates by Hugh Thomson.

Beautiful chestnut brown leather morocco binding by Sangorski and Sutcliffe with gilt titles and a center gilt design of two mice jigging around a pipe on the front board. Spine with five raised bands, gilt-ruled compartments and titles, blind rule extensions of the raised bands terminating on covers in a finial of three leaves, and triple gilt fillet turn-ins. All edges gilt. Housed in a custom felt-lined morocco clamshell box by Zaehnsdorf, with gilt spine titles and five raised bands. Binding tender at the half-title. Two circular leather bookplates affixed to the front pastedown. Internal contents bright and clean. Overall, a near fine copy of a beautifully illustrated book.

P. L. Travers. Mary Poppins. Illustrated by Mary Shepard. New York: Reynal & Hitchcock, [1934].

First American edition. Octavo. 206 pages.

Publisher's light blue cloth pictorially stamped and lettered in dark blue on front and dark blue titles on spine. Top edge stained red. Pictorial endpapers. Blue dust jacket has a quarter-inch chipped tear to bottom edge of front panel. Housed in a custom clamshell box. A fine fresh copy.

"First published in 1934 with illustrations by Mary Shepard, daughter of E. H. Shepard. The Banks family acquire as nursemaid Mary Poppins, who refuses to give references, dictates her own terms for the job, and possesses certain surprising talents: she can slide up the banisters, walk into a picture drawn by her friend Bert, understand the speech of dogs, and, with the aid of a compass, travel round the world in a matter of seconds. Jane and Michael, the two elder Banks children, have the time of their life with her, and are desolate when one day the wind blows her away again as abruptly as it brought her into their lives. The first book was followed by Mary Poppins Comes Back (1935), Mary Poppins Opens the Door (1943), and Mary Poppins in the Park (1952)...After a 30-year gap, Miss Travers resumed the Poppins saga in 1982 with Mary Poppins in Cherry Tree Lane. The continuing fame of Mary Poppins is largely the result of the 1964 Disney film of the stories, with Julie Andrews in the title role, which has continued to be remembered largely because of its songs" (The Oxford Companion to Children's Literature).

Tasha Tudor, illustrator. Original Signed Pencil Sketch. Visible area measures approximately 6 x 6.5 inches, matted to an overall size of 10 x 11 inches. Signed "T. Tudor" at lower right. This lovely original sketch depicts a Victorian-era girl and boy in somewhat ragged clothing, the boy with hat in hand, under the Roman numerals XI, presumably chapter XI of one of Tudor's illustrated works. The sketch has no visible flaws and is in extra-fine condition.

Tasha Tudor was one of the most beloved children's illustrators of the twentieth century, writing and illustrating her own books, as well as classic editions of The Wind in the Willows, The Night Before Christmas, The Secret Garden, and Stevenson's A Child's Garden of Verses. She earned Caldecott Honors for her Mother Goose in 1945 and 1 Is One in 1957. She passed away peacefully in 2008, perhaps fulfilling her edict that "When I die, I'm going right back to the 1830s. I'm not even afraid of dying. I think it must be quite exciting."

Tasha Tudor, illustrator. Original Signed Watercolor. Measures approximately 8 x 10 inches, matted to an oval-shaped visible area of 4.5 x 6 inches. Heavy card stock, watermarked "9" in the upper right corner. Signed "T. Tudor" at lower right. A beautiful watercolor depicting a small girl sitting in a rocking chair with her favorite doll. This is perhaps an illustration for a book or a greeting card, the latter of which Tudor made a great number. No visible flaws; fine condition.

E. B. White. Stuart Little. New York: Harper & Brothers, [1945].

First edition. Illustrated by Garth Williams. Octavo. 131 pages.

Publisher's tan cloth with stamping in green and orange. Cloth has mildly faded on edges and spine with lightly dusted top edge. Softly bumped on lower corners. Pages have minor toning. Dust jacket is toned and rubbed, with light chipping to spine ends and corners. There are two half-inch tears to top edge and several spots of light dampstaining. A very good copy.

E. B. White. Stuart Little. New York: Harper & Brothers, [1945].

First edition. Inscribed by White on front endpaper, "For Dr. George Waterman - who asked about my preoccupation with mice. Best regards from Andy White." Illustrated by Garth Williams. Octavo. 131 pages.

Custom full green morocco by Chelsea Bindery with gilt ruling and titles. All edges gilt. Original decorative endpapers maintained. Extremely faint rubber stamp on front free endpaper, below inscription. Pages are modestly toned with a few scattered spots of light foxing throughout. A fine copy.

The character of Stuart Little came to White in a dream as he traveled by train to New York. White said Stuart appeared to him "all complete, with his hat, his cane, and his brisk manner." Though he began the manuscript in 1938, White did not complete the work until the winter of 1944-45. White's editor at Harper had difficulty finding the perfect illustrator, complaining that "it is terribly difficult to draw attractive mice" and went through no less than eight illustrators before finally signing Garth Williams, a prize-winning sculptor. Williams would also illustrate White's next book, Charlotte's Web. Though not warmly received by the literary community when first published, Stuart Little quietly gained an audience that now spans generations.

Scott Elledge, E. B. White, pages 254 & 263.

[Jamie Wyeth, illustrator]. Betsy James Wyeth. The Stray. With an Original Drawing by Jamie Wyeth. New York: Farrar, Straus, Giroux, [1979].

First edition. Inscribed to Jane Weinberger and signed by both Jamie and Betsy Wyeth; with an original drawing by Jamie Wyeth. Square octavo. 158 pages. Juvenile.

Publisher's gilt-stamped orange cloth. The price-clipped dust jacket has a crease to the front flap and a couple of closed tears to rear panel. With Caspar W. Weinberger's bookplate. Fine.

Artist Jamie Wyeth (b. 1946), son of painter Andrew Wyeth and grandson of illustrator N. C. Wyeth, collaborated with his mother on this charming children's book. His delightful original inked drawing of an animated pig, with red, blue, and yellow highlights, graces the half-title page. Inscribed to the wife of Caspar Weinberger, President Ronald Reagan's Secretary of Defense.

Isaac Asimov. Foundation. New York: Gnome Press Publishers, [1951].

First issue of the first edition. Currey priority A binding. Octavo. 255 pages.

Publisher's dark cloth with red titles. In first issue dust jacket with three titles advertised on the rear panel and two on the rear flap. Moderate edge wear and rubbing to the boards. Lightly bumped corners. Textblock edges a bit dusty. Dust jacket with minor soiling, wrinkling and rubbing, and moderate wear along the edges and corners, especially at the spine ends. Occasional toning to the verso of the dust jacket. Sotheby's lot number sticker (#134) affixed to the Brodart on the front panel. All in all, a very good copy of Asimov's landmark work.

Isaac Asimov. Foundation and Empire. New York: Gnome Press Publishers, [1952].

First issue of the first edition. Currey priority A binding. Octavo. 247 pages.

Publisher's red cloth with black titles. In first issue four-color dust jacket with 26 titles advertised on the rear panel. Moderate edge wear and rubbing to the boards. Textblock tight and clean. Dust jacket with minor dampstaining, soiling and rubbing, and moderate wear along the edges and corners, including a few closed tears. Tiny loss along the bottom panel of the dust jacket, affecting the "nom" in "Gnome." Spine slightly sunned. All in all, a very good copy.

Isaac Asimov. The Autobiography of Isaac Asimov, Presentation Copies Inscribed to Sam Moskowitz, including. In Memory Yet Green. 1920-1954. Garden City, New York: Doubleday & Company, Inc., 1979. First edition. Inscribed on the title page "To Sam Moskowitz who I met at the first annual S. F. convention which he fathered Isaac Asimov 1 March 1981." Octavo. 732 pages. Publisher's brown over black cloth with gilt titles. Dust jacket. Minor rubbing and edge wear to the dust jacket. Lightly sunned spine. A very good copy. [and:] In Joy Still Felt. 1954-1978. Garden City, New York: Doubleday & Company, Inc., 1980. First edition. Inscribed on the title page "To Sam Moskowitz whose role in 'Before the Golden Age' leaves me forever indebted Isaac Asimov 1 March 1981." Octavo. 828 pages. Publisher's brown over black cloth with gilt titles. Dust jacket. Moderate rubbing and edge wear to the dust jacket. A crisp copy in very good condition. Lot number slips from the 1999 Moskowitz sale at Sotheby's New York laid-in both volumes.

Ray Bradbury. Dandelion Wine. Garden City, Doubleday & Company, 1957.

First edition. Octavo. 281 pages.

Publisher's yellow cloth with gilt and blue spine titles. Lightly rubbed with darkened top edge and dusted top page edge. Hinges a bit shaken. Toning to endpapers and page edges. Dust jacket is rubbed with light chipping along top edge and spine ends. Edge toned with offsetting to rear panel. A very good copy.

Dandelion Wine is the first of many semi-autobiographical works produced by Bradbury throughout his career, and structured much like some of his other longer works: largely composed of previously published short stories woven together and linked by transitional vignettes. In this novel, Bradbury revisits his Waukegan childhood through the eyes and adventures of 12-year-old Douglas Spaulding (Bradbury's middle name is Douglas) over the course of one glorious summer in Green Town, Illinois.

Edgar Rice Burroughs. Tarzan of the Apes. Chicago: A. C. McClurg & Co., 1914.

First edition, first printing, second issue. No acorn device on the spine and "W. F. Hall" on the copyright page in Old English script. Heins TA-2 copy. Octavo. 400 pages.

Publisher's dark red cloth with gilt titles and blind ruled front. Facsimile dust jacket. Housed in a custom clamshell box. Cloth is rubbed on extremities with lightly worn corners and splitting spine ends. Spine is faded with dulled gilt. Hinges are cracking and tender, causing textblock to drop slightly. Even toning to pages with a few spots of soiling to front pastedown and prelims. Ownership inscription on front free endpaper. Overall, a good copy of this very scarce and desirable edition.

About a year and a half after his debut in the pages of The All-Story, Tarzan's first appearance was reprinted in hardback form - the first Edgar Rice Burroughs hardcover ever published - in an initial run of only 5,000 copies.

Heins. Pages 31-32.

William L. Chester. Hawk of the Wilderness. New York and London: Harper & Brothers Publishers, 1936.

First edition. Signed by the author in 1939 on the title page. Small octavo. 308 pages.

Publisher's green cloth with blue titles. Pictorial endpapers. Minimal edge wear to the boards. Moderate dust-soiling to the textblock edges. Mild wear to the edges and folds of the dust jacket, with a two-inch tear along the rear flap fold. Rear panel of the dust jacket has nine short cut marks emanating from the flap fold, and the emulsion of the dust jacket has worn off very slightly on the rear flap fold. Spine extremities worn, with minimal paper loss and a few short closed tears. Overall, a very good copy in a somewhat worn dust jacket. Very rare to find both signed and in the original dust jacket.

The first of the "Kioga" novels, and first published in 1935-36 as a serial in Blue Book.

Anatomy of Wonder (1976) pp. 3-11. Clareson, Science Fiction in America, 157. Bleiler (1978), p. 42.

Arthur C. Clarke. Childhood's End. London: Sidgwick and Jackson, [1954].

First British edition. Signed by Clarke on title page. Octavo. 253 pages.

Publisher's light blue cloth with gilt spine titles. Lightly rubbed with bowing boards. A few spots of wear to cloth on top edge with spine head split. Top page edge foxed and toning to endpapers. Dust jacket is rubbed and mildly soiled with lightly chipped corners. A very good copy.

Accompanying this lot is a letter of provenance from The Arthur C. Clarke Foundation attesting to the validity of the signature. An enormously popular novel anticipating Clarke's major thematic statements in 2001: A Space Odyssey. Number nine on Pringle's list of the 100 best science fiction novels.

Arthur C. Clarke. A Trilogy of the Sea, Two Signed, including: Arthur C. Clarke and Mike Wilson. Indian Ocean Treasure. New York, Evanston and London: Harper & Row, Publishers, [1964]. First edition. Signed by Clarke on the title page. Octavo. 147 pages. Publisher's pictorial boards. Dust jacket. Review slip laid-in. Minor toning and edge wear to the textblock and jacket. A very good copy. [and:] Indian Ocean Adventure. Text by Arthur C. Clarke. Photographs by Mike Wilson. New York: Harper & Row, Publishers, [1961]. Presentation copy of the first edition. Inscribed by Clarke on the front free endpaper "To Fred and Pip, this greeting from beneath the seas of Ceylon! Arthur." Octavo. 104 pages. Publisher's black buckram with blue spine titles. Dust jacket. Review card laid-in. Minimal edge wear to the dust jacket. Mild toning to the spine. A very good copy. Inscribed to Frederick C. Durant, III, a key advisor to the U.S. military, intelligence, and civilian space-flight programs of the 1950s and '60s, and one of Clarke's long-time friends. [and:] The Challenge of the Sea. Illustrated by Alex Schomburg. Introduction by Wernher von Braun. New York Chicago San Francisco: Holt, Rinehart and Winston, [1960]. First edition. Octavo. 167 pages. Publisher's green buckram with blue titles. Dust jacket. Minor rubbing to the dust jackets. Holt Library Edition sticker affixed to the dust jacket. A bright copy in near fine condition. A wonderful trilogy, two of which are signed.

Arthur C. Clarke. Five First Editions From the Library of Sam Moskowitz, including: Sands of Mars. New York: Gnome Press Inc., 1952. First edition, inscribed by the author "To Sam Moskowitz/ with all good wishes/ Arthur C Clarke" on the front free endpaper. Octavo. 216 pages. Jacket design by Ric Binkley. Publisher's red cloth with titles printed in black on the spine. Slight toning to contents as is usual with this publisher. A near fine copy in a bright dust jacket with a slightly soiled back panel and a closed tear along the edge of the front panel. [and:] Against the Fall of Night. New York: Gnome Press, Inc., 1953. First edition. Octavo. 223 pages. Publisher's light blue cloth with titles printed in pink on the spine. A near fine copy with slightly toned contents, in a bright dust jacket. [and:] Prelude to Space. New York: Gnome Press, Inc., 1954. First edition. Octavo. 191 pages. Publisher's blue boards with titles printed in yellow on the spine. Edges of textblock toned, else a near fine copy in a bright dust jacket. [and:] The City and the Stars. New York: 1956. First edition. Octavo. 310 pages. Publisher's blue boards with titles printed in silver. Slight warp to front board, small area of toning due to reaction with newsprint on the front pastedown and front free endpaper, else a very good copy in a very good dust jacket with Moskowitz's initials in ink on the front panel. [and:] A Fall of Moondust. New York: Harcourt, Brace & World, Inc., 1961. First edition. Octavo. 248 pages. Publisher's original blue cloth with titles printed in dark blue on the spine. A fine copy in a near fine dust jacket that has darkened slightly on the spine panel and along the edges of the back panel.

John Dunning. Six Signed First Editions, Including All the Cliff Janeway Books and One Book of Poetry. Titles in this lot include: Booked To Die. New York: Charles Scribner's Sons, [1992]. Short quarter-inch closed tear to top edge of front panel of dust jacket. The first Janeway novel. [and:] The Bookman's Wake. New York: Scribner, [1995]. [and:] The Bookman's Promise. [2004]. Signed and dated 3-7-04 by the author. [and:] The Sign of the Book. [2005]. [and:] The Bookman's Last Fling. [2006]. [and:] The Torch Passes. N.p.: James Cahill Publishing, 1995. Unpaginated [6 pages]. Original slim wraps. Poetry. 30-stanza limerick (in which he name-checks himself) on the vicissitudes of the waning literary taste of the reading public. All books are signed by Dunning on the title page. The Janeway books are in crisp dust jackets, and all books are first editions in fine condition.

John Dunning, a Denver bookseller, is best-known for his acclaimed Cliff Janeway detective novels which feature an ex-cop-turned-bookseller who investigates crime within the antiquarian book world.

[Lloyd Arthur Eshbach, publisher]. Complete Collection of Fantasy Press Signed First Editions, including:

PLEASE NOTE THAT THIS ONLINE DESCRIPTION IDENTIFIES THE CORRECT COPY OF THE COMETEERS BEING SOLD IN THIS LOT, THE SIGNED LIMITED EDITION. THE DESCRIPTION OF THE COMETEERS IN THE PRINTED CATALOG IS INCORRECT.

John W. Campbell, Jr. The Black Star Passes. [1953]. First edition, limited to 500 copies of which this is number 149. Signed by Campbell on limitation page. Octavo. 254 pages. Publisher's purple cloth with gilt titles and ruling on spine. Toning to endpapers. A fine copy in dust jacket.

John W. Campbell, Jr. The Incredible Planet. 1949. First edition, limited to 500 copies of which this is number 58. Signed by Campbell on limitation page. Octavo. 344 pages. Publisher's purple cloth with gilt titles and ruling on spine. Front hinge cracking. Small spot of soiling on fore-edge. Bookplate on front pastedown and ownership inscription on front free endpaper, both from original subscriber. Dust jacket is minimally rubbed on spine ends. A near fine copy.

John W. Campbell, Jr. Invaders From the Infinite. [1961]. First edition. Though limitation states 300, there were reportedly only 100 copies printed, all signed. Signed by Campbell on limitation page. Octavo. 189 pages. Publisher's red cloth with black titles on spine. Toning and foxing to endpapers and page edges. This copy also with dust jacket that Eshbach had made in 1990 for this title that never originally came in a jacket. A near fine copy.

John W. Campbell, Jr. Islands of Space. [1956]. First edition, limited to 500 copies of which this is number 8. Signed by Campbell on limitation page. Octavo. 224 pages. Publisher's blue cloth with gilt titles and ruling on spine. A fine copy in dust jacket.

John W. Campbell, Jr. The Moon is Hell! 1951. First edition, limited to 500 copies of which this is number 156. Signed by Campbell on limitation page. Octavo. 256 pages. Publisher's purple cloth with gilt titles and ruling on spine. Foxing to endpapers and page edges. Dust jacket is lightly rubbed and foxed with a one-quarter-inch tear at top edge of front panel. A very good copy.

Robert Spencer Carr. Beyond Infinity. 1951. First edition, limited to 350 copies of which this is number 79. Inscribed by Carr on limitation page. Octavo. 236 pages. Publisher's green cloth with gilt titles and ruling on spine. Mildly toned endpapers. Subscriber's bookplate on front pastedown. A fine copy in bright dust jacket.

Stanton A. Coblentz. Under the Triple Sun. [1955]. First edition, limited to 300 copies of which this is number 76. Inscribed by Coblentz on limitation page. Octavo. 224 pages. Publisher's black cloth with gilt titles and ruling on spine. Lightly foxed on rear panel. A fine copy in crisp dust jacket.

L. Sprague de Camp and P. Schuyler Miller. Genus Homo. [1950]. First edition, limited to 500 copies of which this is number 23. Inscribed by Miller and signed by de Camp on limitation page. Octavo. 225 pages. Publisher's green cloth with gilt titles and ruling on spine. Dust jacket has mild rubbing and modest fading along spine. A near fine copy.

L. Sprague de Camp. Divide and Rule. 1948. First edition, limited to 500 copies of which this is number 132. Inscribed by de Camp on limitation page. Octavo. 231 pages. Publisher's green cloth with gilt titles and ruling on spine. Spine is leaning. Pages toned. Dust jacket is rubbed with light chipping to spine head. A very good copy.

Lloyd Arthur Eshbach. Tyrant of Time. [1955]. First edition, limited to 10 unnumbered copies. Signed by Eshbach on title page. Eshbach has additionally signed front free endpaper and written, "One of ten copies in this binding." Octavo. 253 pages. Publisher's blue buckram with gilt titles and ruling on spine. Issued without dust jacket. A fine copy.

Lloyd Arthur Eshbach. Tyrant of Time. [1955]. First edition, limited to 500 copies of which this is number 40. Inscribed by Eshbach on limitation page. Octavo. 253 pages. Publisher's red cloth with gilt titles and ruling on spine. Mildly toned endpapers. Dust jacket is lightly rubbed with one-half-inch tear at spine tail. A near fine copy.

Lloyd Arthur Eshbach. Of Worlds Beyond. The Science of Science Fiction Writing. 1947. First edition. Signed by Eshbach, de Camp, Smith, and Campbell near their contributions. Octavo. 96 pages. Publisher's red cloth with gilt titles on spine. Dust jacket is lightly rubbed. A brief passage within John Taine's contribution has been underlined, possibly by one of the other contributors. No signed/limited edition was done of this title. A near fine copy.

E. Everett Evans. Alien Minds. [1955]. First edition, limited to 300 copies of which this is number 92. Inscribed by Evans on limitation page. Octavo. 223 pages. Publisher's blue cloth with gilt titles and ruling on spine. Mild fading along top edge and spine. A fine copy in bright dust jacket.

E. Everett Evans. Man of Many Minds. [1953]. First edition, limited to 300 copies of which this is number 122. Inscribed by Evans on limitation page. Octavo. 222 pages. Publisher's blue cloth with gilt titles and ruling on spine. Light foxing along top edge. Faintly toned endpapers. Dust jacket is mildly rubbed. Publisher's scarce wraparound band with quote from E.E. "Doc" Smith. A near fine copy.

Robert A. Heinlein. Assignment in Eternity. [1953]. First edition, limited to 500 copies of which this is number 48. Inscribed by Heinlein on limitation page. Octavo. 255 pages. Publisher's red cloth with gilt titles and ruling on spine. Limitation page exhibits dampstaining. Dust jacket is bright with one-eighth-inch tears at top edge of front panel and head of spine. A near fine copy.

Robert A. Heinlein. Beyond This Horizon. 1948. First edition, limited to 500 copies of which this is number 65. Inscribed by Heinlein on limitation page. Octavo. 242 pages. Publisher's red cloth with gilt titles and ruling on spine. Dust jacket is lightly rubbed with a one-quarter-inch tear at top edge and a one-inch tear at bottom edge of front panel. There is a one-half-inch tear at top edge of rear panel. A near fine copy.

Murray Leinster. Operation: Outer Space. [1954]. First edition, limited to 300 copies of which this is number 93. Inscribed by Leinster on limitation page. Octavo. 208 pages. Publisher's blue cloth with gilt titles and ruling on spine. Slight lean to spine. Tiny split in cloth at head of spine. A near fine copy in a sharp dust jacket.

Thomas Calvert McClary. Three Thousand Years. [1954]. First edition, limited to 300 copies of which this is number 85. Inscribed by McClary on limitation page. Octavo. 224 pages. Publisher's red cloth with gilt titles and ruling on spine. Dust jacket is mildly sunned along spine. A fine copy.

P. Schuyler Miller. The Titan. 1952. First edition, limited to 350 copies of which this is number 70. Inscribed by Miller on limitation page. Octavo. 252 pages. Publisher's blue cloth with gilt titles and ruling on spine. Mild fading along top edge and spine. Subscriber's bookplate on front pastedown. A fine copy in bright dust jacket.

Eric Frank Russell. Deep Space. [1954]. First edition, limited to 300 copies of which this is number 103. Inscribed by Russell on limitation page. Octavo. 249 pages. Publisher's blue cloth with gilt titles and ruling on spine. A fine copy in dust jacket.

Eric Frank Russell. Dreadful Sanctuary. 1951. First edition, limited to 350 copies of which this is number 96. Inscribed by Russell on limitation page. Octavo. 276 pages. Publisher's blue cloth with gilt titles and ruling on spine. Leaning spine. Mildly toned endpapers. Subscriber's bookplate on front pastedown. Dust jacket is rubbed with lightly worn extremities. A very good copy.

Eric Frank Russell. Sinister Barrier. 1948. First edition, limited to 500 copies of which this is number 263. Inscribed by Russell on limitation page. Octavo. 253 pages. Publisher's blue cloth with gilt titles and ruling on spine. A fine copy in dust jacket.

Edward E. "Doc" Smith. Children of the Lens. [1954]. First edition, limited to 500 copies of which this is number 52. Inscribed by Smith on limitation page. Octavo. 292 pages. Publisher's blue cloth with gilt titles and ruling on spine. Spine has a modest lean. Subscriber's information written on front pastedown. Dust jacket is lightly rubbed with modest chipping to spine ends and some areas of tape reinforcement on rear. A very good copy.

Edward E. "Doc" Smith. First Lensman. 1950. First edition, limited to 500 copies. This copy has number area blacked out on limitation page. Inscribed by Smith on limitation page. Octavo. 306 pages. Publisher's blue cloth with gilt titles and ruling on spine. Slightly leaning spine. Glue stained joints and hinges. Dust jacket is rubbed and lightly worn with chipping to spine tail and a one-inch pull near spine head. A very good copy.

Edward E. "Doc" Smith. Galactic Patrol. 1950. First edition, limited to 500 copies of which this is number 85. Inscribed by Smith on limitation page. Octavo. 273 pages. Publisher's blue cloth with gilt titles and ruling on spine. Small puncture in front broad that creates an indention in pastedown and preliminary pages. Minor toning to endpapers. Bookplate on front pastedown and ownership inscription on front free endpaper, both from original subscriber. A near fine copy in beautiful dust jacket.

Edward E. "Doc" Smith. Gray Lensman. 1951. First edition, limited to 500 copies of which this is number 59. Inscribed by Smith on limitation page. Octavo. 306 pages. Publisher's blue cloth with gilt titles and ruling on spine. This copy comes with beautiful examples of first run and second run dust jackets. A fine copy.

Edward E. "Doc" Smith. The History of Civilization. 1955, [1961]. First edition, limited to 75 copies of which this is number 45. Inscribed by Smith on limitation page of first volume. Five remaining volumes signed by Smith on limitation pages. Six octavo volumes. Publisher's dark red half leather with red cloth boards, gilt titles on spine and acetate dust jackets. Housed in publisher's fragile paper box with lid. Books and jackets in fine condition. Box and lid show some expected wear and splits, but still in solid shape. The six titles comprising the Lensman series in overall fine condition. An amazingly scarce set.

Edward E. "Doc" Smith. Second Stage Lensman. [1953]. First edition, limited to 500 copies of which this is number 160. Inscribed by Smith on limitation page. Octavo. 307 pages. Publisher's blue cloth with gilt titles and ruling on spine. Slight fading to spine ends. Mildly toned endpapers. Subscriber's bookplate on front pastedown. A fine copy in dust jacket.

Edward E. "Doc" Smith. Skylark Three. 1948. First edition, limited to 500 copies of which this is number 168. Inscribed by Smith on limitation page. Octavo. 247 pages. Publisher's blue cloth with gilt titles and ruling on spine. Mildly toned endpapers with subscriber's information on front free endpaper. Front hinge lightly shaken. Dust jacket is lightly rubbed with modestly sunned spine. A very good copy.

Edward E. "Doc" Smith. Skylark of Valeron. 1949. First edition, limited to 500 copies of which this is number 408. Inscribed by Smith on limitation page. Octavo. 252 pages. Publisher's blue cloth with gilt titles and ruling on spine. Foxing to front board and spine, endpapers and page edges. Dust jacket is lightly rubbed. A very good copy.

Edward E. "Doc" Smith. Spacehounds of IPC. 1947. First edition, limited to 300 copies of which this is number 195. Inscribed by Smith on limitation page. Octavo. 257 pages. Publisher's blue cloth with gilt titles and ruling on spine. Spine has a modest lean. Dust jacket is lightly rubbed with light chipping to spine ends and a one-inch tear to top edge of front panel. A very good copy.

Edward E. "Doc" Smith. Triplanetary. 1948. Inscribed by Smith with a warm association to Mary Gnaedinger, editor of Famous Fantastic Mysteries on limitation page. This copy has number area blacked out on limitation page. Octavo. 287 pages. Publisher's blue cloth with gilt titles and ruling on spine. Spine has a slight lean with mild toning to endpapers. Dust jacket is lightly rubbed with modest chipping to spine head. A very good copy.

Edward E. "Doc" Smith. The Vortex Blaster. [1960]. First edition, one of only 341 copies printed with no limited produced. Octavo. 191 pages. Publisher's green cloth with black titles on spine. Cloth is mildly rubbed. This copy in dust jacket that was reportedly only supplied to subscriber's copies. A fine copy.

John Taine. The Crystal Horde. 1952. First edition, limited to 300 copies of which this is number 175. Inscribed by Taine on limitation page. Octavo. 254 pages. Publisher's rust cloth with gilt titles and ruling on spine. Foxing to page edges with occasional internal spotting. Dust jacket mildly rubbed and foxed with a one-half-inch tear to top edge of rear panel. A very good copy in bright dust jacket.

John Taine. The Forbidden Garden. 1947. First edition, limited to 500 copies of which this is number 186. Inscribed by Taine on limitation page. Octavo. 278 pages. Publisher's rust cloth with gilt titles and ruling on spine. Dust jacket shows mild wear to extremities. A near fine copy.

John Taine. G.O.G. 666. [1954]. First edition, limited to 300 copies of which this is number 277. Signed by Taine on limitation page. Octavo. 251 pages. Publisher's rust cloth with gilt titles and ruling on spine. Dust jacket mildly rubbed with modest chipping to spine ends. A near fine copy.

John Taine. Seeds of Life. 1951. First edition, limited to 300 copies of which this is number 54. Inscribed by Taine on limitation page. Octavo. 255 pages. Publisher's rust cloth with gilt titles and ruling on spine. Dust jacket shows modest rubbing to spine ends. A fine copy.

A. Hyatt Verrill. The Bridge of Light. 1950. First edition, limited to 300 copies of which this is number 16. Signed by Verrill on limitation page. Octavo. 248 pages. Publisher's rust cloth with gilt titles and ruling on spine. Endpapers toned. Lightly foxed top edge. Dust jacket shows rubbing with chipping to spine tail and top edge of rear panel. Spine mildly sunned. Toning to verso of jacket. A very good copy.

A. E. van Vogt. The Book of Ptath. 1947. First edition, limited to 500 copies of which this is number 472. Inscribed by van Vogt on limitation page and additionally inscribed by Eshbach. Octavo. 227 pages. Publisher's red cloth with gilt titles and ruling on spine. Softly bumped corners with a one-inch dampstain on rear board. Dust jacket is lightly rubbed and foxed. A very good copy.

A. E. van Vogt. Masters of Time. 1950. First edition, limited to 2 copies of which this is number 1. Inscribed by Eshbach to author A. E. van Vogt. Octavo. 227 pages. Publisher's red full leather with gilt titles and ruling on spine. Top edge slightly darkened. Toning to endpapers. Though not originally issued with a dust jacket, this copy supplied with a stunning example. A fine copy of this title's scarcest edition.

Stanley G. Weinbaum. The Black Flame. 1948. First edition, limited to 500 copies of which this is number 356. Octavo. 240 pages. Publisher's black cloth with gilt titles and ruling on spine. Spine has a slight lean. Toning to endpapers. Dust jacket is lightly rubbed and toned on verso. A very good copy.

Stanley G. Weinbaum. A Martian Odyssey. 1949. First edition, limited to 500 copies of which this is number 204. Octavo. 289 pages. Publisher's black cloth with gilt titles and ruling on spine. Modest soiling to page edges. A fine copy in crisp dust jacket.

Stanley G. Weinbaum. The Red Peri. 1952. First edition, limited to 300 copies of which this is number 57. Octavo. 240 pages. Publisher's black cloth with gilt titles and ruling on spine. Spine has a slight lean. A near fine copy in dust jacket.

Jack Williamson. The Cometeers. 1950. First edition, limited to 500 signed and numbered copies, of which this is number 43. Inscribed by Williamson on limitation page. Octavo. 310 pages. Publisher's blue-green cloth with gilt titles and ruling on spine. Minor edge wear and rubbing to boards. Mild sunning to spine. Unobtrusive glue stains to top and bottom text edge at the spine. A near fine copy in dust jacket.

Jack Williamson. Darker Than You Think. 1948. First edition, limited to 500 copies of which this is number 23. Inscribed by Williamson on limitation page. Octavo. 310 pages. Publisher's green cloth with gilt titles and ruling on spine. Softly bumped corners. A near fine copy in crisp dust jacket.

Jack Williamson. The Legion of Space. 1947. First edition, limited to 500 copies of which this is number 483. Inscribed by Williamson on limitation page. Octavo. 259 pages. Publisher's green cloth with gilt titles and ruling on spine. Spine is mildly faded. Ownership stamp on verso of front free endpaper. Author biography, identical to that on rear inner flap, attached to verso of rear leaf. Dust jacket is lightly rubbed with minor sunning to spine. A very good copy.

Jack Williamson. The Legion of Time. 1952. First edition, limited to 350 copies of which this is number 314. Inscribed by Williamson on limitation page. Octavo. 252 pages. Publisher's green cloth with gilt titles and ruling on spine. Spine is mildly darkened with a slight lean. Modest soiling to fore-edge. A near fine copy in sharp dust jacket.

Arthur Leo Zagat. Seven Out of Time. 1949. First edition, limited to 500 copies of which this is number 176. Octavo. 240 pages. Publisher's red cloth with gilt titles and ruling on spine. Mild discoloring to boards. Lightly foxed page edges. A near fine copy in dust jacket.

Fantasy Press grew out of Lloyd Arthur Eshbach's frustration after witnessing another publisher's lack of marketing and business acumen. Starting with nothing more than a mailing list, Eshbach created possibly the greatest science fiction small press of the golden era. Although he began with minimal capital and continuously operated on a limited budget, Eshbach possessed an excellent understanding of how to reach the public and get readers excited about new titles. One of the most ground-breaking and forward-thinking contributions Eshbach made to science fiction publishing was the signed/limited edition so often used by today's small presses. This inspiration of selling signed editions in advance of publication provided a means to generate the capital needed for production costs and created a loyal subscriber base that returned for each new title. This formula proved successful until the "bust" of 1955 in which cheaper paperback editions began consuming the market, leading to the demise of many SF-related magazines and small presses. Fantasy Press was no exception to this shakeout, and 1955 was the publisher's last successful year. Succumbing to decreasing sales and rising costs, only four more titles were published after 1955. These final titles, published in extremely small numbers, were mainly to satisfy prior obligations to subscribers. Eshbach's contributions as a publisher also include publishing acclaimed authors such as Robert A. Heinlein, John W. Campbell, Jr., and A. E. van Vogt, as well as "Doc" Smith's seminal Lensman series. The publishing of these authors, as well as the brilliant use of the advance sales of limited editions as a business model, helps illustrate the enormous contribution Lloyd Arthur Eshbach and Fantasy Press made to the science fiction publishing field.

Offered here is a truly amazing and complete run of Fantasy Press titles, including some incredibly rare high points. Not only are the "impossible" titles here, including Invaders from the Infinite, The Vortex Blaster in dust jacket, and The History of Civilization with box and lid, but there are some "never seen" editions, such as the ultra-rare two-copy edition of Masters of Time by van Vogt, bound in full leather. Eshbach did these two-copy editions of each title for himself and the title's author. This copy was van Vogt's own and inscribed thus. There is also a copy of Of Worlds Beyond signed by four of the eight contributors. Finally, one of the two copies of The Tyrant of Time offered is one of an incredibly scarce edition of ten and bound in full buckram. Seldom are complete runs of Fantasy Press available for sale, but even less so with the editions offered here and in the overall outstanding condition of this wonderful collection.

Chalker & Owings. The Science-Fantasy Publishers, pages 217-227.

Ian Fleming. Casino Royale. London: Jonathan Cape, [1953].

First edition. Octavo. 218 pages.

Publisher's black cloth with front and spine stamped in red. Spine has a slight lean with softly bumped corners. Lightly foxed endpapers and page edges with toning and occasional scattered foxing throughout. Dust jacket is neatly restored at head and tail of spine and corners, and shows modest toning and soiling. A very good copy of the first Bond novel.

Ian Fleming. Dr. No. London: Jonathan Cape, [1958].

First edition. Twelvemo. 256 pages. Jacket design by Pat Marriott.

Publisher's black cloth with silhouette of girl in brown on the front board and spine titles in silver. Original pictorial dust jacket with "13s 6d. net" price intact. Minimal edge wear to the book, with light foxing to the textblock edges. Some fading to the dust jacket, with mild rubbing, soiling and wrinkling to the panels. Corners rubbed. A beautiful copy in very good condition.

Dr. No was Ian Fleming's sixth James Bond novel and the basis for the very first EON Productions film adaptation of the great British spy.

Campbell 11

Ian Fleming. For Your Eyes Only. Five Secret Occasions in the Life of James Bond. London: Jonathan Cape, [1960].

First edition. Inscribed by Fleming on the front free endpaper, "For John To hack about! from Ian". Octavo. 252 pages.

Publisher's black cloth with white eye design stamped on front and gilt-stamped spine. Dust jacket is lightly toned and rubbed with minor soiling. Several light pencil notations on tail of rear inner flap. A near fine copy of the eighth Bond book, a scarce title to find inscribed.

The recipient was purportedly Fleming's long time friend and associate on The Book Collector magazine, John Hayward.

Ian Fleming. For Your Eyes Only. Five Secret Occasions in the Life of James Bond. London: Jonathan Cape, [1960].

First edition. Octavo. 252 pages.

Publisher's black cloth with white eye design stamped on front and gilt-stamped spine. Slightly leaning spine with mild foxing to page edges. Endpapers with light foxing and toning, and a small spot of soiling that bleeds through to half-title page. Dust jacket is lightly toned and rubbed with modest soiling to rear panel. A very good copy of the eighth Bond book.

Ian Fleming. Goldfinger. London: Jonathan Cape, [1959].

First edition. Octavo. 318 pages.

Publisher's black cloth with blind and gilt-stamped front and gilt-stamped spine. Very softly bumped spine ends and corners. Modest soiling to top page edge. Faint toning to page edges. Dust jacket is lightly toned and soiled with minor rubbing to spine ends and two one-quarter-inch tears to tail of spine. Overall, a near fine copy of the seventh Bond novel.

The seventh James Bond novel which later became the third film in the legendary and hugely successful film series starring Fleming's inimitable spy-hero.

Campbell 13

Ian Fleming. Goldfinger. London: Jonathan Cape, [1959].

First edition. Twelvemo. 318 pages. Dust jacket design by Richard Chopping.

Publisher's black cloth binding with blind-stamped skull with gold coins for eyes on the front board and gilt spine titles. Original pictorial dust jacket, price-clipped. Minor shelf wear. Light rubbing and scattered abrading to the dust jacket. A handsome copy in very good condition.

Ian Fleming. The Man with the Golden Gun. London: Jonathan Cape, [1965].

First edition. Octavo. 221 pages.

Publisher's black cloth with gilt-stamped spine. Slightly leaning spine with small bump to top edge of rear board. Dust jacket is lightly toned along spine with modest rubbing to ends. A near fine copy.

In this James Bond adventure, 007 battles the evil Scaramanga and his aide-de-camp Nick Nack.

Ian Fleming. On Her Majesty's Secret Service. London: Jonathan Cape, [1963].

First edition. Inscribed by Fleming on the front free endpaper, "To Kay with all my love from Ian". Octavo. 288 pages.

Publisher's black cloth with white-stamped design on front and silver stamped titles on spine. Slightly leaning spine with moderate rubbing to the extremities. Small bump on fore-edge of rear board. Some soiling from thumbing along fore-edge. Dust jacket has mild toning and rubbing with modest soiling to rear panel. Housed in a custom clamshell box. A very good copy.

The recipient was purportedly Fleming's aunt (his mother's sister), Mrs. Kathleen St. Croix Rose, making this copy a scarce and desirable family association.

Ian Fleming. On Her Majesty's Secret Service. London: Jonathan Cape, [1963].

First edition. Octavo. 288 pages.

Publisher's black cloth with white-stamped design on front and silver stamped titles on spine. Moderate toning to pages. Dust jacket has some darkening along edges and spine. Modest soiling to rear panel. Minor rubbing to extremities. A near fine copy of the eleventh Bond novel.

Ian Fleming. The Spy Who Loved Me. London: Jonathan Cape, [1962].

First edition. Octavo. 221 pages.

Publisher's black cloth with dagger design on front stamped in blind and silver and spine stamped in silver. Slightly leaning spine with foxing to top edge. A very good copy of the tenth Bond novel in bright dust jacket.

Ian Fleming. Thunderball. London: Jonathan Cape, [1961].

First edition. Inscribed by Fleming on the front free endpaper, "To Leonard - These thunderballs from Ian." Octavo. 253 pages.

Publisher's black cloth with blind-stamped front and gilt-stamped spine titles. Modestly rubbed spine ends with the faintest soiling to page edges. A few tiny bumps along bottom edge of front board. Crisp dust jacket with faintly darkened spine. Housed in a beautiful custom clamshell box with an interpretation of the skeleton hand with knife through it, from the jacket, on front. A fine copy of the ninth James Bond novel.

The recipient was purportedly Fleming's close friend and editor of the London Sunday Times, Leonard Russell.

Ian Fleming. Thunderball. London: Jonathan Cape, [1961].

First edition. Octavo. 253 pages.

Publisher's black cloth with blind stamped front and gilt-stamped spine titles. Cloth is faintly rubbed on spine ends. Dust jacket has minor edge toning with minimal wear to extremities. There is a one-eighth-inch tear at spine head and a one-quarter-inch folded tear at tail of rear joint. A near fine copy of the ninth Bond novel.

Ian Fleming. You Only Live Twice. London: Jonathan Cape, [1964].

First edition. Octavo. 255 pages.

Publisher's black cloth with gilt stamped front and silver stamped spine. Slightly leaning spine. Dust jacket is lightly toned with minor rubbing to extremities and a few tiny tears along top edge. A very good copy.

Dick Francis. For Kicks. London: Michael Joseph, [1965].

First edition, first impression. Signed by the author on the title page. Twelvemo. 255 pages.

Publisher's gilt-stamped green cloth. Binding very slightly cocked. Small, faint moisture stain to top edge, not affecting interior. Binding tight, pages clean. Dust jacket is bright and in great shape aside from a few tiny nicks, a couple of short closed tears, and a few shallow creases; with price of "16s" on lower front flap and author's photo on rear flap. A near fine copy.

The third horse-racing thriller from Dick Francis, a former champion jockey. From the flap: "Faced with a threat to the whole sport of steeplechasing, the Stewards decide that only an undercover investigator can succeed where all straightforward enquiries have failed."

Dick Francis. Nerve. London: Michael Joseph, [1964].

First edition, first impression. Signed by the author on the title page. Twelvemo. 237 pages.

Publisher's gilt-stamped green cloth. Binding very slightly cocked. Page edges foxed, as usual. Pages slightly toned, but clean. Some toning and light foxing to dust jacket; a few nicks along edges, primarily at folds, with some short tears that have been repaired on the reverse with tape. Price of "16s" is intact at lower front flap; rear flap is blank. A near fine copy in a lightly worn jacket.

The second novel by former British champion jockey Dick Francis, set, as all his thrillers are, in the world of professional horse racing. From the front flap: "Despair, suicide and obsessive hatred - mixed well with humour, love, and horses - brew up into a story of a battle between one man's nerve and another man's cunning." Surprisingly scarce in a signed first edition.

Sue Grafton. "B" is for Burglar. New York: Holt, Rinehart and Winston [1985].

First edition. Signed by Grafton on title page. Octavo. 229 pages.

Publisher's quarter red cloth over gray boards and silver spine titles. Spine has a slight lean and front hinge in cracking. Dust jacket is edge toned. A near fine copy.

Mystery author Sue Taylor Grafton was born in Louisville, Kentucky, in 1940. To date, she has written twenty-one "alphabet novels" with titles from "A" to "U." The second title in the series, "B" is for Burglar followed "A" is for Alibi, which introduces Grafton's protagonist, detective Kinsey Millhone. "B" is for Burglar and its sequel, "C" is for Corpse won the first two Anthony Awards.

Joe Haldeman. The Forever War. New York: St. Martin's Press, [1974].

First edition, first printing. Inscribed and signed by the author on the title page. Octavo. 236 pages.

Publisher's black buckram with gilt titles. Original pictorial dust jacket. Dedicatee's ownership signature dated in the year of publication on the front free endpaper. Mild wear to the board edges. Minor wear to the dust jacket at the flap folds and spine extremities, else a bright, near fine copy.

Though written as science fiction, much of this book is based on Haldeman's own combat experiences during the Vietnam War. Troops travel to distant worlds in near-light speed ships, causing them to encounter the effects of time dilation. This dilation causes time to slow for them during space travel while moving normally elsewhere. When soldiers return to civilian life, they find that their families, lives, and the entire world have changed radically and left them behind. As a result, the soldiers suffer from depression and alienation very similar to that suffered by troops returning from the Vietnam War.

A personal photo featuring Haldeman is laid-in.

Currey, p. 215.

Thomas Harris. Four Signed Hannibal Lecter First Editions, including: Red Dragon. New York: G. P. Putnam's Sons, [1981]. First edition. Signed by Harris on the title page. Octavo. 348 pages. Publisher's silver-stamped black cloth and gray paper boards. Fine in dust jacket. [and:] The Silence of the Lambs. New York: St. Martin's Press, [1988]. First edition. Signed by Harris on the title page. Octavo. 338 pages. Publisher's silver-stamped brown cloth over white paper boards. Very slightly cocked. One corner bumped. "Autographed Copy" sticker on rear panel of dust jacket. Near fine. [and:] Hannibal. [New York]: Delacorte Press, [1999]. First edition. Signed by Harris on the title page. Octavo. 486 pages. Publisher's gilt-stamped black and red paper boards. "Autographed Copy" sticker on rear panel of dust jacket. Fine. [and:] Hannibal Rising. [New York]: Delacorte Press, [2006]. First edition. Signed by Harris on the title page. Octavo. 323 pages. Gilt-stamped black cloth and orange paper boards. Fine in dust jacket. The four exceedingly popular thrillers featuring Hannibal Lecter, the brilliant psychiatrist turned cannibal serial killer.

Robert A. Heinlein. Stranger in a Strange Land. New York: G. P. Putnam's Sons, 1961.

First edition. Code "C22" at the bottom of page 408. Octavo. 408 pages.

Publisher's green cloth with gilt spine titles. In original pictorial dust jacket priced $4.50 at the top of the front flap. Rear panel of the dust jacket has an advertisement for Starship Troopers. Top edge stained light green. Moderate edge wear to the book and jacket. Slightly shelf-cocked and darkened spine. Minor abrasions of the cloth at the bottom edge of the boards, most likely from the dampstaining of the dust jacket. Significant dampstaining along the spine and adjacent areas of the panels of the dust jacket. Two-inch closed tear along the bottom edge of the front panel, affecting the "R" in "Robert." Tiny closed tear at the bottom edge of front flap. Panels lightly toned. All in all, a very good copy of Heinlein's great satire.

"Valentine Michael Smith, born of human parents and raised by Martians, returns to Earth as a young man, rich and a virtual superman because of the parapsychological powers Martian education produced in him. Jubal Harshaw befriends Michael and his fortune until Michael can acculturate himself. Mike becomes wise, but keeps his virtue-becoming a Christ-figure who finally 'discorporates.' Harshaw is familiar Heinlein central character in a radicalized mood, favoring free love, ritual cannibalism, and other familiar Heinlein social propositions...Read well beyond SF fandom; used in college composition courses; directly associated with Charles Manson, murder cult leader of the Sharon Tate massacre. Best known of Heinlein's SF." (Barron: Anatomy of Wonder [1976] 198)

Ahearn. Currey, p. 234. Moskowitz, p. 19.

John le Carré. The Spy Who Came in from the Cold. London: Gollancz, 1963.

First edition. Signed by the author on the title page. Octavo. 222 pages.

Publisher's blue cloth with spine stamped in gilt. Mild wear to extremities with minor fading to top edge of boards and some soiling to page edges. Spine is leaning. Mild toning with light scattered foxing throughout. Dust jacket is soiled with a dampstain visible along rear joint. Minor edge wear with some light chipping to upper spine. A very good copy.

Three Science Fiction First Editions, including: Frederick Pohl [editor]. Star Science Fiction Stories. New York: Ballantine Books, [1953]. First edition. Signed by Pohl on title page. Additionally signed by William Tenn on front free endpaper as Philip Klass/William Tenn. Octavo. 202 pages. Publisher's gold quarter cloth with black boards. Lightly rubbed extremities. Pages toned. Dust jacket is restored. [and:] David Duncan. Beyond Eden. New York: Ballantine Books, [1955]. First edition. Octavo. 169 pages. Publisher's blue cloth. Mildly rubbed with softly bumped corners. Pages toned. Dust jacket shows only modest rubbing. [and:] Jack Vance. To Live Forever. New York: Ballantine Books, [1956]. First edition. Octavo. 185 pages. Publisher's light blue cloth. Darkening from smoke damage along bottom edge. Dust jacket has been inexpertly filled and repaired. All volumes in very good or better condition.

Anne Rice. Manuscript Diary for Feast of All Saints, With Thoughts on the Success of Interview With the Vampire - Signed Twice. Personal diary written in Paris, London, New York City, and Los Angeles: April 15-June 15, 1977.

Square octavo-sized journal measuring approximately 8.75 x 6.75 inches. Signed by Anne Rice twice: once on the front free endpaper, and again on the verso, above her Berkeley address. Unpaginated, but with 110 lined pages containing Rice's neat, legible hand-written diary entries (70 pages are left blank).

A French-manufactured commercially-sold personal journal bound in full red cloth. Housed in a custom red cloth chemise and full gilt-stamped red morocco book-backed slipcase. Fine condition.

This diary was kept by Anne Rice as she and her husband, Stan, visited Paris, London, and New York City in the spring of 1977. Much of Rice's time in Paris was spent doing research for her second book, The Feast of All Saints, which she was in the midst of outlining (her hugely successful debut novel, Interview With the Vampire, had been published the previous year).

Aside from entries on meals and visits to historical sights, the diary contains musings on two main topics: possible plotlines for her upcoming novel, and the misgivings she feels about her relationship with her publisher, Alfred A. Knopf.

Rice spends a considerable amount of time struggling with the back-stories of and the relationship between two pivotal characters, Juliet and Christophe (referred to throughout as "Chris"). In one lengthy passage she writes: "A mad idea just occurred to me. [...T]he idea that Juliet has found him in Haiti - that he is not her child." A few sentences later she writes in underlined words: "This can be one of the most significant moments in the book." Yet just a few paragraphs later she writes: "No - none of this is right. [...] SCRAP ALL OF THIS." The diary is full of this sort of spontaneous back-and-forth brainstorming which offers the reader a fascinating insight into Anne Rice's creative process.

Rice also writes about her new wealth and celebrity. Interview With the Vampire had been a huge success in the United States, and the European editions were becoming popular as well. Even though Paris scenes were featured in Interview With the Vampire, she wrote those scenes never having visited the city. In one entry, dated April 16, she writes almost giddily:

"Well, here I am at last. On the corner where Louis & Claudia lived, in the Café de la Paix adjacent to - part of the Grand Hotel which I described as their Paris home base. It was thrilling to walk up the Avenue d'Opéra. (Louis walks down the street to the Louvre - meets Armand - at the end -). But an added & unexpected thrill was to stop into Brentano's English language bookstore and discover the gleaming gold Knopf edition of Interview with the Vampire - rather nicely displayed on a high shelf.... The book, right here in the street where Louis walked!"

Throughout the diary Rice returns time and time again to the ongoing professional and personal difficulties she is having with Knopf, her publisher. She wrestles with herself about whether she should address her concerns with her editors directly, or whether she should just let them go and hope things will eventually improve. She writes of having felt slighted and marginalized in the editing and marketing of Interview With the Vampire. As an example, while in London, she writes that she has learned for the first time that Interview had been a British bestseller: "[...] that I had to learn from a salesgirl in Foyle's that it made the bestseller list for a few weeks - this is disturbing." The profound frustration and nagging dread she seems to feel in regard to Knopf is a continuing theme throughout this journal.

At the end of the diary, after promotional business in New York, Rice is en route to Los Angeles where she is to meet with Paramount Pictures about a possible adaptation of Interview into a film (a film which would not actually be made for another seventeen years!). She writes on June 15: "If called upon, I'll stress what I feel is important: That the film be genuinely frightening - that it have an eerie & horrifying mood to it that is absolutely absorbing. That it be sensuous & beautiful - people have obviously [been] affected by the writing - they find it sensual, not merely erotic - so this should translate. That the characters be able to horrify & elicit sympathy - It can not be a one dimensional picture of evil. [...] Fangs - only very occasionally -- & very subtle."

This fascinating and entertaining personal diary written by one of the modern era's most popular authors, allows the rare opportunity to observe a writer's creative process as she systematically develops characters and plot. This unique diary - the only significant Anne Rice manuscript to be offered at auction - is full of wonderful unpublished content and would be a welcome and prized addition to any collection.

Anne Rice. Interview With the Vampire. New York: Knopf, 1976.

Advance review copy of first edition. Inscribed by Rice on front endpaper, "For Drake, This is the first book I've ever signed - With special affection, Anne Rice". Octavo. 371 pages.

Publisher's pictorial wrappers. A few light bends to corners with a slightly leaning spine. Mild foxing to page edges and wrapper. A very good copy of this unique item.

This advance copy was available prior to the May 5, 1976 release date for Interview with the Vampire and is, according to the author's inscription, the very first book Anne Rice ever signed!

Anne Rice. Interview With the Vampire. New York: Knopf, 1976.

First edition. Signed by Rice on title page. Octavo. 371 pages.

Publisher's quarter black cloth with black paper covered boards. Blind-stamped front with gilt spine titles. Top edge stained red. Bright dust jacket has one light fold running length of rear inner flap. Housed in a custom clamshell box. A fine copy of the book most responsible for the modern and ongoing fascination with the vampire mythos.

Anne Rice. Interview With the Vampire. New York: Alfred A. Knopf, 1976.

First edition. With a bookplate signed in purple ink by Anne Rice featuring an image of Anne Rice's former New Orleans home "St. Elizabeth's" and mounted to the half-title page. Octavo. 371 pages.

Publisher's gilt-stamped black cloth and paper boards. Top edge stained red. Fine in dust jacket.

An exceptional copy of Anne Rice's blockbuster first novel, the first in the very popular and still-continuing Vampire Chronicles.

Edward E. "Doc" Smith. Six Fantasy Press First Editions. All octavo volumes in the publisher's light blue cloth with titles stamped in gilt on the spine, including: Triplanetary. A Tale of Comic Adventure. 1948. Limited to 500 numbered copies. Inscribed "To John H. Preble -/ with very best regards-/ Edward E. Smith, Ph.D." on a special limitation page in front. 287 pages. Light wear to edges of the boards, else very good in a very good dust jacket. [and:] Skylark of Valeron. 1949. Limited to 5,000 copies, signed on a special limitation page in front. Octavo. 252 pages. Slight toning to preliminary pages, else very good in a very good dust jacket. [and:] First Lensman. 1950. 306 pages. Spine faded and boards slightly soiled, foxing to the preliminary pages, otherwise very good in a slightly stained and crinkled dust jacket. [and:] Galactic Patrol. 1950. Octavo. 273 pages. Former owner's bookplate on the front pastedown, else very good in a very good dust jacket. [and:] Gray Lensman. 1951. Octavo. 306 pages. Former owner's bookplate on the front pastedown, else very good in a very good dust jacket with some wear at the spine ends. [and:] Second Stage Lensman. 1953. Octavo. 307 pages. Former owner's bookplate on the front pastedown, else very good in a very good dust jacket.

Edward E. "Doc" Smith. Eleven First Editions Owned by Sam Moskowitz, science fiction fan and collector, including: The Skylark of Space. [Providence]: [The Buffalo Book Co.], [1946]. First edition. Octavo. 303 pages. Publisher's blue cloth with gilt-stamped spine. A very good copy in like dust jacket. [and:] Spacehounds of IPC. Reading: Fantasy Press, 1947. First edition limited to 300 copies of which this is number 6. Inscribed by Smith to Moskowitz on limitation page: "To Sam Moskowitz -- one of the long-standing pillars of fandom -- Edward E. Smith, PhD." Octavo. 257 pages. Publisher's blue cloth with gilt ruling and titles on spine. A very good copy in like dust jacket. [and:] Triplanetary. Reading: Fantasy Press, 1948. First edition. Octavo. 287 pages. Publisher's blue cloth with gilt ruling and titles on spine. A very good copy in like dust jacket. [and:] Skylark Three. Reading: Fantasy Press, 1948. First edition. Octavo. 247 pages. Publisher's blue cloth with gilt ruling and titles on spine. Very good in like dust jacket. [and:] Skylark of Valeron. Reading: Fantasy Press, 1949. First edition. Octavo. 252 pages. Publisher's blue cloth with gilt ruling and titles on spine. A near fine copy in a lightly rubbed dust jacket. [and:] First Lensman. Reading: Fantasy Press, 1950. First edition. Octavo. 306 pages. Publisher's blue cloth with gilt ruling and titles on spine. A near fine copy. This copy with two identical dust jackets, one near fine and one very good condition. [and:] Galactic Patrol. Reading: Fantasy Press, 1950. First edition. Octavo. 273 pages. Publisher's blue cloth with gilt ruling and titles on spine. A near fine copy. This copy with two identical dust jackets, one near fine and one very good condition. [and:] Grey Lensman. Reading: Fantasy Press, 1951. First edition. Octavo. 306 pages. Publisher's blue cloth with gilt ruling and titles on spine. Price-clipped dust jacket. Near fine. [and:] Second Stage Lensmen. Reading: Fantasy Press, [1953]. First edition. Octavo. 307 pages. Publisher's blue cloth with gilt ruling and titles on spine. Rubber stamping along page edges and some internal pages. Very good in dust jacket. [and:] Children of the Lens. Reading: Fantasy Press, [1954]. First edition. Octavo. 292 pages. Publisher's blue cloth with gilt ruling and titles on spine. A near fine copy. This copy with two identical dust jackets, one near fine and one very good condition. [and:] The Vortex Blaster. Reading: Fantasy Press, [1960]. First edition. Octavo. 273 pages. Publisher's green cloth with black spine titles. A near fine copy in dust jacket with mild edge toning.

Theodore Sturgeon. Five First Editions Inscribed to Sam Moskowitz, including: Without Sorcery. Philadelphia: Prime Press, 1948. First edition of the author's first book. Inscribed "To Sam Moskowitz/ - regards/ Theodore Sturgeon/ Sept '61" on the front free endpaper. Octavo. 355 pages. Publisher's black cloth with titles stamped in gilt on the spine. Page edges slightly tone, else a very good copy in a dust jacket that is slightly worn on the front panel. [and:] More Than Human. New York: Farrar, Straus and Young, 1953. First edition. Inscribed "To Sam Moskowitz/ - regards/ Theodore Sturgeon/ Sept '61" on the front free endpaper. Octavo. 233 pages. Publisher's quarter black cloth over red boards with titles stamped in silver on the spine. Trivial shelf wear to boards and slight toning to page edges, else a very good copy in a modestly shelf worn dust jacket. [and:] E Pluribus Unicorn. A Collection of Short Stories of Theodore Sturgeon. New York: Abelard Press, 1953. First edition. Inscribed "To Sam Moskowitz/ - regards/ Theodore Sturgeon/ Sept '61" on the front free endpaper. Octavo. 276 pages. Publisher's tan cloth with titles printed in black on the spine. Slight toning to spine cloth on spine panel and boards; page edges slightly toned as well, else a very good copy in a bright dust jacket. [and:] A Way Home. Stories of Science Fiction and Fantasy. New York: Funk & Wagnalls Company, 1955. First edition. Inscribed "To Sam Moskowitz/ - regards/ Theodore Sturgeon/ Sept '61" on the front free endpaper. Octavo. 333 pages. Publisher's original burnt orange cloth with titles printed in black on the spine. Light wear to boards and internally clean. Very good in a slightly toned dust jacket with a few closed tears. [and:] A Touch of Strange. New York: Doubleday & Company, Inc., 1958. First edition. Inscribed "To Sam/ Moskowitz -/ who can also/ listen!!!!/ Theodore Sturgeon/ Sept '61" on the front free endpaper. Publisher's yellow cloth with titles printed in black on the spine. A very good copy in a very good dust jacket.

J. R. R. Tolkien. Farmer Giles of Ham. With the Last Known Photograph of J. R. R. Tolkien. Illustrated by Pauline Diana Baynes. London: George Allen and Unwin, 1949.

First edition. Octavo. 79 pages.

Original muted orange cloth. Blue titles on spine and blue dragon illustration on front board. Top edge stained blue. Leaning spine. Some light soiling to top edge of rear board, running into rear pastedown. Modestly rubbed spine ends. Dust jacket has mild toning with rubbing and light chipping to spine ends and corners, with a one-inch tear at top edge of rear panel and another to tail of front joint. A very good copy.

Accompanying this book is a 3.5-inch square black and white candid photo of Tolkien. Inscription on rear from Priscilla Tolkien, his daughter, to Elaine Griffiths, reads: "August 9th, 1973. Last photograph taken / Photographer: grandson, Michael / Place: Oxford Botanical Gardens by his favourite tree, a Black Pine which he named Laocoon. For Elaine - with love from Priscilla." Placed within an envelope with "Ronald Tolkien" written on front. Highly significant for being the final photo taken of Tolkien.

Elaine Griffiths was a former student of Tolkien's and was later employed by the publishing house of Allen & Unwin. In 1936 she urged Susan Dagnall, also an Oxford graduate then employed by Allen & Unwin, to borrow and read the unfinished typescript of The Hobbit. After reading it, Dagnall encouraged Tolkien to complete The Hobbit in order that Allen & Unwin could consider publishing it. Without Elaine Griffiths' intervention and inspiration, fantasy publishing history in the twentieth century might have been very different. In an inscription to her, Tolkien once called Griffiths the "queen of Hobbits."

J. R. R. Tolkien. The Lord of the Rings, including: The Fellowship of the Ring. London: George Allen & Unwin, 1954. First edition, second impression. Clipped signature of Tolkien tipped in at title page. Octavo. 423 pages plus map attached to rear flyleaf . Red cloth with gilt spine titles. Bottom edge of boards is lightly shelfworn. "4" at the bottom of page 49. Second impression dust jacket priced "21s net" has a half-inch and a one-inch tear to rear panel. [and:] The Two Towers. London: George Allen & Unwin, 1954. First edition, second impression. Octavo. 352 pages plus map attached to rear flyleaf. Red cloth with gilt spine titles. Slight lean to spine and bottom edge of boards is lightly shelfworn. Endpapers are toned and page edges have scattered foxing. Second impression dust jacket priced "21s net" has light foxing to edges and spine, and some minor wear to the extremities. [and:] The Return of the King. London: George Allen & Unwin, 1955. First edition, first impression, second state according to Hammond and Anderson. Octavo. 423 pages plus map attached to rear flyleaf. Red cloth with gilt spine titles. Bottom edge of boards is lightly shelfworn with scattered foxing to endpapers and page edges. First impression dust jacket priced "21s net" has light foxing to edges and spine. A remarkably clean, attractive trio. The set in better than very good condition and housed in a custom slipcase.

Thea von Harbou. Metropolis. Berlin: August Scherl, [1926].

German-language movie tie-in edition issued to coincide with the film's German release. Twelvemo. [1] - [194] pages plus two-page advertisement. With four double-sided sepia-toned plates depicting eight scenes from the film.

Original pictorial wrappers featuring a color painting of the robot Brigette Helm on the front cover. Moderate wear to the corners and extremities of the wrappers, with minor separation of the spine folds at the extremities, about one-inch at each end. Minimal cocking to the spine. Foxing to the rear cover and textblock edges. Previous owner's signature on the half-title page. Front cover and internal contents clean. Overall, a very good copy of a rare title.

H. G. Wells. In the Days of the Comet. New York: The Century Co., 1906.

First American edition, with cancel title ("Published, October 1906"). Octavo (7.5 x 5.0625 inches; 190 x 129 mm.). viii, 378 pages. Printer's imprint on verso of title-page: "The De Vinne Press."

Original dark blue cloth by Decorative Designers with front cover lettered in light blue and pictorially stamped in light blue, gray, and black, and spine lettered in light blue. Minor rubbing to corners and spine extremities, free endpapers very slightly browned from turn-in glue, edges lightly foxed. Faint dampstain to the lower corner, visible on both covers and throughout the text. Occasional minor marginal soiling. Previous owner's ink stamp on front free endpaper. In the very scarce original tan dust jacket printed in dark blue. The jacket, which is totally unrestored, is slightly browned and lightly foxed, with a small faint red stain at the lower corner of the rear panel and a few small holes and short tears, with a small piece missing at the top of the front panel, none affecting any text. Housed in a custom quarter dark blue morocco book-backed clamshell case with spine decoratively tooled and lettered in gilt. A very good copy.

From the jacket's front panel: "This is imaginative work of a very high order, yet its chief charm is in its human interest and in the love story. A young middle-class Englishman is in love with a girl who elopes with another man just at the time that a great comet swiftly approaches the earth and lights the sky at night like a noonday sun. The populace fill the streets in silent awe. At the moment that the comet with a blinding glare grazes the earth, all living things are suddenly asphyxiated, and when the world wakes it is a new world with a new atmosphere. The warring of the classes has ceased; the 'Brotherhood of Man' has dawned. In the Days of the Comet is considered the best work of the popular author of The War of the Worlds, The Time Machine, When the Sleeper Wakes, etc. It is full of romantic color and beautiful [sic]."

First printed in The Daily Chronicle in 1905-6.

H. G. Wells. The Island of Doctor Moreau. London: William Heinemann, 1896.

First edition in trial binding. Octavo. 219 pages.

Publisher's pale green cloth. Blind-ruled boards and gilt-stamped titles and decoration on spine. Modestly rubbed extremities. Spine is mildly darkened with a slight lean. Pages are lightly toned with foxing along hinges and a bit more scattered through preliminary pages. Frontispiece with tissue guard. One-page advertisement for The Time Machine at rear with no additional advertisements. A near fine copy of this scarce early state.

"The Island of Doctor Moreau is a parable worthy of comparison with Swift and Voltaire. The satirical intention is not immediately apparent, and many readers have laid the book aside under the impression that they have read a gripping horror story and nothing more. That Wells had a more serious, didactic intent is shown by the fact that he originally proposed as its subtitle A Satire or A Satirical Grotesque."

Currey. Hammond. An H. G. Wells Companion, page 85. Hammond B3. Wells page 7.

[H. G. Wells]. The War of the Worlds Serialized in Pearson's Magazine. London: C. Arthur Pearson Ltd., 1897.

First edition. Two octavo volumes. Volume III, January to June, 1897; Volume IV, July to December, 1897. In nine installments from April to December. 363-373, 485-496, 597-610; 108-119, 221-232, 329-339, 447-456, 558-568, 736-745 pages. With illustrations by Warwick Goble.

Original publisher's richly-decorated cloth over beveled boards. A beautiful set, in fine condition.

Wells' classic alien invasion story in its rare original form - just the way it first appeared to thrill and horrify its Victorian readers. These volumes also include several other illustrated works of fiction and non-fiction including a portion of Captains Courageous and Tomb of His Ancestors by Rudyard Kipling, and "Tales of the High Seas" by Arthur Conan Doyle.

Richard Adams. Watership Down. New York: Macmillan Publishing Company, 1972.

First American edition. Signed by Adams on verso of half-title page; additionally inscribed on title page. Octavo. 429 pages.

Publisher's beige quarter cloth with matching paper boards and gilt spine titles. Softly bumped corners with a few modest spots of soiling to page edges. Two crisp dust jackets are present with this copy. First issue jacket with British blurbs and second issue with American blurbs. Overall, a near fine copy.

Adams' tale of rabbit culture was initially turned down by all major publishing houses, but once it reached the store shelves, it won both the prestigious Carnegie Medal and The Guardian Award for Children's Fiction. Penguin Books reports that Watership Down is its best-selling novel of all time.

Maya Angelou. I Know Why the Caged Bird Sings. New York: Random House, [1969].

First edition. Signed by Angelou on title page. Octavo. 281 pages.

Publisher's black cloth with titles in red and gilt. Top edge stained red. Slight toning to endpapers and page edges. Dust jacket is lightly toned on edges. A beautiful copy in fine condition.

"This testimony from a black sister marks the beginning of a new era in the minds and hearts and lives of all black men and women....I Know Why the Caged Bird Sings liberates the reader into life simply because Maya Angelou confronts her own life with such a moving wonder, such a luminous dignity. I have no words for this achievement, but I know that not since the days of my childhood, when the people in books were more real than the people I saw every day, have I found myself so moved....Her portrait is a biblical study of life in the midst of death." (James Baldwin)

Elizabeth [von Arnim]. The Enchanted April. Garden City: Doubleday, Page, 1923.

First edition. Octavo. 313 pages.

Publisher's red cloth with gilt titles and blind-ruled front board. Ownership name on front free endpaper in contemporary pencil. Faint foxing to page edges. Vivid dust jacket with two small tears to bottom edge, one to front panel and one to rear, and a one-inch split to the head of the rear joint. Housed in the seldom-seen publisher's slipcase that shows only minor rubbing and wear. A bright, crisp copy in near fine condition.

Successful film versions were produced in 1935 and 1992.

John Barth. Three Signed Books, including: The End of the Road. Garden City: Doubleday & Company, 1958. First edition. Signed and dated by Barth in the year of publication on the front free endpaper. Octavo. 230 pages. Publisher's yellow-stamped blue cloth. Very light fading near top edges of boards. Pages lightly age-toned. Rear panel of dust jacket slightly yellowed. Near fine. [and:] The Sot-Week Factor. Garden City: Doubleday & Company, 1960. First edition. Signed by Barth on the title page. Octavo. 806 pages. Publisher's blue-stamped yellow cloth over blue boards. Small chip to cloth at head of spine. Faint scuff mark to top page edges. Near fine in dust jacket. [and:] Giles Goat-Boy or, The Revised New Syllabus. Garden City: Doubleday & Company, 1966. Signed by Barth on the title page. Octavo. 710 pages. Publisher's gilt- and silver-stamped black cloth. Tan endpapers. Fine in dust jacket.

Three early novels from one of the most influential American postmodernists of the second half of the twentieth century.

Francis Beaumont and John Fletcher. Fifty Comedies and Tragedies. London: J. Macock, for John Martyn, Henry Herringman, Richard Marriot, 1679.

Second edition. Folio. [10], 208, 279-578, 557 pages.

Later half calf over marbled boards. Raised bands, gilt lettering to morocco title label on spine. Scuffing to binding, corners bumped. Frontispiece and title page have been trimmed and mounted in attempts at restoration. Preliminary publisher's note has been torn at upper corner. Armorial bookplate to front pastedown. Overall, a sound and tight copy in very good condition.

Beaumont and Fletcher's collected plays originally came out in 1647, featuring thirty-five plays. This second, expanded edition brought the collection up to fifty-one plays, as numbered in the prefatory material, as well as "The Masque of the Gentlemen of Grays-Inne and the Inner-Temple," and "Four Plays, or Moral Representations, in One," which are not numbered.

ESTC. R13766.

The British Classics. Boston: Hastings, Etheredge, and Bliss; [and:], New York: William Durell and Co., 1809-1814.

Sixty-four twelvemo volumes.

Contemporary full marbled calf. Leather title labels to spines. Marbled endpapers. Corners bumped. Some rubbing to bindings. Overall, an attractive set in very good condition.

This set includes; The Spectator (ten volumes), and works by Samuel Johnson (twelve volumes), Oliver Goldsmith (six volumes), Joseph Addison (six volumes), Jonathan Swift (twenty-four volumes), and Laurence Sterne (six volumes).

Charlotte Brontë (writing as Currer Bell). Villette. London: Smith, Elder, and Co., 1853.

First edition. Three octavo volumes. [i-iv], [1]2-324; [i-iv], [1]2-319[320]; [i-iv], [1]2-350[-352] pages (no half-titles called for). Half brown calf over marbled boards, gilt-lettered morocco labels. Spines lightly faded, bound without the terminal ads in Volume I. Some surface abrasions to one of the spine labels on Volume I. Some foxing and staining, and a few occasional insignificant short tears to leaves. Faint name of a previous owner to top of title page of volume III. A very good copy.

"The novel combines a masterly portrayal of Belgian daily life with a highly personal use of the elements of Gothic fiction" (Oxford Companion to English Literature).

Smith 6, pp. 138-139.

[Emily Brontë]. Wuthering Heights. A Novel, by the Author of "Jane Eyre." New York: Harper & Brothers, 1848.

First American edition. Twelvemo. 288 pages.

Original dark green cloth over boards. Blind-embossed designs to boards. Gilt lettering and designs to spine. Binding slightly cocked. Evidence of a small adhesive label removed from spine, resulting in a dulling of the gilt. Bookplate of previous owner to front pastedown. Discoloration on rear pastedown probably from removed library plate. Very good.

Harper & Brothers, acting on the assumption of Thomas Newby, the Brontë's British publisher, that the sisters (writing under the pseudonyms of Currer, Ellis, and Acton Bell) were, in fact, one person, saw nothing untoward in attributing Wuthering Heights to the "author of Jane Eyre." This ongoing confusion prompted Charlotte and Anne Brontë in July of 1848 to travel to the London offices of Newby and Co., and prove the separate identities of all three sisters.

Smith, 74. Symington, 100.

Pearl S. Buck. Three Signed First Editions, including: The Chinese Novel. Nobel Lecture Delivered Before the Swedish Academy at Stockholm, December 12, 1938. New York: The John Day Company, [1939]. Advance review copy of the first edition signed by Buck on the front free endpaper. With laid-in publisher's letter. Slim octavo. Fifty-nine pages. Publisher's black cloth with gilt spine titles and facsimile signature stamped to front board. Original dust jacket. Housed in the publisher's original black cloth slipcase. This lecture detailed Buck's thoughts on the history, evolution, and impact of the Chinese novel, as well as her perception of its effects on her writing style. Minor bottom edge wear to the boards. Moderate edge and fold wear to the price-clipped dust jacket, with some rubbing to extremities. Slipcase expertly restored. A lovely signed copy in very good condition. [and:] China as I See It. New York: The John Day Company, [1970]. Number 2,885 of 3,000 limited first edition copies signed by Buck on the limitation page and retained for presentation by the author. Octavo. 305 pages. Publisher's brown cloth with gilt titles. Original dust jacket. A collection of Nobel Prize-winner Pearl Buck's non-fiction writings and speeches on China from the 1930s to the Communist take-over in 1949. Minimal shelf wear to boards. Front board slightly bowing. No front free endpaper. Some pencil underlining and a bit of marginal marking to text. The price-clipped dust jacket shows light wear, rubbing, and a bit of creasing to the extremities. Bottom third of front dust jacket flap and front board dampstained. Very good condition. [and:] Command the Morning. New York: The John Day Company, [1959]. First edition, signed by Buck on the front free endpaper. Octavo. 317 pages plus Epilogue. Publisher's light blue cloth with dark blue spine titles. Original dust jacket. A work of historical fiction driven by Pearl Buck's post-World War II fascination with the development of the atomic bomb and it consequences for humanity. Minor shelf wear to the boards and dust jacket edges. Spine ever so slightly cocked. Previous owner's signature on rear pastedown. A scarce signed copy in near fine condition.

James Lee Burke. The Convict, Stories by James Lee Burke. Baton Rouge: Louisiana State University Press, 1985.

First edition. Signed by Burke on the title page. Octavo. 145 pages.

Publisher's full blue cloth with dark pink lettering on spine. Binding very slightly cocked. Faint evidence of adhesive residue or offsetting on both boards. Very minor puckering along top edge of three leaves. A near fine copy in an absolutely pristine dust jacket.

Burke's first collection of short stories and his rarest book. Published in an edition of only about 500 copies, most went to libraries and institutions. Copies signed by Burke are especially scarce.

Lord Byron. The Works of Lord Byron: with a Life and Illustrative Notes, by William Anderson. Edinburgh: A. Fullarton, [n.d., 1850].

First edition, thus. A clipped signature of Lord Byron has been mounted to the upper portion of the frontis portrait of Volume I. Two octavo volumes. ccxxiv, 270; 465. Fifty-eight engravings, plus frontispieces and titles.

Contemporary full diced blue calf over boards. Gilt and blind borders to boards. Morocco title labels with gilt lettering to spines. All edges gilt. Inked name of previous owner to front free endpapers. Slight bumping and marring to the binding. Very good.

Truman Capote. Breakfast at Tiffany's. New York: Random House, [1958].

First edition, first printing. Signed by Truman Capote on the front free endpaper. Octavo. 179 pages.

Publisher's yellow cloth with gilt and black spine titles. In original dust jacket. Very clean cloth. Minor rubbing to the black ink on the spine. Edges of textblock somewhat toned. Some light pencil underlining. Moderate wear to the spine ends and corners of the dust jacket, with a few tiny closed tears. Sunning to the spine and along the top edge. A bright copy in very good condition. Signed copies of this title are quite scarce.

Willa Cather. Two First Editions, including: My Antonia. With illustrations by W. T. Benda. Boston and New York: Houghton Mifflin Company, [1918]. First edition, second printing. Twelvemo. 419 pages. Publisher's brown cloth with orange titles. Minor shelf wear. Spine slightly sunned and cocked. A very good copy. [and:] A Lost Lady. New York: Alfred A. Knopf, 1923. First edition. Twelvemo. 174 pages. Publisher's light green cloth with gilt titles. In publisher's pictorial dust jacket. Slightly over-opened at half-title page. Previous owner's bookplate affixed to front pastedown. Moderate edge wear to jacket, with a small amount of paper loss at spine ends. Two small black ink stains to front panel. Spine slightly sunned. Overall, a very good copy. Two scarce Cather first editions.

[Joseph Conrad]. Four Books About Conrad, including: Richard Curle. Joseph Conrad: A Study. London: Kegan Paul, Trench, Trübner, 1914. First edition. Octavo. 245 pages. Publisher's blue cloth with gilt titles. Dust jacket is toned and rubbed and has a one-inch tear to top edge of front panel. A very good copy. [and:] Wilson Follet. Joseph Conrad: A Short Study of His Intellectual and Emotional Attitude Toward His Work and of the Chief Characteristics of His Novels. Garden City: Doubleday, Page, [1915]. First edition. Octavo. 111 pages. Publisher's glassine dust jacket with light wear. A fine copy. [and:] The Richard Curle Conrad Collection. New York: American Art Association, 1927. Unpaginated. Publisher's printed wrappers. Modest toning and rubbing. Prices realized notations in hand throughout. A near fine copy. Accompanying this item is a newspaper clipping reporting results of sale and dated in hand 4-29-27. [and:] The Historic Edward Garnett Conrad-Hudson Collection. New York: American Art Association, 1928. Seventy-four pages. Publisher's printed wrappers. Modest toning and rubbing. Prices realized notations in hand throughout. A near fine copy.

Joseph Conrad. The Arrow of Gold. A Story between Two Notes. London: T. Fisher Unwin, Ltd., [1919].

First English edition. Octavo (7.75 x 5.125 inches; 197 x 130 mm.). [2, blank], x, 336 pages.

Publisher's dark green vertically-ribbed cloth with front cover lettered in gilt and spine lettered in gilt within gilt rule boxes. Top edge stained dark green. Very faint browning to the free endpapers where the dust jacket flaps end. A few tiny spots on the bottom edge. A very fine copy, with only one small ding at the head of the spine. In the original cream-colored dust jacket printed in dark blue and gold. The jacket has a few small chips and tears. Chemised in a quarter red morocco book-backed slipcase with the spine ruled and lettered in gilt with five raised bands.

The first English edition of The Arrow of Gold was published on August 6, 1919, in an edition of 20,000 copies. The first American edition was published April 12, 1919, in an edition of 15,000 copies.

Smith, Conrad, 22 (pages 72-75).

Joseph Conrad. Chance. A Tale in Two Parts. London: Methuen & Co. Ltd., [1914].

First edition, with a cancel title undated on the recto and with "First published in 1914" on the verso and with "METHUEN" at the foot of the spine. Octavo (7.4375 x 4.875 inches; 189 x 124 mm.). vii, [1, blank], 406, [1, blank], [1, printer's imprint] pages plus eight pages publisher's catalog ("Methuen's Popular Novels"), dated "Autumn 1913."

Publisher's dark green linen-grain cloth with spine decoratively stamped and lettered in gilt. One tiny crease to the head of the spine, and a very tiny bump to the lower corner of the front cover. Three-inch closed tear (paper flaw) into the text on leaf 13/7 (pages 205/206), affecting a few letters, but with no loss. Otherwise a very fine copy, with both the cloth and the gilt on the spine fresh and bright. Chemised in a quarter dark blue morocco book-backed slipcase with the spine ruled and lettered in gilt with five raised bands.

"Chance was printed in the latter part of 1913, but the actual issuance, except for about 50 copies, which were sent to critics, depository libraries, and other special people, was delayed until 1914. The title-pages which had already been printed with the 1913 date on page (iv) were removed and new ones (cancels) with the 1914 date substituted. In later issues, the entire half-sheet was reprinted and the 1914 title-page formed an integral part of the first signature" (Smith).

Chance was serialized in The New York Herald from January 21 through June 30, 1912.

Smith, Conrad, 18.

Joseph Conrad. Geography and Some Explorers. London: Strangeways and Sons, 1924.

First edition. Limited to thirty numbered and signed copies, this being number 27. Signed and numbered by Conrad boldly in ink on the limitation page. Octavo. Forty pages.

Original printed wrappers. Very minor creasing to the bottom edge of the front wrapper. In original glassine dust jacket. In custom chemise and slipcase with calf backstrip and gilt lettering to spine. A stunning copy of this Conrad rarity in near fine condition.

"'Geography and Some Explorers' appeared as an introduction to a serial publication called Countries of the World in February 1924 and was titled 'The Romance of Travel.' It also appeared in National Geographic Magazine in March 1924 under its present title. The essay was privately printed for Conrad by Strangeways and Sons in an edition of 30 copies numbered and signed by Conrad in January 1924" (Smith).

Walter E. Smith, Joseph Conrad, 104.

Joseph Conrad. Notes On My Books. Garden City, New York: Doubleday, Page & Company, 1921.

Number 168 of 250 limited edition copies hand-numbered and signed by Conrad. Octavo. 178 pages.

Publisher's cream parchment boards with blue and gilt titles and decoration on cover, gilt lettering on spine. All edges uncut. Largely un-opened. In original double-layer dust jacket. Housed in a custom quarter leather slipcase and chemise. Minimal wear to the board edges. Interior glassine lightly age-toned, blue printed exterior jacket with minimal edge wear and a few spots of thumb-soiling. Tiny closed tear at one corner. Near fine condition.

Joseph Conrad. An Outcast of the Islands. London: T. Fisher Unwin, 1896.

First edition of the author's second novel, first issue, with the following typographical errors: "this" for "their" on page 26, line 31 (four lines up); "absolution" for "ablution" on page 110, line 12; "9" missing in the page number at the foot of page; and "hate" for "fate" on page 356, line 26 (nine lines up). Octavo (7.875 x 5.25 inches; 200 x 134 mm.). [8], 391, [1, printer's imprint] pages. Title-page printed in red and black.

Publisher's dark bluish-green vertically-ribbed cloth. Spine lettered in gilt within single-rule gilt borders at the top and bottom. Top edge gilt, others uncut. Corners bumped; a couple of small dings to the board edges; a few small areas of slight discoloration to the cloth on front cover; cloth blistering on the spine and rear cover; two tiny nicks to the cloth on the spine and a couple of tiny chips to the head of the spine. Front hinge starting, but sound. Short one-eighth of an inch nick to top of rear hinge. Endpapers slightly browned in the gutter. Paper very slightly browned at the fore-edge, with a few tiny chips and tears, most noticeable in gather 18, where there is a half-inch tear to the fore-edge of pages 263/264. Occasional minor thumb-soiling. A very good copy. Protected in a gray cloth chemise and slightly worn quarter blue gray morocco over marbled board slipcase, with the spine paneled and lettered in gilt with five gilt-dotted raised bands.

An Outcast of the Islands was published on March 4, 1896, in an edition of 3,000 copies. However, Mr. MacKay (in "The Bibliography of Joseph Conrad," in Bookman's Journal, 3rd series, V. 15, No. 3: 163-4, '27) states that, as with Almayer's Folly, 1,000 copies of An Outcast of the Islands were printed for the domestic market and 250 for the Colonial. See Smith.

Smith, Conrad, 2.

Joseph Conrad. The Rescue. A Romance of the Shallows. London: J. M. Dent & Sons Ltd., 1920.

First English published edition. Revisions not found in the first (unpublished) printing are incorporated into this text. Publication date: June 24, 1920. Octavo (7.625 x 5.125 inches; 193 x 131 mm.). 416 pages. Printer's imprint at the foot of page 416: "The Temple Press Letchworth England."

Publisher's dark green calico-texture cloth. Front cover with a thin single blind rule border and publisher's device stamped in blind in the center. Spine lettered in gilt. Head of spine very slightly bumped, top edge lightly dust-soiled. Three tiny nicks at the fore-edge of leaves D8 (pages 63/64), G1 (pages 97/98), and M8 (pages 191/192); leaves B2 and B3 (pages 19/20 and 21/22), X6 and X7 (pages 331/332 and 333/334), and Y2 and Y3 (pages 339/340 and 341/341) are still partially unopened at the fore-edge, and P6 and P7 (pages [235]/[236] and 237/238) are still attached at the tip of the lower corner. Tiny (glue?) stain at the upper blank corner of page 12. A few stray traces of printer's ink in the margins. An exceptionally clean and bright copy. In the original color pictorial dust jacket. The jacket has only very slight browning and minimal wear at the top edge, otherwise it is absolutely fine. Chemised in a quarter dark green book-backed slipcase with the spine ruled and lettered in gilt and with five raised bands.

"The Rescue was published on May 21, 1920, in an edition of 25,000 copies" (Smith). "The Rescue was privately printed and distributed to reviewers on June 4, 1920, in an edition of 40 copies" (Smith). "The Rescue was published on June 24, 1920, in an edition of 23,750 copies" (Smith).

"Throughout this edition control numbers within parentheses are reproduced at the foot of certain pages; these numbers were used by the pressman as a guide for printing. Such numbers did not appear in the first English edition" (Smith).

"This first English published edition is printed from the same type-setting as the first English edition and therefore may be considered another impression (revised of the first English or a second issue)" (Smith, page 81).

Smith, Conrad, 23.

Joseph Conrad. Three Books, including: Some Reminiscences. London: Eveleigh Nash, 1912. First edition. Octavo. 236 pages. Publisher's blue cloth with diaper grain. Blind double-ruling on front and rear with gilt titles on front and gilt ruling and title on spine. An uncommonly fresh, bright copy housed in a custom chemise and slipcase. An absolutely fine copy. [and:] The Shadow-Line. A Confession. London: J. M. Dent, [March 1917]. First edition. 227 pages. Publisher's light green cloth with ruling, decoration, and titles in brown on front and spine, and gilt titles on spine. Top edge stained green. Housed in a custom chemise and slipcase. A stunningly fresh copy in fine condition. [and:] The Dover Patrol. A Tribute. Canterbury: H. J. Goulden, 1922. First edition, one of 75 copies printed. Fourteen pages. Publisher's soft blue printed wrappers with sewn binding. Minor toning to edges of covers. Housed in a custom chemise and slipcase. A fine copy.

Walter Smith, Joseph Conrad, Page 48, 67, 105.

Two Limited Joseph Conrad Items, including: Joseph Conrad. Travel. A Preface to Into the East: Notes on Burma and Malaya by Richard Curle. N.p., 1922. First edition. Limited to twenty copies. Signed and dated (1922) by Conrad. Octavo. xxi pages. Printed blue wrappers. Fine. [and:] Richard Curle. Joseph Conrad in the East. N.p., 1922. First edition. Limited to twenty-one copies, this one signed by Curle on the front wrapper. Quarto. Five double-columned pages. Printed wrappers. Some slight toning to the pages. Near fine. In custom chemise and slipcase with gilt lettering to polished morocco backstrip.

These little pamphlets came out before the 1923 first edition of Curle's Into the East. Conrad's Travel was privately printed by R. and R. Clark for Richard Curle in December 1922.

Walter E. Smith, Joseph Conrad, 105.

Joseph Conrad. 'Twixt Land & Sea. Tales. A Smile of Fortune. The Secret Sharer. Freya of the Seven Isles. London: J. M. Dent & Sons Ltd., 1912.

First edition. Octavo (7.25 x 4.875 inches; 185 x 123 mm.). vii, [1, blank], 264 pages. Title-page printed in red and black. Printer's imprint at the foot of page 264: "The Temple Press, Printers, Letchworth."

Publisher's original olive vertically-ribbed cloth. Front cover with a single blind rule border and black lettering within a black columnar frame design, spine lettered in gilt within a similar gilt columnar frame design. Top edge stained green. Over-opened at the foot at gathering I (between pages 128 and 129). Faint marginal smudge on page 101. Otherwise a very fine copy, with the binding absolutely clean and bright. Neat pencil annotation at the head of the rear free endpaper: "3/15/13." In the scarce original heavy brown paper dust jacket printed in dark blue green. The jacket shows a little bit of wear at the edges, with a few tiny chips at the head of the spine, one minuscule chip at the foot of the spine, and a little bit of rubbing to the spine/front panel fold. Chemised in a quarter red morocco book-backed slipcase with the spine ruled and lettered in gilt with five raised bands.

Bookseller's description affixed to the front flap of the dust jacket: "This is the earliest issue with the misprint on the front cover, where the word 'Seven' has been superimposed on the misprinted word 'Secret.' Only a few copies were issued with this correction. The few thus in error originally entitled 'Frey of the Secret Isles' being altered before circulation to the correct title 'Freya of the Seven Isles.' Quite a rarity."

The front cover exists in three variants. In the first, the last line on the front cover contains the word "SECRET" instead of "SEVEN" for the tale "Freya of the Seven Isles." The stamp was incorrectly made and the error caught almost immediately, although about twenty copies went into circulation. In the second binding, the word "SECRET" has been clearly erased and the word "SEVEN" stamped over it. In the third binding, the word "SECRET" is correctly stamped. The binding on this copy is the second variant, with "SECRET" erased and "SEVEN" stamped over it.

'Twixt Land and Sea was published on October 14, 1912, in an edition of 3,500 copies. "A Smile of Fortune" was first published in The London Magazine, February 1911; "The Secret Sharer" first appeared in the August and September 1910 issues of Harper's Magazine; and "Freya of the Seven Isles" was printed in America in The Metropolitan Magazine for April 1912, and later in the July 1912 issue of The London Magazine.

Smith, Conrad, 17.

Joseph Conrad. Typhoon. Illustrated by Maurice Greiffenhagen. New York and London: G. P. Putnam's Sons, The Knickerbocker Press, 1902.

First edition. Octavo (7.125 x 4.8125 inches; 181 x 122 mm.). [2, blank], v, [1, blank], 205, [1, blank], [4, publisher's advertisements] pages. Six inserted plates, including frontispiece, with tissue guard.

Publisher's dark green cloth with front cover pictorially stamped in dark green, gray, and orange and lettered in orange and spine ruled and lettered in orange. Very slightly skewed; extremities lightly rubbed; a few tiny splits at spine ends; hinges cracked, but holding; top edge slightly dust soiled. Text slightly browned; occasional minor marginal soiling; over-opened at gathering 7 (between pages 96 and 97); faint dampstain to the upper gutter of the plate facing page 148. Bookseller's ticket on the rear pastedown. A very good copy. Chemised in a quarter red morocco book-backed slipcase with the spine lettered in gilt and with five raised bands.

Laid in is an Autograph Letter Signed by Joseph Conrad to Mr. [T. Fisher] Unwin, dated "3d April 95." Three twelvemo pages (7.0625 x 4 inches; 179 x 114 mm.) on one folded leaf. The paper is a little browned at the edges, and there is one vertical and one horizontal crease. "17 Gillingham St. / S. W. / Dear Mr Unwin / Thanks for your / note informing me of the / arrangement / I have received 4 copies / you have been good / enough to send me / in advance. All but / one are out of the / country. - / The universal clamour / is not for gifts. The / enthusiastic persons / want to buy the book. / BUY! My dear Sir. They / have had their mo= / ney in their hands / on the first of march / then on the 18th. And / now they are gone into convents, or be= / came hermits, or / committed suicide / from despair at / repeated disappointe= / ments. This - from / the point of view / of the Publisher (and / the Author's too) is very / deplorable. Don't / you think so? / I am afraid / brother Jonathan won't / be ready for another / month. Well, Even / a very long lane has a turning - somewhere. / I am dear Sir / Yours very faithfully / J. Conrad."

This letter, in which Conrad refers to Almayer's Folly, is published on page 15 (identified as "Text TS copy Bodley; Unpublished") of The Collected Letters of Joseph Conrad. Volume 9: Uncollected Letters, 1892-1923, from a "transcription made by Hodgson & Co. of an original letter signed (unlocated), sold by them 6-8 June 1928." (All of the letters to Unwin identified in this volume as "TS copy Bodley" have this provenance.)

"Thomas Fisher Unwin (1898-1935), head of the publishing firm founded in 1882, brought out Almayer's Folly, An Outcast of the Islands, and Tales of Unrest at the beginning of Conrad's career, The Arrow of Gold and The Rover towards its end, and Tales of Hearsay posthumously. Neither his business practices nor his adherence to the Liberal party endeared him to Conrad, and after a difference with Unwin over terms in 1896, Conrad went to W. H. Heinemann" (page 15, note 2). "'Brother Jonathan' is 'the generic name for people of the United States' (OED), derived from a post-Revolutionary ideal of egalitarianism; hence, Conrad's allusion is to the American edition of Almayer's Folly, to be published on 3 May by Macmillan" (page 15, note 4).

"Typhoon was published on or about September 1902, in an edition presumably of 3,000 copies. The publisher's records indicate, in a July 8 entry, that the publication date was scheduled for September 1. Conrad was to receive a 10% royalty on the first 3,000 copies and 15% after 3,000. Typhoon sold for $1.00 per copy and the records indicate that Conrad was not paid more than $300.00 in total. Thus, my presumption of 3,000 for this first edition" (Smith).

"The story was first printed in The Pall Mall Magazine, January-March 1902, with Maurice Greiffenhagen's illustrations" (Smith).

Smith, Conrad, 7.

Joseph Conrad. Victory. An Island Tale. Garden City, New York: Doubleday, Page & Company, 1915.

First edition in book form, first printing. Octavo (7.375 x 5 inches; 187 x 127 mm.). [6], 462, [1, printer's imprint and device], [3, blank] pages. Printer's imprint on page [463]: "The Country Life Press, Garden City, N.Y."

Publisher's dark blue linen-grain cloth with front cover stamped in gilt and spine ruled and lettered in gilt. Color map on the front endpapers. Head of spine lightly bumped. Pencil notation at head of rear free endpaper: "This is the real 1st edition-out 3/26/15 / published prior to the English ed. / CSC." Preceded by the notation "Mto [?] / 5/15/15." A very fine copy. In the original scarce dark gray paper dust jacket printed in dark blue and gilt. The jacket is lightly browned at the edges, the spine has faded to green, and there is minimal edgewear, mainly at the spine ends, with one tiny chip at the foot of the spine. Chemised in a quarter dark brown cloth book-backed slipcase with spine ruled and lettered in gilt and with five raised bands.

"Victory was published on March 26, 1915, in an edition of 10,000 copies" (Smith). The first English edition, published by Methuen, was published on September 24, 1915, in a first impression of 8,000 copies, including those for the Canadian and Colonial markets. "This novel first appeared in Munsey's Magazine, New York, February 1915, pages 112-240. It was also printed in the London Star from August through November 9, 1915" (Smith).

Smith, Conrad, 20 (pages 62-64).

Joseph Conrad. Within the Tides. Tales. London: J. M. Dent & Sons, 1915.

First edition. Small octavo (7.25 x 4.8125 inches; 184 x 123 mm.). [8], 280 pages. Title-page printed in red and black.

Publisher's light olive green bold vertically-ribbed cloth. Front cover stamped in blind with the publisher's device within a single blind rule border, spine ruled and lettered in gilt within a columnar design. Top edge stained green (the stain from the top edge has just entered the upper margin on a few leaves). An immaculate copy, with only a tiny bit of rubbing to the foot of the spine and a tiny blister to the cloth on the rear cover near the outer edge. In the original gray paper dust jacket printed in dark blue and red. The jacket has light edgewear at the top edge, a half-inch tear to the front panel, just entering the image, the spine and edges very slightly darkened. The endpapers are very slightly browned from the dust jacket flaps. Chemised in a quarter dark green morocco book-backed slipcase with the spine ruled and lettered in gilt with five raised bands.

"Within the Tides was published on February 24, 1915, in an edition of 3,500 copies" (Smith).

Smith, Conrad, 19.

Joseph Conrad. Youth: A Narrative and Two Other Stories. Edinburgh and London: William Blackwood and Sons, 1902.

First English edition in book form. Octavo (7.375 x 5 inches; 188 x 127 mm.). [8], 375, [1, blank] pages plus 32 pages publisher's catalog, dated "11/02" at the foot of page 32.

Original pale green linen-grain cloth decoratively stamped and lettered in black on the front cover and decoratively stamped in black and lettered in gilt on the spine. Minimal rubbing to corners and spine extremities, top edge very slightly dust soiled. Leaves H5 and H6 (pages 121/122 and 123/124) and H7 and H8 (pages 125/126 and 127/128) are unopened at the upper fore-edge. Over-opened at gathering O (between pages 208 and 209). Two tiny stains in the outer blank margin of page 165, tiny white adhesion in the upper blank margin of page 196. Otherwise a very fine copy, clean and fresh, with the gilt on the spine exceptionally bright. Neat pencil annotation on the rear pastedown: "Pd JNT 3/21/03." Chemised in a quarter dark green morocco book-backed slipcase with the spine ruled and lettered in gilt with five raised bands.

"Youth was published on November 13, 1902, in an edition of 3,150 copies" (Smith). These stories were published earlier in Blackwood's Magazine: "Youth" in September 1898; "Heart of Darkness" in February, March, and April 1899; and "The End of the Tether" from July through December 1902.

"Three stories including 'Heart of Darkness' from which Eliot took the epigraph 'Mistah Kurtz. He dead' for his 'Hollow Men'. This account of a superman running an ivory business in the heart of the Congo for a greedy sanctimonious Belgian company and brutalising himself and the natives in the process, is a masterpiece of sinister deterioration seen by a narrator who is himself profoundly altered by it. (Conrad was for a time captain of a Congo river steamer.) Kurtz is a Dorian Gray whose picture gets a little more frightening with every brush-stroke until in the final scenes everyone within reach - but one - is contaminated" (Connolly, The Modern Movement, 14).

Smith, Conrad, 8.

Charles Dickens. Bleak House. With Illustrations by H. K. Browne. London: Bradbury and Evans, 1853 i.e., March 1852-September 1853.

First edition, in the original monthly parts, twenty numbers in nineteen. Octavo (8.875 x 5.5625 inches; 226 x 143 mm.). xvi, 54, 59-624 pages. This set is lacking leaves E4 and E5 (pp. 55/56 and 57/58) in No. II. Forty etched plates by H. K. Browne ("Phiz"), including frontispiece and added vignette title. Some plates with the original tissue guards.

This set has most of the eighty-two advertisements and slips called for by Hatton and Cleaver, including the apology slip to follow the plate in No. IX ("An accident having happened to the Plate, it has been necessary to cancel one of the Illustrations to the present Number. It will be supplied in the next monthly Part") and the scarce "The Village Pastor" booklet (8 pp.) in No. XV. The "Bleak House Advertiser" is present and correct in each part except No. I, which lacks pages 1-2.

In addition, the following ads are lacking: No. I lacks the "W. Mott" (2 pp.) and "Norton's Camomile Pills" (4 pp.) ads at back; No. II lacks the "Household Words" slip to follow the plates; No. IV lacks the "Waterlow & Sons" (4 pp.) ads and the Marsland, Son, & Co.'s "Crochet Cotton" slip at back; No. VIII lacks the "Crochet Cotton" slip at back; No. X lacks the "New Sporting Newspaper" ad (one leaf, verso blank) at back; No. XII lacks the "Partridge and Cozens" (4 pp.) ads, the "Waterlow & Sons" (2 pp.) ads, and the "Crochet Cotton" slip at back; No. XIV lacks the "Household Words" slip to follow the plates, and "Ali Ahmed's Treasures of the Desert" (8 pp.), "New Geographical and Educational Works" (2 pp.), and the "Crotchet Cotton" slip at back, but has two copies of the "Waterlow & Sons" (2 pp.) ads; No. XV lacks the "Household Words" slip to follow the plates; and No. XVI lacks "Grace Aguilar's Works" (8 pp.) at back. No. I has Variant C of the "Waterlow & Sons" inset. In No. III the "Crotchet Cotton" (with 5-line heading, with "page 285, Nov. 22nd, 1851") slip is bound before the "Waterlow & Sons" inset.

In the original blue pictorial wrappers with advertisements on the inside front and inside and outside back wrappers. The set shows some soiling and wear, but no repairs. Part Nos. XIX/XX is coming apart, but is complete, except for the back wrapper, with has been supplied from a part No. XII. The back wrappers of several parts are detached, the front wrapper of No. VI has a small hole, affecting four letters on the recto and two letters on the verso, and a small hole in the lower blank corner, the front wrapper of No. XIV has a small hole in the lower blank margin. A few text leaves have been poorly opened. The plates are browned and foxed at the edges, and there is some offsetting, especially from the "Dark" plates, a few plates have marginal dampstaining and a few have short tears. Several front wrappers have early ink or pencil signatures, No. V has an early ink signature at head of title. Chemised in a full dark brown morocco pull-off case lettered in gilt on the spine. A very good set.

Charles Dickens. The Cricket on the Hearth. London: Bradbury and Evans, 1846.

First edition. Octavo. 174 pages.

Recased in modern half scarlet polished morocco over original red cloth boards. Raised bands with gilt lettering and designs to spine. Original gilt stamped lettering and fireplace vignette to top board. All edges gilt. New endpapers. Binding slightly cocked. Near fine.

Eckel, 119. Smith, II, 6.

Charles Dickens. Our Mutual Friend. London: W. Clowes and Sons, 1964-1965.

First edition. Twenty octavo parts in nineteen. 309 pages. Forty wood engravings of illustrations by Marcus Stone. Complete, collated as per Podeschi. Some sunning to the spines.

Original pale bluish green printed wrappers. The wrappers show moderate soiling and light chipping to edges. Inked name of previous owner on the front wrapper of parts six and thirteen. In custom solander box in half polished morocco with gilt lettering to spine. Some scuffing and wear to the box. Very good.

Podeschi, A149.

Charles Dickens. The Works of Charles Dickens. Boston: Dana Estes & Company, [n.d.].

New Century Edition. Limited to 1,000 numbered sets, of which this is number 396. Forty-eight octavo volumes. Profusely illustrated.

Publisher's yellow linen boards with paper labels on spines, lettered in black and red. Top edges gilt. Deckled edges. Minor shelf wear to most volumes, with scattered rubbing and abrading of the title plates. Some soiling and some bumped corners to some volumes. Volume 48 has noticeable rubbing to the boards. Overall, very good condition. An absolutely wonderful later collection of Dickens' works in a handsome, uniform set.

E. L. Doctorow. Two Signed First Editions, including: Welcome to Hard Times. New York: Simon and Schuster, 1960. First edition, first printing. Signed by Doctorow on the title page. Small octavo. 180 pages. Original cream cloth over orange paper boards, with lettering in black; top edge stained red. Spine has darkened. Pages toned, as usual. Front panel of dust jacket is rubbed; spine and back panel yellowed. Very good or better. [and:] Big As Life. New York: Simon and Schuster, 1966. First edition, first printing. Signed by Doctorow on the title page. Small octavo. 218 pages. Original full red cloth with gilt lettering; top edge stained red. Minor paper loss to front pastedown. Small crease to bottom edge of red panel of dust jacket. Fine.

Signed copies of Doctorow's first two books, including his scarce second book, Big As Life, a science fiction novel that has never been reprinted, per Doctorow's instructions.

Arthur Conan Doyle. The Adventures of Sherlock Holmes. London: George Newnes, 1892.

First edition, first issue, with misprint of "Violent Hunter" for "Violet Hunter" on page 317, line 23. Large octavo. 317 pages. Illustrated by Sidney Paget.

Publisher's first state binding with no name on the street sign in the front cover illustration. All edges gilt. Floral endpapers. Housed in a custom cloth clamshell box. Moderate wear, soiling, and rubbing to boards. Corners bumped. Spine lightly sunned. Tender hinges. Scattered minor foxing. Very good condition.

Green and Gibson A10a.

Arthur Conan Doyle, Bram Stoker, et al. The Fate of Fenella. New York: Cassell Publishing Company, [1892].

First American edition. Signed "Vincent Starrett" on the flyleaf. Octavo. 319 pages. Numerous black-and-white illustrations.

Publisher's yellow cloth with black titles and a diagonal paper inset depicting a newspaper article on the front cover. Housed in a custom quarter leather slipcase and chemise. Minor wear to the spine ends and corners. Very minor soiling to the boards. Text edges somewhat dust-soiled. A bright, tight, and sound copy in near fine condition.

Contains Doyle's "Between Two Fires" on pp. 41-50.

"The Fate of Fenella was the brain child of J. S. Wood, the editor and proprietor of the Gentlewoman. Each author wrote a chapter and passed it on to the next, so there was no collaboration in the usual sense" (Green and Gibson, A Bibliography of A. Conan Doyle, p. 346).

Vincent Starrett (1886-1974) was an author, book collector, bibliographer, and journalist based in Chicago. In addition to writing a regular column on the book world called "Books Alive" for The Chicago Tribune, he also wrote pulp fiction, mystery stories, and pastiches of and essays on Arthur Conan Doyle's famous super-sleuth, Sherlock Holmes. In fact, Starrett was a founding member of the Baker Street Irregulars and co-founder of the group's Chicago chapter, and he continues to be acknowledged as a preeminent Sherlock Holmes scholar. His works of Sherlockiana include 221B: Studies in Sherlock Holmes and, most notably, The Private Life of Sherlock Holmes, first published in 1933 and still an absolutely essential work for any serious student of the Sherlock Holmes canon.

Green and Gibson C1c.

Arthur Conan Doyle. The Great Shadow. Bristol: J. W. Arrowsmith and London: Simpkin, Marshall, Hamilton, Kent and Co., 1892.

First English edition, second issue. Vincent Starrett's ownership signature on the preliminary page with the publisher's device. Twelvemo. 184 pages plus twenty-eight pages of ads.

Publisher's dark brown diagonally-ribbed cloth with black and gilt titles. Front cover ruled in black; rear cover in blind. Housed in a custom quarter leather slipcase and chemise. Somewhat worn along the edges and spine folds. Corners bumped. Slightly cocked. Hinges starting. Internal contents clean. Very good condition.

The pencil notation on the rear pastedown reading "First edn very rare indeed" may be in Starrett's hand.

"The Great Shadow was written between April and June 1892. It was the first of the author's novels to deal with the Napoleonic period, and contains a memorable description of the Battle of Waterloo, so convincing that guides of the battlefield were known to quote it" (Green and Gibson, A Bibliography of A. Conan Doyle, p. 65).

Green and Gibson A11a.ii.

Arthur Conan Doyle. The Green Flag and Other Stories of War and Sport. London: Smith, Elder & Co., 1900.

First English edition. Octavo. 348 pages plus four pages of ads.

Publisher's red cloth lettered in black and gilt. Housed in a custom quarter leather slipcase and chemise. Moderate wear to extremities. Bumped corners. Minor soiling and abrading to the cloth. Spine darkened. Binding cracked at page 208 and a few points beyond. Rear hinge starting. All in all, a very good copy.

Green and Gibson A 25a.

Arthur Conan Doyle. The Gully of Bluemansdyke, and Other Stories. London: Walter Scott, Limited, [n.d., 1892].

First English edition, second issue. Signed and dated 1930 by Vincent Starrett on the half-title page just under another previous owner's signature. Twelvemo. 249 pages plus six pages of ads.

Publisher's wrappers. Housed in a custom quarter leather slipcase and chemise. Front cover halfway detached, dusty, and edge-worn. Spine partially perished, but title can still be read in full. Textblock edges dusty and toned. Internal contents clean. A very good copy despite the usual flaws of these "shilling thrillers."

The first issue of the first English edition was titled Mysteries and Adventures.

Green and Gibson A4b.

Arthur Conan Doyle. The Hound of the Baskervilles. London: George Newnes, 1902.

First edition. Small octavo. 369 pages. Sixteen tipped-in plates (including illustrated frontispiece) by Sidney Paget.

Publisher's scarlet cloth with gilt lettering and gilt and black decorations. Front and rear boards are bright; spine is slightly faded, with mildly dulled gilt. One plate is partially detached. Light foxing to endpapers. Front free endpaper has both an armorial bookplate as well as an embossed seal of a London bookseller. A very attractive copy in near fine condition.

The Hound of the Baskervilles "was based on an idea given to [Doyle] by Bertram Fletcher Robinson, who was a nephew of Sir John Robinson and a correspondent for the Daily Express during the Boer War. The two men struck up a friendship when travelling back on the same ship from Cape Town. They spent four days together on a golfing holiday at Cromer in March 1901, and it was then that Robinson mentioned the legend (possibly of the Black Hound of Hergest associated with the Vaughan family of Hergest Court in Herefordshire). Doyle told his mother: 'Fletcher Robinson came here with me and we are going to do a small book together The Hound of the Baskervilles - a real creeper.' [...] The serial publication was an unprecedented success. It was the only occasion in the magazine's history that a seventh printing was needed to meet the demand, and the queues at the publisher's offices and throughout the country were extraordinary" (Green and Gibson, A Bibliography of A. Conan Doyle, A26a).

Arthur Conan Doyle. The Lost World. Being an account of the recent amazing adventures of Professor George E. Challenger, Lord John Roxton, Professor Summerlee, and Mr. E. D. Malone of the "Daily Gazette." London/New York/Toronto: Hodder and Stoughton, [1912].

First edition. Octavo. [i-v] vi-vii, [viii], 9-319 pages. Illustrated with eight plates.

Original blue cloth, front panel lettered in white with vignette stamped in gold, spine panel stamped in gold. Modest scuffing to boards with toning to the spine panel and wear at the spine ends and corners. Moderate foxing scattered throughout, most noticeably on the preliminary and terminal pages and fore-edge, still a good copy of the first in the Professor Challenger series.

Arthur Conan Doyle. The Mystery of Cloomber. London: Ward & Downey, Ltd., 1896.

Second edition. Signed by Vincent Starrett on the half-title page, with his bookplate affixed to the front pastedown and a short bibliographic notation by him written in pencil on the rear pastedown and signed "VS." Octavo. 151 pages plus fifteen-pages of publisher's ads.

Publisher's red blind-tooled floral cloth with gilt spine titles. Housed in a custom quarter leather slipcase and chemise. Moderate shelf wear. Spine sunned. Hinges starting. Spine cracked at p. 82. The thick stock of the pages are toned and somewhat acidified, but still strong. Previous owner's signature on the front free endpaper along with a Southsea retail stamp. All in all, a one-of-a-kind Starrett association copy in about very good condition.

"The Mystery of Cloomber was written between April and July 1888 [...] The subject owed a lot to the sensational literature of the time, especially to Wilkie Collins, though it also reflects some of the author's interests at Southsea" (Green and Gibson, A Bibliography of A. Conan Doyle, p. 14).

Arthur Conan Doyle. The Parasite. A Story. New York: Harper and Brothers Publishers, 1895.

First American edition. Signed by Vincent Starrett on the flyleaf. Octavo. 143 pages plus eight pages of ads. Illustrated by Howard Pyle.

Publisher's gray cloth with bright gilt titles and ornaments. Housed in a custom quarter leather slipcase and chemise. Minor shelf wear. Spine slightly cocked. Unobtrusive pencil notations on the rear pastedown, most likely by Starrett. A near fine copy of Doyle from the library of Vincent Starrett, one of the greatest Sherlockians of his or any time.

Green and Gibson A17b.

Arthur Conan Doyle. The Poison Belt. Being an account of another adventure of Prof. George E. Challenger, Lord John Roxton, Prof. Summerlee, and Mr. E. D. Malone, the discoverers of "The Lost World." Toronto: Hodder and Stoughton Limited, 1913.

First Canadian edition printed in England from the same plates as the first edition. Octavo. 199 pages. With sixteen illustrations by Harry Roundtree.

Publisher's blue ribbed cloth with black lettering and stamped design of Challenger and woman on front board. Gilt lettering and black stamped design to spine. A bright copy, with only trivial shelf wear and in near fine condition.

It is thought that only a thousand copies of the Canadian edition were printed making this a far scarcer edition than the first English edition. The second of five in the Challenger series by Doyle.

Arthur Conan Doyle. The Return of Sherlock Holmes. London: George Newnes, Ltd., 1905.

First English edition. Octavo. [viii], [1]-403, [1, colophon], [4, advertisements] pages. With frontispiece and fifteen other illustrations by Sidney Paget inserted.

Original blue cloth, gilt-lettered front board and spine. Modest rubbing to spine extremities, bookplate from the Errett W. McDiarmid Sherlock Holmes Collection on the front pastedown. A very good copy of the third collection of Sherlock Holmes stories.

The stories are: "The Adventure of the Empty House," "The Adventure of the Norwood Builder," "The Adventure of the Dancing Men," "The Adventure of the Solitary Cyclist," "The Adventure of the Priory School," "The Adventure of Black Peter," "The Adventure of Charles August Milverton," "The Adventure of the Six Napoleons," "The Adventure of the Three Students," "The Adventure of the Golden Pince-Nez," "The Adventure of the Missing Three-Quarter," "The Adventure of the Abbey Grange," and "The Adventure of the Second Stain."

Arthur Conan Doyle. "The Sign of Four; or The Problem of the Sholtos" in Lippincott's Monthly Magazine. Philadelphia: J. B. Lippincott Company, 1890.

First edition in America. Octavo. Bound Volume XLV, January to June, 1890, story contained on pages 145-223 of the February, 1890 issue. One illustration used as frontispiece.

Half brown leather over maroon buckram with titles stamped in gilt on the spine. Trivial shelf wear to the corners, slight foxing to fore edges, else a solid copy in near fine condition.

This is the first appearance of the second Sherlock Holmes story in America. In the summer of 1889, Lippincott's agent met Doyle and Oscar Wilde at a dinner at the Langham Hotel and contracted with each for their next novels. Wilde's was The Picture of Dorian Gray, published in July, 1890. Doyle's "The Sign of Four". The first English edition was issued later in 1890, and an American piracy was issued in 1891.

Arthur Conan Doyle. The Stark Munro Letters. Being a Series of Sixteen Letters Written by J. Stark Munro, M. B., to His Friend and Former Fellow-Student, Herbert Swanborough, of Lowell, Massachusetts, During the Years 1881-1884. London: Longmans, Green, and Co., 1895.

First English edition. With Vincent Starrett's signature on the half-title page. Octavo. 346 pages plus publisher's catalog. Engraved frontispiece.

Publisher's dark green cloth over beveled boards with gilt titles. Housed in a custom quarter leather slipcase and chemise. Moderate shelf wear to the boards. Some bubbling and abrading to the cloth. Corners bumped. Minimal scattered foxing, mostly along the text edges. Very good condition.

"In a letter to Captain Stansbury on 10 July 1913, Conan Doyle drew his attention to this book, describing it as 'the evolution of a young medico, based largely, on the subjective side, on my own experience and feelings" (Green and Gibson, A Bibliography of A. Conan Doyle, p. 89).

Green and Gibson A18.

Arthur Conan Doyle. Through the Magic Door. London: Smith, Elder & Co., 1907.

First English edition. Signed by Vincent Starrett on the half-title page. Octavo. 274 pages plus six pages of ads. Portrait frontispiece plus fifteen black-and-white plates.

Publisher's red cloth with gilt title and decorations. Housed in a custom quarter leather slipcase and chemise. Minor wear and dust-soiling to the boards. Corners bumped. Toning to front free endpaper, most likely from an insert, no longer present. Bookplate removed from front pastedown. A near fine copy of a wonderful collection Doyle wrote "to address the young man of from 17 to 22 who was asking for some guidance in literary matters."

Green and Gibson B7a.

The Sherlock Holmes Journal. London: The Sherlock Holmes Society of London. A complete run of all issues from Vol. 1 No. 1, May 1952 through Vol. 26 No. 3, Winter 2003. Also includes supplements issued by the Society, including: Pictorial Supplement to The Sherlock Holmes Journal, Vol. 8 No. 4. Tour of Switzerland in the Footsteps of Sherlock Holmes, 27th April to 5th May, 1968. [and:] A Study in Scarlet Centenary Special 1887-1987. [and:] 'Back to Baker Street' Supplement: A Souvenir of the London Festival of Sherlock Holmes: 20-30 May 1994. [and:] Two single-fold leaflets advertising the society, dates unknown. Issues Vol. 3 and beyond are housed in dark blue binders. All items in very good or better condition.

Lancelot du Lac. Le Premier Volume (le Second volume, le tiers volume) de Lancelot du Lac nouvellemet imprime a Paris. Paris: Philippe le Noir libraire, 1533.

Three folio volumes in one (8.125 x 12 inches; 206 x 305 mm). [1, title], [7, table], [329, text], [1, colophon]; [1, title], [6, table], [1, blank], [260, text]; [1, title], [7, table], [322, text], [1, colophon], [1, blank] pages. Illustrated with three engraved title pages, two woodcuts, and numerous pictorial initials.

Period-style full vellum with black lettering on the spine. This copy contains a laid-in note from Duttons Park Avenue, New York, which states, "On this binding of LAUNCELOT DU LAC which has just been executed, there is not a scrap of material used which is less than three hundred years old. June 20, 1938." All edges dyed light red. A very good, clean and bright copy.

Worldcat records three copies of the Philippe le Noir edition, located in the Newbury Library, the University of Illinois, and Cambridge University. Of these three copies, only two are complete.

"The prose Lancelot was frequently printed; J. C. Brunet chronicles editions of 1488, 1494, 1513, 1520 and 1533 -- of this last date there are two, one published by Jehan Petit, the other by Philippe Lenoire, this last by far the better, being printed from a much fuller manuscript" (Encyclopedia Britannica, 1911).

"One of two issues printed in 1533, with the name Philippe le Noir in the colophon of the third part. The three titles are in woodcut borders, at the foot of which is a shield bearing the initials 'I. P.,' Jean Petit, whose woodcut device is on the recto of the last leaf (verso blank). On the verso of Aiv of the first volume is a large woodcut of Lancelot receiving his sword from King Arthur, and on the verso of the last leaf [of volume one], ddiii, is Philippe le Noir's device" (A Catalogue of Books Printed in Foreign Languages Before the Year 1600, Volume II. Hoe & Shipman, 12).

"Lancelot, one of the heroes of Arthurian legend, apparently first mentioned in Chrétien de Troye's Erec, then in his Cligés and Chevalier á la charrette (where he is the hero and the lover of Guinevere). He figures prominently in the vast 13th-c. prose cycle on the quest for the Holy Grail. In Lancelot du Lac (the central section of this cycle) he is carried off (after the death of his father, King Ban) and brought up by the Lady of the Lake, then sent to Arthur's court, where he falls in love with Guinevere. In the course of many adventures, he takes the castle of Dolorous Gard (renamed Joyus Gard after he rids it of enchantments). Here he is visited by Arthur and Guinevere, and the story of his love for her continues (with hostile intervention from Margain la Fée). He also visits the Grail castle, where under a spell, he takes the daughter of its king for Guinevere and fathers Galaad (Galahad). His story is resumed in the last branches of the cycle. He is debarred by his sins from the quest for the Grail, and is smitten with remorse" (The Concise Oxford Dictionary of French Literature, 333).

Brunet 807.

Ralph Waldo Emerson. Complete Published Works and Journals Bound with Manuscript Page. The Complete Works of Ralph Waldo Emerson. Cambridge: Riverside Press, 1903-04. [and:] Journals. Cambridge: Riverside Press, 1909.

Autograph Centenary Edition limited to 600 sets of which this is number 57. Original manuscript leaf in Emerson's hand tipped in to Volume I of Works. The handwritten narrative expresses Emerson's feelings about the teachings of the theologian Emanuel Swedenborg, particularly with regard to the resurrection. Twelve octavo volumes of the Works; ten octavo volumes of the Journals.

Uniform half morocco over marbled boards. Raised bands. Gilt designs and lettering to spines. Top edges gilt. Marbled endpapers. Spines modestly faded. Page edges mildly toned. A near fine set.

Ralph Waldo Emerson. The Works of Ralph Waldo Emerson. Boston: Houghton, Mifflin and Company, [1894].

Standard Library Edition. Fourteen octavo volumes. Frontispieces. Indices. The first appearance of the collected works using the Riverside Edition plates to include the two volumes (here Volumes XIII and XIV) of Cabot's A Memoir of Ralph Waldo Emerson.

Contemporary half morocco over marbled boards. Raised bands. Gilt lettering to spines. Top edges gilt. Sunning to spines. Some spotting to fore-edges. Half-inch closed tear to upper portion of backstrip to Volume XI. Very good.

William Faulkner. Three Books, including: Requiem for a Nun. New York: Random House, [1951]. First edition. Octavo. 286 pages. Publisher's quarter black cloth with green cloth boards and gilt spine titles. Minor fading along top edge and slight lean to spine. Toning to endpapers and page edges. Dust jacket is modestly rubbed with a hint of fading along spine. [and:] A Fable. New York: Random House, [1954]. First edition. Octavo. 437 pages. Publisher's burgundy cloth. [and:] The Town. New York: Random House, [1957]. First edition, first issue. Review copy with slip laid in. Publisher's red cloth with top edge stained gray. Dust jacket priced $3.95 and has "5/57" on bottom of front flap. Threaded gray endpapers. All volumes in this lot in very good or better condition.

William Faulkner. Three Books, including: The Wild Palms. New York: Random House, [1939]. First edition. Octavo. 339 pages. Publisher's tan cloth with light rubbing to head of spine. Dust jacket is toned with light edge wear. [and:] Intruder in the Dust. New York: Random House, [1948]. First edition. Octavo. 247 pages. Publisher's black cloth with stamping in blue and gilt. Softly bumped on lower front corner, otherwise a remarkably fresh copy in dust jacket. [and:] Knight's Gambit. New York: Random House, [1949]. First edition. Octavo. 246 pages. Publisher's red cloth with stamping in black and gilt. Softly bumped on corners with a spot of soiling on bottom page edge. Dust jacket is mildly sunned on spine. All volumes in this lot in very good or better condition.

Robert Frost. A Boy's Will. New York: Henry Holt, 1915.

First American edition, first issue ("aind" for "and" on page 14). Octavo. Sixty-three pages.

Publisher's fine blue linen with gilt ruling and titles. Lightly rubbed extremities with head of spine beginning to fray a bit. Moderate fading along edges. Top edge dusty. Endpapers and pages lightly toned. Glassine dust jacket shows only modest rubbing and minor darkening along spine. Frost's first book, in a printing of 750 copies. A very good copy.

Robert Frost. West-Running Brook. New York: Henry Holt and Company, [1928].

First edition. Number 909 of 1,000 copies specially printed and bound, numbered and signed by the Frost on the limitation page. Octavo. Fifty-eight pages. Illustrated with four woodcuts, with tissue guards, each signed in pencil at the bottom by the artist, J. J. Lankes.

Quarter green buckram with gilt spine titles over decorative paper boards illustrated with autumn leaves. Top edge gilt. Other edges uncut. No slipcase. Minor wear to the spine ends, corners, and bottom edge. Previous owner's gift inscription on the front free endpaper. Overall, a very good copy of a rare, signed Frost collection.

Frost's fifth collection of poems, and the only book of Frost's to include signed woodcuts by Lankes, one of America's premier woodcut artists.

Nathaniel Hawthorne. The Blithedale Romance. Boston: Ticknor, Reed, and Fields, 1852.

First American edition. Octavo. [1]- 8 publisher's catalog, endpaper, flyleaf, [i]-viii, [9]-288 pages, flyleaf, endpaper.

Publisher's brown T-cloth, tooled in blind and lettered in gilt. Blanck's binding A with the September 1853 catalog inserted at the front (not at back as noted). Yellow endpapers. Flyleaves. Complete according to BAL. Wrapped in a custom brown cloth dust jacket. Housed in a custom quarter leather slipcase and chemise. Moderate wear and light soiling to the boards. Bumped corners. Spine lightly sunned. Wear at spine ends. A couple of signatures standing proud. Scattered minor foxing. Tobacco burn at p. 174-175. All in all, a very good copy of a Hawthorne classic.

BAL 7611.

Nathaniel Hawthorne. The Complete Works of Nathaniel Hawthorne, with Introductory Notes by George Parsons Lathrop and Illustrated with Etchings by Blum, Church, Dielman, Gifford, Shirlaw, and Turner, in Twelve Volumes. Cambridge: the Riverside Press, 1883.

Riverside Edition. Twelve octavo volumes. Limited to 250 sets, this being number 232. Frontispieces. Illustrations.

Recased in tan cloth over boards. Original paper title labels mounted to spines. Foxing to frontispieces and title pages. Hinge of Volume I cracked. Overall, a near fine set.

BAL notes of this limited edition that "a large paper edition, limited to 250 copies, has been reported but not seen." Some of these limited sets were issued with a thirteenth volume, Doctor Grimshawe's Secret, Hawthorne's unpublished novel which his son, Julian, had first printed in 1883; however, this bonus apparently extended to some of the original subscribers, is not present here.

BAL, 7643.

Nathaniel Hawthorne. The Scarlet Letter, A Romance. Boston: Ticknor, Reed, and Fields, 1850.

First edition, first issue. Octavo. [1]-4 publisher's catalog (dated March 1, 1850), flyleaf, [i]-iv, [1]-322 pages, blank, flyleaf, endpaper. No front free endpaper after the publisher's catalog.

Publisher's brown T-cloth, tooled in blind and lettered in gilt. Housed in a custom quarter leather drop-down box. Moderate wear and soiling to the boards and edges. Spine ends chipped. Corners bumped. Publisher's catalog rehinged. Binding shaken and almost detached after the front flyleaf, also cracked at page 80. Scattered minimal foxing, mostly at the endpapers. Text edges dusty. A few tiny dampstains within the text. Bookplate and bookseller's ticket on front pastedown. Two previous owners' signatures on front flyleaf. All in all, an about very good copy ripe for minor restoration.

BAL 7600. Grolier 100 American.

Ernest Hemingway. A Farewell To Arms. New York: Charles Scribner's Sons, 1929.

First edition, first state with "Katharine Barclay" misspelling on front inner flap, and without the legal disclaimer on page [x], as called for. Octavo. 355 pages.



Publisher's smooth black cloth with gold paper labels, lettered and ruled in black. Top and bottom edges trimmed; fore-edge untrimmed. Lightly rubbed extremities. Offsetting to front endpapers, probably due to a clipping being laid in at one time. Very mild toning throughout. Dust jacket is moderately soiled and rubbed with a minor amount of material lacking from corners. A very good copy, much better than typically offered.

Hanneman, p. 24.

Ernest Hemingway. The Fifth Column and the First Forty-Nine Stories. New York: Charles Scribner's Sons, 1938.

First edition. Octavo. 597 pages. Deckled fore-edge.

Publisher's red cloth lettered and ruled in gilt and black. In original dust jacket printed in red, white, and gold with the Ivens photograph on the rear panel. Housed in a custom quarter leather slipcase and chemise. Minimal wear to the boards. Lightly bumped corners. Top edge dusty. Very clean text. Minor edge, spine, and corner wear to the dust jacket, with a few miniscule closed tears. Small amount of rubbing to the panels. Overall, a bright copy in near fine condition.

"This volume comprises the contents of IOT [In Our Time], MWW [Men Without Women], and WTN [Winner Take Nothing], the first printing of the play The Fifth Column, and four previously uncollected stories" (Hanneman: Ernest Hemingway: A Comprehensive Bibliography, p. 46-47).

Hanneman 16A.

Ernest Hemingway. For Whom the Bell Tolls. New York: Charles Scribner's Sons, 1940.

First edition with Scribner's "A" on copyright page, in first issue dust jacket. Octavo. 471 pages.

Publisher's tan cloth with red and black stamping. In the first issue dust jacket. Endpapers and page edges mildly toned. First issue dust jacket has no photographer credit on the rear panel; with minimal wear at the spine ends and corners. Mild toning to the verso. A bright and clean first edition in near fine condition.

"Few events in Hemingway's professional career could have been more gratifying than the success of For Whom the Bell Tolls. J. Donald Adams, in the New York Times Book Review, claimed, 'This is the best book Ernest Hemingway has written, the fullest, the deepest, the truest. It will, I think, be one of the major novels in American literature.' In The New Yorker, Clifton Fadiman wrote, 'I do not much care whether or not this is a 'great' book. I feel that it is what Hemingway wanted it to be: a true book. It is written with only one prejudice - a prejudice in favor of the common human being.'"

Mellow, Hemingway: A Life Without Consequences, p. 521.

Ernest Hemingway. Green Hills of Africa. New York: Charles Scribner's Sons, 1935.

First edition. Octavo. 295 pages. Decorations by Edward Shenton.

Publisher's light green cloth with gilt titles. Spine titles inside black block. In original three-color dust jacket. Housed in a custom quarter leather slipcase and chemise. Spine of book and jacket lightly sunned. Minor edge wear, abrading, and dust-soiling to the dust jacket. Spine ends and corners rubbed. A solid copy in very good condition.

Hanneman 13a.

Ernest Hemingway. Men Without Women. New York: Charles Scribner's Sons, 1927.

First edition, first printing. Octavo. 232 pages.

Publisher's black cloth with gold paper labels on front board and spine, stamped in black. Housed in a custom quarter leather slipcase and chemise. Minimal soiling, edge wear and lightly rubbed corners. One miniscule split at the spine head; one tiny bump to the bottom edge. Minor rubbing and dust-soiling to the labels. Internal contents clean. A tight, square copy in near fine condition.

"There were fine and important stories among the fourteen collected in the volume [Men Without Women], some of them certified masterpieces: 'The Undefeated,' 'Hills Like White Elephants' and 'In Another Country'" (James R. Mellow: Hemingway: A Life Without Consequences, p. 353).

Hanneman 7A.

Ernest Hemingway. The Old Man and the Sea. New York: Charles Scribner's Sons, 1952.

First edition, in first state dust jacket with image on rear panel tinted in blue. Octavo. 140 pages.

Publisher's light blue cloth with blind-stamped front and silver spine titles. Lightly rubbed corners. Mild toning to endpapers and page edges. Dust jacket has light edge wear and toning with a few small tears along upper edge. A better than very good copy.

Hanneman, p. 63.

Ernest Hemingway. The Sun Also Rises. New York: Charles Scribner's Sons, 1926.

First edition, second issue, with "stoppped" corrected to "stopped" on p. 181. Octavo. 259 pages.

Publisher's black cloth with gold paper labels on front board and spine, stamped in black. Housed in a custom quarter leather slipcase and chemise. Moderate dust-soiling, edge wear, and bumped corners. Minor abrading and soiling to the labels. Spine slightly cocked. Internal contents clean. A very good, attractive copy of Hemingway's novel of the Lost Generation.

Hanneman 6A.

Ernest Hemingway. To Have and Have Not. New York: Charles Scribner's Sons, 1937.

First edition, with Scribner's "A" and seal on copyright page. Octavo. 262 pages.

Publisher's black cloth with gilt stamped front and spine stamped in gilt and green. Cloth has minor rubbing to extremities and some light soiling to lower corner of front board and upper of rear. Mild toning to endpapers and page edges. Dust jacket is lightly rubbed and edge-worn, with a few small, light chips at lower spine end. Toned on edges. A better than very good copy.

Ernest Hemingway. Winner Take Nothing. New York: Charles Scribner's Sons, 1933.

First edition, with Scribner's "A" and seal on copyright page. Octavo. 244 pages.

Publisher's black cloth with gold printed labels on front and spine. Cloth is only slightly rubbed with mild toning to endpapers and page edges. Dust jacket is lightly edge-worn with a few faint chips at top spine end. There is a quarter-inch split near the middle of the front joint and a few faint scratches to the front panel. A half-inch tear to the bottom edge of the front panel. Toning to edges, inner flaps, and verso. A very good copy.

James Hilton. Good-bye, Mr. Chips. Boston: Little, Brown, 1934.

First edition. Octavo. 125 pages.

Publisher's gold cloth with blue titles to front and spine. Light toning to endpapers. Dust jacket is lightly soiled and rubbed with toning along edges. Upper corner of rear inner flap is clipped. Overall, a crisp, near fine copy.

James Hilton. Lost Horizon. London: Macmillan & Co., Ltd., 1933.

First edition. Octavo. 281 pages plus two-page publisher's advertisement.

Publisher's green cloth with gilt spine titles. In original pictorial dust jacket. Housed in a custom quarter morocco clamshell box. Minor wear to the spine ends and corners. Small bump to the lower rear corner. Very faint smudging of boards. Light foxing of textblock edges. Minimal toning to the spine of the dust jacket. A beautiful copy in near fine condition, and surely one of the finest copies in the market.

This hugely successful novel about the fictional utopian land of Shangri-La was made into an equally successful film by Frank Capra. The book's theme so captured the public's imagination that even Franklin Roosevelt was inspired enough to name the presidential retreat in Maryland "Shangri-La" (it is now called Camp David).

James Hilton. Random Harvest. Boston: Little, Brown and Company, 1941.

First edition. Octavo. 326 pages.

Publisher's red- and gilt-stamped blue-gray cloth. Small area of faint soiling to top edge of pages, otherwise, the book is in absolutely pristine condition. Crisp and colorful dust jacket is only very lightly rubbed along top and bottom edges of front panel and has a tiny area of paper loss at head of flap fold. Housed in a blue gilt-stamped quarter leather book-backed slipcase with chemise. A beautiful copy in fine condition.

James Hilton's extremely popular novel about a shell-shocked amnesia victim was adapted into an equally popular film starring Ronald Colman and Greer Garson.

James Joyce. Ulysses. London: John Lane The Bodley Head, [1936].

First edition printed in England, one of 100 copies on Mould-made paper, bound in vellum, and signed by James Joyce. Large, thick quarto (10 x 7.5 inches; 254 x 190 mm). [xvi], 765, [1], [2, blank] pages. Binding and typography designed by Eric Gill.

Publisher's full vellum, large pictorial centerpiece (a Homeric bow) stamped in gilt, smooth spine lettered in gilt, top edge gilt, others uncut, many unopened. Housed in the publisher's decorative paper slipcase with printed paper label and manuscript "3." Some shelf wear to slipcase extremities and edges, and a very few subtle rust-colored stains to front board, else a fine copy.

A gorgeous copy of the Bodley Head Ulysses, considered to be the most handsome of all editions. In the volume are three appendices comprising protests, injunctions, Joyce's letter to his American publisher, Judge Woolsey's decision to lift the ban on Ulysses in the United States, and other related material, including a Joyce bibliography.

"Universally hailed as the most influential work of modern times" (Grolier, Joyce, 69), in 1998 Ulysses was named the most important novel of the twentieth century by the editorial board of the Modern Library.

Slocum and Cahoon A23.

James Joyce. Ulysses. Paris: Shakespeare and Company, 1922.

First edition. One of 750 numbered copies on handmade paper (this copy being No. 540), out of a total edition of 1,000 copies. Quarto (9.125 x 7.25 inches; 232 x 184 mm.). [8], 732, [1, colophon], [3, blank] pages (final blank leaf affixed to rear wrapper). "Printed for Sylvia Beach by Maurice Darantiere at Dijon, France" (colophon).

Bound in modern antique-style half marbled sheep, ruled in blind, over marbled paper over boards. Spine ruled in blind in six compartments with five gilt-decorated raised bands and two burgundy leather labels ruled and lettered in gilt, top edge marbled, others uncut, marbled endpapers. Front and rear covers of the original blue printed wrappers (without the flaps) have been bound in. Spine of custom leather binding is faded and rubbed, especially at extremities, the marbled paper blistered slightly on the covers. A few small stains to the front wrapper, some slight discoloration and a couple of scuff marks to the rear wrapper. Small faint blue stain on the lower edge. Text slightly browned, intermittent faint dampstain to the outer margin and to the rear wrapper and rear endpapers, some very occasional minor marginal soiling or staining. Pages 201/202 and 203/204 poorly opened at the outer edge. Previous owner's ink signature, dated 1970, on verso of front free endpaper. A very good copy.

Of the 1,000 copies of the first edition, 100 were on Dutch handmade paper (measuring 23.7 x 19.5 cm.) numbered from 1 to 100 and signed by Joyce, 150 were on vergé d'Arches paper (measuring 26.2 x 20.1 cm.) numbered from 101 to 250, and 750 were on handmade paper (measuring 23.7 x 18.5 cm.) numbered from 251 to 1000. The last two formats were not issued signed.

Slocum and Cahoon A17.

Jack Kerouac. On the Road. New York: Viking Press, 1957.

First edition. Octavo. 310 pages.

Black cloth over boards. White lettering to front board and spine. Top edge red. Binding slightly cocked. Some chipping to the extremities of the dust jacket. Overall, very good.

"On the Road tells the rambling tale of two young male buddies, Sal Paradise and Dean Moriarty, who trek back and forth across America to reawaken their souls by rediscovering the landscape. The somewhat cynical, meandering quality of the narrative, and Sal's whimsical first-person narration -- neither in the classical realist vein -- both contribute to the novel's celebration of quest and transience over destination and stability" (Laderman).

David Laderman, Driving Visions, 10.

Jack Kerouac. Four Books, including: The Dharma Bums. New York: Viking Press, 1958. First edition. Octavo. 244 pages. Publisher's black cloth with slightly dusty top edge. Mild toning to endpapers and page edges. Dust jacket rubbed and edge-toned with one-inch tear at bottom edge of front panel and a quarter-inch folded tear to top edge of rear. [and:] Lonesome Traveler. New York: McGraw-Hill, [1960]. First edition. Octavo. 183 pages. Publisher's quarter black cloth with brown paper boards. Dust jacket toned along edges and spine. [and:] Big Sur. New York: Farrar, Straus and Cudahy, [1962]. First edition. Octavo. 241 pages. Publisher's quarter black cloth with gilt stamping. Mildly rubbed extremities. Dust jacket modestly soiled. An attractive copy. [and:] Visions of Gerard. New York: Farrar, Straus and Company, [1963]. First edition. Octavo. 151 pages. Publisher's quarter black cloth with gilt stamping. Mildly sunned top edge. Dust jacket darkened along spine. All volumes in this lot in very good or better condition.

Rudyard Kipling. First Editions of the Jungle Books, including: The Jungle Book. With Illustrations by J. L. Kipling, W. H. Drake, and P. Frenzeny. London and New York: Macmillan and Co., 1894. First edition. Twelvemo. [i-viii], [1]-212 pages. Frontispiece (with tissue guard) and forty-two text illustrations (nineteen full-page). Moderate edge, spine, and corner wear to the binding, which has faded somewhat and is noticeably soiled on the boards. Hinges just starting. Text overall very clean. A very good copy. [and:] The Second Jungle Book. With Illustrations by J. Lockwood Kipling, C.I.E. London and New York: Macmillan and Co., 1895. First edition. Twelvemo. [i-vi], [1]-238 pages plus two-page publisher's advertisement. With numerous text illustrations. Minor shelf wear to the boards. Corners lightly rubbed. Light foxing to text edges, first few pages at the beginning and the end, and to a handful of pages within the text. Otherwise, a bright and sturdy copy in near fine condition. Each volume in the original blue publisher's cloth, decoratively ruled and pictorially stamped in gilt, with gilt spine titles. Original dark gray-green coated endpapers. All edges gilt. Housed together in a custom quarter leather slipcase and chemise.

"The Jungle Book consists of seven stories and seven poems, of which only the stories had previously appeared in periodicals. When collected, each of the stories has an additional verse heading appended" (James McG. Stewart: Rudyard Kipling: A Bibliographic Catalogue, p. 122).

"The Second Jungle Book consists of eight stories and eight poems in addition to two verse headings. All the stories and three of the poems had been published previously in periodicals" (Stewart, p. 128).

Stewart 123, 132.

John le Carré. Three Signed First Editions, including: The Looking-Glass War. London: Heinemann, [1965]. First edition. Signed by le Carré on the title page. [and:] A Small Town in Germany. London: Heinemann, [1968]. First edition. Signed by le Carré on the title page. [and:] The Naive & Sentimental Lover. London: Hodder and Stoughton, [1971]. First edition. Inscribed by le Carré on the title page. All volumes are in dust jackets and in very good or better condition.

Sinclair Lewis. Babbitt. New York: Harcourt, Brace and Company, [1922].

First edition, first state, with "Purdy" for "Lyte" in line 4, page 49. With a clipped inscription signed by Sinclair Lewis laid in. Octavo. 401 pages, plus publisher's ads.

Publisher's blue cloth with orange stamping. Head of spine snagged; spine lightly sunned. Minor wear to tips of corners. Bottom corner of front board very slightly bumped. Binding cracked at half-title, resulting in some looseness. Laid in is the hand-written inscription on Hotel Sacher (Vienna) notepaper which reads: "To Robert Denniston with the greetings of Sinclair Lewis, Vienna April 18 [?], 1925." Two bookplates on front pastedown, including Frank J. Hogan's. A nice square copy in very good condition.

Jack London. The Call of the Wild. New York: The Macmillan Company and London: Macmillan & Co., Ltd., 1903.

First edition. Octavo. [5]-231 pages, [232, blank], two-page publisher's catalog. Illustrated by Philip R. Goodwin and Charles Livingston Bull. With eleven full-page color plates, seven in blue functioning as chapter dividers, and numerous textual illustrations.

Publisher's green cloth with gilt, white, red, and black stamping to front and spine. Top edge gilt, other edges uncut. Illustrated endpapers. Housed in a custom quarter leather slipcase and chemise. Minor wear and rubbing to the boards. Lightly worn corners. Spine ever-so-slightly cocked. Ownership signature on the front free endpaper. Offsetting to title page from the tissue guard protecting the frontispiece. Small stain to last page of publisher's catalog. A bright copy in near fine condition.

BAL 11876.

Jack London. White Fang. New York: The Macmillan Company and London: Macmillan & Co., Ltd., 1906.

First published edition following the 1905 copyright printing. A small card signed "Jack London" tipped to front free endpaper. Octavo. [i-vii], [1]-327 pages, [328, blank], four-page publisher's catalog. With eight full-page color illustrations and five divisional plates printed in orange.

Publisher's blue-gray T-cloth with black and white titles and decoration on the front board and gilt spine titles. Illustrated endpapers. Housed in a custom quarter leather slipcase and chemise. Light wear and thumb-soiling to boards. Spine ends and corners lightly bumped. Minor abrasion on the front board in the title. Top edge dusty. Previous owner's signature and date on the front free endpaper. Offsetting to title page from the tissue guard protecting the frontispiece. A beautiful copy in near fine condition.

BAL 11896.

Norman Mailer. The Naked and the Dead. New York: Rinehart and Company, [1948].

First edition, first state with dust jacket blurb by Stanley Rinehart. Signed by Mailer on title page. Octavo. 721 pages.

Publisher's black cloth with white titles on spine. Lightly rubbed extremities with some minor soiling to page edges. Mild toning to endpapers and page edges. Edges of dust jacket rubbed; some minor soiling and darkening along spine. A very good copy of Mailer's first novel.

During World War II, Norman Mailer (1923-2007) served with the 112th Cavalry in the Philippines. Though he saw limited combat, his experiences provided more than enough material for The Naked and the Dead (1948), his first and most popular novel. Considered among the best American war novels ever written, it has been ranked by the Modern Library as one of the hundred best English-language novels. In 1958, Raoul Walsh directed the film version starring Cliff Robertson and Aldo Ray.

W. Somerset Maugham. The Moon and Sixpence. A Novel. London: William Heinemann, 1919.

Presentation copy of the first edition, inscribed and signed by Maugham on the front free endpaper in 1920 to American author and poet Carolyn Wells (Wells' bookplate affixed to the front pastedown). Small octavo. 263 pages.

Publisher's green cloth lettered and decorated in black. Housed in a custom quarter leather slipcase and chemise. Moderate wear to the board edges. Bumped corners. Top edge dusty. Text noticeably toned throughout. Publisher's catalog at rear removed, with remnants in the gutter, else a very good copy.

Cormac McCarthy. All the Pretty Horses. New York: Alfred A. Knopf, 1992.

First edition. Signed by Cormac McCarthy on the half-title page. Octavo. 301 pages.

Publisher's gilt-stamped black cloth over black paper boards. A fine copy in dust jacket.

All the Pretty Horses, the National Book Award-winning novel and the first installment of the "Border Trilogy," was the first of McCarthy's books to finally reach a wide, mainstream audience, and its astounding critical and popular success firmly established Cormac McCarthy as one of the finest writers of our time.

Cormac McCarthy. Three Books, One Signed, including: All the Pretty Horses. New York: Knopf, 1992. First edition, second issue dust jacket. [and:] All the Pretty Horses. New York: Knopf, 1992. Uncorrected proof in tan printed wrappers. [and:] Cities of the Plain. New York: Knopf, 1998. First edition. Signed by McCarthy on a special leaf inserted after the front free endpaper. Limited to 1,000 unnumbered copies. All volumes in this lot in fine condition.

Larry McMurtry. Lonesome Dove. New York: Simon & Schuster, [1985].

First edition. Inscribed by McMurtry on title page. Octavo. 843 pages.

Publisher's black quarter cloth with black paper boards and gilt spine titles. In original pictorial dust jacket. Lightly rubbed with modest soiling to page edges. Binding is pulling from spine and hinges a bit shaken. Binding issue is typical, and almost expected, with this title. Softly bumped on front upper corner, affecting board and prelim pages. Spot of soiling on front free endpaper. A very good copy.

Herman Melville. Mardi: And A Voyage Thither. In Two Volumes. New York: Harper & Brothers, Publishers, 1849.

First American edition, published on April 14, 1849 (the first English edition was published in three volumes on March 16, 1849, by Richard Bentley in London). Two twelvemo volumes (7.375 x 5inches; 188 x 127 mm.). xii, [13]-365, [5, blank] (the final blank leaf used as lining for the terminal endpaper); [v]-xii, [9]-387, [1, blank], [8, publisher's advertisements] pages (correct collation).

Original brown morocco-grain ("A") cloth. Covers decoratively paneled in blind with central "H & B" monogram, spines decoratively stamped in blind (with a blindstamped rule one-eighth inch from the top of spine) and lettered in gilt, with publisher's device in gilt at foot. Original yellow coated endpapers. Minimal fading to the spines; minor rubbing to the corners and spine extremities, with the cloth fraying a bit at the corners, with a few tiny chips at the spine ends, and with a tiny piece of cloth missing at the head of the spine Volume II. The gilt on the spines is a little dulled. Endpapers with a considerable amount of glue show-through, as is common with Harper's publications of the period; edges lightly foxed; top edge a little dust soiled. The text is very slightly browned at the edges and there is some very light foxing. In Volume I, leaves G2 (pages 147/148) and G3 (pages 149/150) are poorly opened at the top edge and leaves H2 (pages 147/148) and H3 (pages 173/174) are poorly opened at the upper gutter. In Volume II, leaves B5 (pages 33/34) and B6 (pages 35/36) are poorly opened at the upper edge. Despite these flaws, this is an excellent and very bright copy, totally unrestored. With the leather bookplate of John Stuart Groves on the front pastedown of each volume and the early ink signature of Thomas R. Atkinson M.D. on the front free endpaper of each volume. The two volumes are chemised together in a quarter red morocco book-backed slipcase with spines lettered in gilt with four raised bands.

"The work is a compound of Robinson Crusoe and Gulliver's Travels, seasoned throughout with German metaphysics of the most transcendental school. The great questions of natural religion, necessity, free-will, and so on...are treated with much ingenuity, and frequently with a richness of imagination which disguises the triteness of the leading ideas. Politics take their share of the work--not often well, sometimes most absurdly illustrated. The habits of modern society come in for an occasional fling. But the great merit of the work is its fanciful descriptions of nature amid all her variations. Some of the cleverest, even the most brilliant, passages occur when the author fairly gives himself up to his own singular and quaint contemplations of nature...Altogether we regard this as a remarkable book. When a man essays a continual series of lofty flights, some of his tumbles will be sufficiently absurd; but we must not be thus hindered from admiring his success when he achieves it" (Review in the London Atlas, March 24 1849, in Hugh H. Hetherington, Melville's Reviewers: British and American, 1846-1891 (Chapel Hill: 1961), page 102).

BAL 13658.

Herman Melville. Moby-Dick; or, The Whale. New York: Harper & Brothers, Publishers, 1851.

First American edition (first published in three volumes in London as The Whale). Twelvemo. xxiii, [1, blank], [1]-634, [1, "Epilogue"], [1, blank], [6, ads], [2, blanks] pages.

BAL first binding of publisher's drab blue or green "A" cloth, rebacked. Covers stamped in blind with a heavy rule frame and publisher's circular device at center, spine decoratively stamped and lettered in gilt. Original white endpapers. Single flyleaves at front and back. Cloth noticeably soiled and worn, with the spine gilt somewhat pale. Two dampstains to top edge of text, one starting at the front endpapers and running through p. 47; the other starting at p. 472, increasingly pronounced through the end of the text. Significant foxing and spotting throughout the text. Front hinge very tender. Rear hinge detached before the rear endpaper. Five-line contemporary ownership inscription on the front free endpaper. Chemised in a quarter green morocco over cloth slipcase. A nice copy of Melville's greatest achievement, arguably the greatest novel in American literature, in good condition.

"[Melville's] great book, Moby Dick, was a complete practical failure, misunderstood by the critics and ignored by the public; and in 1853 the Harpers' fire destroyed the plates of all of his books and most of the copies remaining in stock [only about sixty copies survived the fire]... Melville's permanent fame must always rest on the great prose epic of Moby Dick, a book that has no equal in American literature for variety and splendor of style and for depth of feeling" (Dictionary of American Biography XII, pp. 522-526).

"Moby Dick is the great conundrum-book. Is it a profound allegory with the white whale the embodiment of moral evil, or merely the finest story of the sea ever written?" (Grolier, 100 American).

BAL 13664. Grolier, 100 American, 60.

Herman Melville. White-Jacket; or the World in a Man-of-War. New York: Harper & Brothers, Publishers, 1850.

First American edition, first printing (first published in England on January 23, 1850 by Richard Bentley and in the United States on March 21, 1850). Twelvemo (7.375 x 4.875 inches; 188 x 124 mm.). vii, [1, blank], [9]-465, [1, blank], [6, publisher's advertisements] pages. No half-title called for.

Publisher's black-brown morocco-grain ("A") cloth. BAL "first cloth binding" with covers stamped in blind with an ornate border around a center device lettered: "Harper and Brothers New-York." Spine decoratively stamped in blind and lettered in gilt. Original yellow coated endpapers. Endpapers with the typical glue bleed-through of Harper's publications of the period. This copy has only three flyleaves at front and back, but no evidence of a fourth pasted under the pastedown. Recased, with spine neatly repaired at head and foot, corners bumped, boards exposed on lower edges, a few small areas of slight discoloration to cloth on front cover. Small stain to the lower edges of leaves E2-E7 (pages 99-110). Occasional light foxing and browning, a few small stains. Early pencil signature on front free endpaper. Pencil annotations on page 371. Overall, a very good copy. Chemised in a quarter dark green morocco slipcase with spine lettered in gilt with five raised bands.

This semi-autobiographical novel by Melville is based on his service on the man-of-war United States (Aug. 1843-Oct. 1844). "The narrator, a young seaman nearing the end of a three-year cruise on the U.S. frigate Neversink, is nicknamed 'White-Jacket' after he buys a white pea jacket in Callao, Peru. On the voyage around Cape Horn and up the Atlantic coast, it protects him in rough weather, distinguishes him among the crew, and nearly causes his death when it wraps about his head in a storm, so that he falls from a yardarm into the sea. There are few other catastrophes, for the interest of the tale derives not from plot but from character and observed detail. The most striking characters include Jack Chase, 'our noble first captain of the top,' handsome, cultured, 'incomparable' young officer who wins the love and admiration of White-Jacket and all the crew; Captain Claret, 'a large, portly man, a Harry the Eighth afloat, bluff and hearty'; Mr. Pert, the youthful midshipman; and Surgeon Cuticle, whose indifference to suffering and human values is shown in his unnecessary amputation of the leg of a seaman, which results in the patient's death. During the long voyage from Peru to Virginia, these officers and the diverse crew are depicted in their daily activities, including scenes of ferocious punishment for minor misdeeds, and other malpractices; and the author discusses other evils inherent in the autocratic system, the inhumane regimentation, and the degrading effects of the prevailing living conditions, partly counteracted by the exuberant joys of sea life" (The Oxford Companion to American Literature).

BAL 13662.

James A. Michener. Tales of the South Pacific. New York: The Macmillan Company, 1947.

First edition. Octavo. 326 pages.

Some slight rubbing to bottom edges of boards. Typical uniform toning throughout. Front flap of dust jacket neatly clipped, not affecting the original vertically-printed $3.00 price. An outstanding near fine copy in dust jacket.

Michener's first book, which earned him the Pulitzer Prize, came out of his experiences during World War II when he was working as a naval historian. Rodgers and Hammerstein's musical South Pacific was adapted from these stories in 1949.

John Milton. Paradise Lost. A Poem in Ten Books. London: S. Simons, 1668.

First edition, Amory's No. 2 issue (traditional fourth title). Small quarto (6.9375 x 5.125 inches; 176 x 130 mm). [344] pages.

Full period style paneled calf, spine elaborately tooled in gilt in compartments, five raised bands, gilt red morocco lettering piece. Early ownership inscription to title, and a few instances of early annotation and underlining in light ink.

Modern endpapers, and title page professionally restored to replace loss of several letters. Overall, a very good copy of this monumental work of English literature.

John Dryden referred to Paradise Lost as "one of the greatest, most noble and sublime poems which either this age or nation has produced." Although the tremendously difficult circumstances under which Milton produced the work are legendary -- he had been blinded by long years of service as secretary under Cromwell and was in political disfavor after the restoration of Charles II -- the troubled printing history of the work is less well known. Publisher Samuel Simmons reluctantly agreed to print a small first edition of 1,300 copies, as he was assuming a heavy risk in sponsoring an epic poem, for which no precedent in English publishing had been established. As payment for the first edition, Milton received a total of ten pounds.

Wing M-2139.

John Milton. Paradise Regain'd. A Poem. In IV Books. To Which is Added Samson Agonistes. London: Printed for J. M. for John Starkey, 1671.

First edition, first issue. With license and errata leaf and with the error "loah" on leaf F2, line 2 in the corrected state "loth." Small octavo (7.0125 x 4.75 inches; 178 x 121 mm). [4], 111, [1, blank], 101, [3] pages.

Contemporary brown paneled calf, professionally rebacked to style. Gilt red calf lettering piece, spine ruled in blind in compartments, four raised bands, modern endpapers. Overall a very good copy.

Paradise Regain'd "is a sequel to 'Paradise Lost', and deals exclusively with the temptation of Christ in the wilderness. According to the poet's conception, whereas Paradise was lost by the yielding of Adam and Eve to Satan's temptation, so it was regained by the resistance of the Son of God to the temptation of the same spirit. Satan is here represented not in the majestic lineaments that we find in 'Paradise Lost', but as a cunning, smooth, and dissembling creature, a 'Spirit unfortunate', as he describes himself. There is a comparative scarcity of similes and ornament, and only a vivid and ingenious expansion of the Biblical texts" (The Oxford Companion to English Literature, 590).

"'Samson Agonistes', a tragedy by Milton... is modeled on Greek tragedies. 'Samson Agonistes' (i.e. Samson the Athlete or Wrestler) deals with the last phase of the life of the Samson of the Book of Judges (xvi), when he is a prisoner of the Philistines and blind, a phase which presents a pathetic similarity to the circumstances of the poet himself when he wrote the play" (The Oxford Companion to English Literature, 694).

Coleridge 168. Grolier, Wither to Prior, 613. Hayward 73. Wing M2152.

Margaret Mitchell. Gone With the Wind. New York: The Macmillan Company, 1936.

Unbound proof copy, issued before publication of the first edition, with "To be published" written in pencil on the title page. Octavo. 1037 pages.

Thirty-three folded, unbound and unstitched sections. The first few leaves (containing the half-title, the title, the copyright, and the dedication pages) have a few short tears and a couple of chips; the final few leaves (containing the final page of text and five blank pages) have a few shallow creases. The sheet containing the half-title/copyright page and pages 25/26 is split along the center fold approximately two-thirds of the way up. There is a small spot that continues from page 885 through page 895. Otherwise, this uncommon lot is in very good to fine condition.

Accompanying the proof is the original lightweight box in which it was mailed. The return address on the box is J. L. Crowell in South Dennis, Massachusetts and is addressed to Mrs. William C. Brownell in New York City. The box is postmarked Zanesville, Ohio, and "Gone with the Wind" is written in ink at the top of the box. The box and a folding chemise containing the proof copy are housed in a custom gilt-stamped blue leather and cloth box

William C. Brownell was an art and literary critic and was also a literary advisor for the publisher Charles Scribner's Sons. His widow, the former Gertrude Hall, was herself a writer and prominent literary figure. The sender is unknown but may be an extended member of the Crowell family, whose Crowell-Collier Publishing Company (which years later would merge with Macmillan) was based in Ohio.

A scarce pre-publication issue of one of the most staggeringly popular novels of our time.

Margaret Mitchell. Gone with the Wind. New York: The Macmillan Company, 1936.

First edition, first printing, with "Published May, 1936" on copyright page and no note of other printings. Signed by Margaret Mitchell on the front free endpaper. In first issue dust jacket with Gone with the Wind listed in the second column of Macmillan Spring Novels list on rear panel. Octavo. 1037 pages.

Original gray cloth decoratively stamped and lettered in blue on front cover and spine. Dust jacket has top corner clipped, though $3.00 price is still present in the bottom corner of front flap. Jacket has a few tiny nicks to spine ends, with a small area of paper loss (approximately half an inch long) at foot of spine; also, a couple of closed tears, one at top edge of front panel measuring approximately .375 inches, and one at bottom spine edge approximately .75 inches. Housed in a custom gilt-stamped full leather book-backed box. A lovely copy in near fine condition.

By the end of 1936, over a million copies of Gone With the Wind had sold, and Margaret Mitchell's life had been turned upside down - only a couple of weeks after publication of the book she wrote her publisher that "life has been so much like a nightmare." There were incessant and relentless demands on her time, and she was shocked by the lack of civility demonstrated by members of the press and by many of her fans who showed up at her home uninvited, who phoned her night and day, and who followed her all over Atlanta demanding attention and autographs. By the end of the year she was unable to handle the crush of autograph-seekers, and she politely refused to sign any more copies of the book after December of 1936. This beautiful copy of Mitchell's beloved and enduring novel is one of the lucky few that its owner managed to have signed by the author.

Toni Morrison. Two Books, including: Beloved. New York: Knopf, 1987. First edition. Signed on title page. Octavo. 275 pages. [and:] Beloved. New York: Knopf, 1987. Uncorrected proof in blue wraps. Author's bookplate signed by Morrison laid in. Octavo. 275 pages. The pair in fine condition.

Toni Morrison. Sula. New York: Knopf, 1974.

First edition. Signed by Morrison on title page. Octavo. 174 pages.

Publisher's orange cloth with gilt titles. Top edge stained green. Mildly rubbed extremities. Boards have bowed causing hinges to be a little soft. Previous owner's name on second free endpaper. Dust jacket has mild toning and a few small edge tears, including a one-inch folded tear to top edge of rear panel. A very good copy of author's second book.

Robert Nathan. Portrait of Jennie. New York: Knopf, 1940.

First edition. Inscribed by Nathan on half-title page. Octavo. 212 pages.

Publisher's terracotta cloth with brown stamping. Mild toning to endpapers with faint offsetting to front endpapers. Top edge a trifle dusty. Dust jacket has minor rubbing and toning with a one-inch folded tear to top edge of rear panel and light chipping to spine head. A very good copy.

Excellent fantasy about an artist and the woman he is painting who is slipping through time. Made into a 1948 film directed by William Dieterle starring Jennifer Jones and Joseph Cotten.

Edgar Allan Poe. The Raven and Other Poems. New York: Wiley and Putnam, 1845.

First edition. One of 750 copies printed. Octavo (7.5 x 5 inches; 190 x 125 mm.). [i-viii], [1]-91, [1, blank], [4, publisher's advertisements], [8, publisher's advertisements] pages. Both groups of advertisements are titled: "New and Valuable Books, Published by Wiley and Putnam, 161 Broadway, N. Y." The first two leaves of advertisements are duplicates of the first and last leaves of the second group of advertisements.

Original printed tan wrappers. Title on front wrapper: "Wiley and Putnam's Library of American Books. / No. VIII. / The Raven and Other Poems." Rebacked in matching plain paper, with minimal restoration of the front and rear covers along the spine and edges (bottom edge almost untouched). Paper fill somewhat noticeable on small portions of the rear cover near the fore-edge and bottom edge. Approximately 5mm of the top and bottom edges of wrappers shaved. The wrappers are lightly toned, soiled and slightly rubbed. Minimal edge wear. One soft vertical crease running the length of the front wrapper in the middle of the page. Tiny closed tear to top edge of rear cover. Minor glue remnants to gutters of first and last leaves. Corners of half-title renewed. Edges mildly darkened. Tiny closed tear to top edge of page 29/30. Occasional very minor circular dampstain to fore-edge of a few leaves. Slight creasing to a few leaves. Otherwise, the text is exceptionally clean. An excellent copy. Housed in a green cloth chemise.

"First edition in original wrappers, published about November 15, 1845. In addition to the title poem, it contains, among others, 'The Conqueror Worm,' 'The Haunted Palace,' and the final and immeasurably superior version of 'To Helen.' ('Ulalume' and 'The Bells' were written later.) Also issued by the publishers with Poe's Tales in one volume; Charles F. Heartman thinks that this form is not before the middle of February, 1846...Poe's proof that his essay 'The Poetic Principle' does work in practice, and places no fetter on genius. The book was published at one of the low ebbs of his fortunes, when his Broadway Journal was about to expire, and is thus characterized by Poe's biographer Hervey Allen: The most important volume of poetry that had been issued up to that time in America...In this little volume the weary, wayworn wanderer had successfully reached his own native shore in the realm of the imagination" (Grolier, 100 American).

"The poem was an immense success, and was copied far and wide in all the newspapers of the country. Writing to F. W. Thomas, May 4, Poe says: '"The Raven" has had a great run, Thomas-but I wrote it for the express purpose of running-just as I did the "Gold Bug," you know. The bird beat the bug, though, all hollow.' This popularity was the poet's greatest reward, for we learn that the actual money remuneration was only ten dollars" (Grolier, 100 English).

The critic Edmund Clarence Stedman (in Poets of America (Boston: 1894), page 242) said of The Raven: Only genius can deal so closely with the grotesque, and make it add to the solemn beauty of structure an effect like that of the gargoyles seen by moonlight on the facade of Notre Dame. In no other lyric is Poe so self-possessed...Poe's raven is the very genius of the Night's Plutonian shore, different from other ravens, entirely his own, and none other can take its place. It is an emblem of the Irreparable, the guardian of pitiless memories, whose burden ever recalls to us the days that are no more."

BAL 16147. Grolier, 100 American, 56. Grolier, 100 English, 82.
Heartman and Canny, pp. 97-108. Streeter Collection 4193. See also, J. W. Robertson, Commentary on The Bibliography of Edgar A. Poe, pages 224-231.

[Edgar Allan Poe]. The American Review: A Whig Journal of Politics, Literature, Art and Science. New York: Wiley and Putnam, 1845-1846.

First edition, first printing. In three octavo volumes. 656; 668; 674 pages. Numerous engraved plates by T. Doney, in text and used as frontispieces in Volume I.

Half leather over marbled boards with rules and titles stamped in gilt on the spine. Modest wear at spine ends and corners. Contents mostly bright with some browning to the preliminary and terminal pages. A fine set.

First edition, first printing, of one of the most celebrated poems in American literature. Published under the pseudonym "Quarles," "The Raven" (pages 143-145) brought Poe instant literary fame, quickly becoming one of the most discussed and recited poems in the country. The appearance in the American Review is the accepted first edition - the publication in the New York Mirror on January 29, 1845 was printed from advance sheets of the American Review. Volume I also includes Poe's short story "Some Words with a Mummy" (pages 363-370), and his poems The Valley of Unrest and The City in the Sea (pages 392-393). Other volumes include the first appearance of Poe's Eulalie, Facts of M. Valdemar's Case, and a review of the book Poe's Tales. Also included in Volume III is Charles Winterfield's Adventures on the Frontier of Texas and Mexico, in six parts, apparently not otherwise printed.

James Whitcomb Riley. Home-Folks. Indianapolis: Bowen-Merrill Company, [1900].

First edition. With a small card signed by the author mounted to the front pastedown reading: "Yours truly,/-James Whitcomb Riley/Indianapolis, Ind./Oct. 1895." Twelvemo. 166 pages. Inserted illustrated frontispiece. Printed on laid paper.

Publisher's full green cloth with gilt lettering, decorations, and rules; top edge gilt. Many pages unopened along bottom edge. Top strip of both boards very slightly darkened. Head of spine lightly frayed; bottom front corner bumped. Gilt leather bookplate of renowned lawyer, politician, and book collector Frank J. Hogan affixed to front pastedown. Dust jacket has browned overall, with a significantly darker spine; minor chipping along edges and spine ends. Generally very good.

Laid in is the Jacob Blanck Rare Books description of this copy: "The rarest of all the Jas. Whitcomb Riley books, probably a unique copy." Later he quotes Anthony J. Russo's bibliography: "All but a few copies suppressed." Interestingly, even though Blanck was the co-editor of the Bibliography of American Literature, this variant issue - bound in green rather than in red cloth, and with the duplicated subtitle on page 59 - is not noted therein.

BAL 16647.

Salman Rushdie. Midnight's Children. New York: Knopf, 1981.

First edition. Signed by Rushdie on title page. Octavo. 446 pages.

Publisher's quarter maroon cloth with gray paper boards and silver titles. Minor darkening to top and bottom edges with light soiling to page edges. Dust jacket is lightly rubbed and edge-toned with a one-quarter-inch tear at top of front panel and one-inch tear at bottom of front panel. Fold line on front inner flap. Near fine condition.

Rushdie's second novel won not only the 1981 Booker Prize, but went on to win the "Best of the Booker" prize twice (1993 and 2008).

J. D. Salinger. The Catcher in the Rye. Boston: Little, Brown and Company, 1951.

First edition. Octavo. 277 pages.

Publisher's black cloth with gilt spine titles. In original pictorial dust jacket designed by Michael Mitchell with Lotte Jacobi's photo credit on the rear panel. Housed in a custom cloth clamshell case with a leather spine title label. Minimal wear to the boards. Some light-colored soiling to the boards. Gilt on spine rubbed slightly. Boards just barely bowed. Top edge dusty. Very clean text. Minor wear to the edges of the dust jacket. Professionally restored at the spine ends, corners and along the top edge of the panels. Minor fold to the rear flap. Overall, a very good copy of Salinger's seminal novel.

J. D. Salinger. The Catcher in the Rye. Boston: Little, Brown and Company, 1951.

First edition. Octavo. 277 pages.

Publisher's black cloth with gilt-stamping to spine. Very minor wear to foot of spine; lower corner of back board lightly bumped, two other corners bumped insignificantly. Stray and faint blue pencil mark to fore-edge. Dust jacket, with price of $3.00 and portrait of Salinger on the rear panel, has some chipping, mostly at spine ends and flap folds, with rubbing along folds. Fading to spine. Housed in a custom gilt-stamped quarter red morocco clamshell box. A near fine copy in a lightly worn jacket.

J. D. Salinger. Nine Stories. Boston: Little, Brown and Company, 1953.

First edition. Octavo. 302 pages.

Publisher's black cloth with gilt stamping to spine. As with all first editions of this book, two paper stocks were used, with one type browning more quickly than the other. Gilt on spine is quite bright and not flaking, unusual for this title. Binding is slightly cocked and is cracked at the second flyleaf, causing some looseness. Outer boards show remnants of adhesive, as do the pastedowns, indicating that the dust jacket had been enclosed in a plastic jacket protector which was subsequently glued to the boards. The adhesive "stain" to boards is faint and shows up as shiny areas on the cloth; brown stains to pastedowns are much more visible, taking up half of the front pastedown and one-third of the rear. There are a few stains throughout, appearing to be caused by coffee spills or splashes. Small stain to top edge. Dust jacket, with price of $3.00, is lightly rubbed, predominantly on the spine. A few chips, mainly at foot of spine and bottom of front flap fold. Short closed tear - about an inch long - to top of rear flap. A few glue stains to front flap and a slight discoloration to the front panel caused by what appears to be tape residue affecting only the word "Catcher" and resulting in a rectangular stain to verso. Colors are still bright, with virtually no fading to spine. Overall, the book is in good to near very good condition, in a much nicer jacket than is normally encountered with this title.

Salinger's critically-acclaimed second book and his first collection of short stories. Printed in an edition of only 5,000 copies.

J. D. Salinger. Raise High the Roof Beam, Carpenters and Seymour an Introduction. Boston: Little Brown, [1963].

First edition, first issue, lacking the dedication page, as called for. Octavo. 248 pages.

Publisher's gray cloth with gilt titles on spine. Spine is mildly faded and has a slight lean. Lightly foxed endpapers with minor toning to pages. Dust jacket is lightly rubbed with a hint of fading along spine. The scarce first issue, lacking the dedication page (which was inserted in reissues). Very good condition.

Walter Scott. The Lady of the Lake; a Poem. Edinburgh: Printed for John Ballantyne and Co. and Longman, Hurst, Rees, and Orme, and William Miller by John Ballantyne and Co., 1810.

First edition and one of only twenty-five large paper Royal edition copies. Folio. 290, [i]-cxxix pages. Engraved frontispiece portrait of Scott.

Later green cloth spine over blue boards with a crimson leather title label on the spine lettered in gilt. Brown paper dust jacket not original to the book. Moderate edge wear. Rear hinge tender. Scattered minor foxing. Binding a touch shaken. A very good copy.

Michael Shaara. The Killer Angels. New York: David McKay, 1974.

First edition. Octavo. 374 pages. With eighteen full-page maps in text.

Original light blue paper over boards with titles printed in gold. Lightly rubbed on edges and spine ends. Dust jacket has modest edge wear. Overall, a near fine copy.

Shaara's thrilling historical novel recounts the story of the four days of the Battle of Gettysburg. This exceptional book earned Shaara the Pulitzer Prize for fiction in 1975.

William Shakespeare. Mr. William Shakespear's Comedies, Histories, and Tragedies. Published according to the true Original Copies. Unto which is added, Seven Plays, Never before Printed in Folio: viz. Pericles Prince of Tyre. The London Prodigal. The History of Thomas Lord Cromwel. Sir John Oldcastle Lord Cobham. The Puritan Widow. A Yorkshire Tragedy. The Tragedy of Locrine. The Fourth Edition. London: Printed for H. Herringman, E. Brewster, and R. Bentley, 1685.

The Fourth Folio edition of Shakespeare's plays, first state of the imprint (without Chiswell's name). Large folio (13.8125 x 8.8125 inches; 350 x 224 mm). [12], 96, 99-160, 163-254, 243 [i.e. 253]-272, [1], [1, blank], 328, 303, [1] pages. Engraved frontispiece portrait of Shakespeare by Martin Droeshout, with ten-line poem by Ben Jonson, entitled "To the Reader," underneath. Woodcut printer's device on title-page (McKerrow 263). Decorative woodcut initials.

Bound by Rivière & Son in full red hard-grain morocco. Covers decoratively paneled in gilt, spine decoratively tooled and lettered in gilt, board edges ruled in gilt, turn-ins decoratively tooled in gilt, all edges gilt. Joints expertly and almost invisibly repaired. Short tear to lower margin of title, several additional leaves with small marginal tears or paper flaws, most expertly repaired, not affecting text. Two tiny rust holes to leaf P5, just touching rule on recto and one letter on verso. Occasional very minor staining. Overall, a wonderful copy, very tall and fresh.

The Fourth Folio was the stateliest of all the folios, being printed on a Royal stock, distinctly larger than the sheets of the Third Folio, which in turn is on a larger sheet than the First and Second. The last edition of Shakespeare's plays printed in the seventeenth century and the last to be printed before the editorial endeavors of the eighteenth century.

Bartlett 123. Greg III, pp. 1119-1121. Jaggard, p. 497. Pforzheimer 910. Wing S2915.

[William Shakespeare]. [John and Josiah Boydell]. A Collection of Prints from Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakespeare, by the Artists of Great-Britain. Volume I. London: Published by John and Josiah Boydell, Shakespeare Gallery...Printed by W. Bulmer and Co., 1803 [Dedication dated 1805].

The magnificent elephant folio issue of the prints for the Boydell Shakespeare (26.75 x 20.875 inches; 681 x 530 mm.). Volume I only. [6] leaves of text. Engraved frontispiece portrait of George the Third by Benjamin Smith after William Beechey (dated "Decr. 1 1804"), with tissue guard, engraved title vignette by William Leney after a sculpture by Anna Seymour Damer (dated "June 4 1803"), and thirty-nine engraved plates by Benjamin Smith, Jean Pierre Simon, Robert Thew, Caroline Watson, Luigi Schiavenetti, Thomas Ryder, Isaac Taylor Junior, Charles Gauthier Playter, Peter Simon, John Ogborne, Thomas Ryder Junior, John Browne, William Leney, Samuel Middiman, William Charles Wilson, George Sigmund and Johann Gottlieb Facius, Francesco Bartolozzi, James Fittler, James Caldwall, and James Parker, from paintings and sculpture by Thomas Banks, George Romney, Henry Fuseli, Joseph Wright, Francis Wheatley, Angelica Kauffman, Robert Smirke, Rev. William Peters, James Durno, Thomas Kirk, John Francis Rigaud, William Hamilton, William Hodges, John Downman, Raphael West, Johann Heinrich Ramberg, John Opie, Richard Westall, and Sir Joshua Reynolds. The Dedication and Preface are dated March 25, 1805. The plates are dated from March 1, 1791, to December 1, 1802. All plates mounted on guards. Text in double columns.

Contemporary diced russia over thick boards. Neatly rebacked, with original spine laid down, and with corners renewed. Covers bordered in gilt with outer double fillet and inner decorative border, smooth spine elaborately paneled in gilt with two brown leather labels decoratively tooled and lettered in gilt. Turn-ins decoratively tooled in gilt. Small leather repair on front cover, upper portion of spine renewed, with reddish brown label decoratively tooled and lettered in gilt. Frontispiece portrait and title creased and lightly foxed, with a small ink mark in the lower blank margin, slight abrasion to title, affecting the "R" in Prints," dedication leaf creased. Some marginal foxing, edge browning, and occasional soiling. Small dampstain in the upper gutter of most plates, not affecting any images. Old bookseller's description on front pastedown. Small circular ink stamp "Bib. Maj. Collegii Stonyhurst" on front free endpaper and at foot of title. Faint pencil signature of a Mr. Paltrick on front free endpaper. An excellent copy of these sumptuous plates.

"Boydell in 1786 embarked upon the most important enterprise of his life, viz. the publication, by subscription, of a series of prints illustrative of Shakespeare, after pictures painted expressly for the work by English artists. For this purpose he gave commissions to all the most celebrated painters of this country [i.e., England] for pictures, and built a gallery in Pall Mall for their exhibition. The execution of this project extended over several years. In 1789 the Shakespeare Gallery contained thirty-four pictures, in 1791 sixty-five, in 1802 one hundred and sixty-two, of which eighty-four were of large size. The total number of works executed was 170, three of which were pieces of sculpture, and the artists employed were thirty-three painters and two sculptors... It appears from the preface to the catalogue of 1789, and from other recorded statements of Boydell, that he wished to do for English painting what he had done for English engraving, to make it respected by foreigners...Boydell's ' Shakespeare ' was published in 1802, but the French revolution had stopped his foreign trade, and placed him in such serious financial difficulties that in 1804 he was obliged to apply to parliament for permission to dispose of his property by lottery...The lottery consisted of 22,000 tickets, all of which were sold. The sum received enabled Boydell to pay his debts, but he died at his house in Cheapside on 12 Dec. 1804, before the lottery was drawn...It is true that the Boydell 'Shakespeare' taken as a whole, seems now to shed little lustre on the English school, but this was not Boydell's fault; he employed the best artists he could get - Reynolds, Stothard, Smirke, Romney, Fuseli, Opie, Barry, West, Wright of Derby, Angelica Kauffman, Westall, Hamilton, and others. It must also be remembered that this was the first great effort of the kind ever made by English artists, and its influence cannot easily be overestimated" (D.N.B.).

"According to the prospectus, issued in 1786, a type foundry, an ink factory, and a printing house were all specially erected for the production of this edition...During the last decade or two [ca. 1890-1910], complete surviving sets have greatly decreased in number owing to a curious utilitarian development. Print dealers have discovered that this edition can be profitably broken up, the plates when framed being specially adapted for wall decoration" (Jaggard, page 508).

This series of plates was originally published in 1802 as part of the nine volume folio set of The Dramatic Works of Shakespeare, revised by George Steevens (the first part being issued in 1791). "There can be no doubt that Boydell's Shakespeare, published by Alderman John Boydell and his nephew Josiah, was the most splendid of bibliophile editions undertaken in the 18th century or at any other time...No printing press, which has hitherto existed, ever produced a work in nine large volumes in folio so uniformly beautiful" (Franklin, pages 47-48).

"It is my experience that the large prints do not lose their quality of surprise...For such great moments in a play, tragic or comic or in some way dramatic, as were naturally chosen by publishers and artists, the scope of vast copper-plates offered opportunities in which the engravers time and again rejoiced...We are most fortunate to receive it thus: a decade or two later the medium would have been to aquatint, or lithograph on poorish paper brown-spotted across one-and-a-half centuries. For strong definition on excellent paper at the summit of skill, their performance has our grateful applause" (Franklin, page 215).

Colin Franklin, Shakespeare Domesticated, pages 47-48, 215-216. Jaggard, pages 506 and 508. Shaksperiana, Part III, 34.

Upton Sinclair. Dragon's Teeth. New York City and Pasadena, California: Published by the author, [1942].

Advance copy with no Viking logo on front board or spine. Inscribed by Sinclair on front free endpaper, "To W E Bohn with best wishes Upton Sinclair." Octavo. 631 pages.

Publisher's red cloth with silver stamping to front and spine. Lightly rubbed with a bit of soiling and minor wear to corners. Top edge stained red. Spotting to page edges. Toning to endpapers and page edges. Dust jacket is lightly soiled and rubbed with a couple of small tears to upper edge. A very good copy of this scarce edition.

Third in Sinclair's World's End series of eleven novels and winner of the Pulitzer Prize for the Novel in 1943. The series' central character, Lanny Budd, is a socialist, art expert, and "red" son of an American arms manufacturer. Offered here is the rare advance copy, published by Sinclair for private distribution. Similar in appearance to the first trade edition published by Viking but with a different title page imprint and without the Viking logo or imprint on the front cover or spine of the binding, the foot of the jacket spine or at base of the rear jacket panel (here changed to say "Published by the Author").

Edith Sitwell. The Death of Venus. New York: Vincent FitzGerald & Co., 1983.

First. Octavo. 59 pages. Limited to 50 copies, of which this is number 18, signed by the illustrator, Mark Beard. Illustrated with colored lithographs. Tissue guards. Edited with an introduction by Michael Feingold.

Unsewn signatures, as issued. Handmade box by Gérard Charrière and Carol Joyce in green cloth over boards, with a light slate Doric column in leather to spine, and silver lettering to top board.

A previously unpublished 576-line poem by Dame Edith Sitwell. The third book published by Vincent FitzGerald & Co. An example of Beard's work from very early in his artistic career.

John Steinbeck. East of Eden. New York: The Viking Press, 1952.

First edition, limited to 1,500 copies signed by Steinbeck. Octavo. 602 pages.

Publisher's dark green cloth with gilt title to front board, and gilt- and red-stamped spine; publisher's stain to edges. Binding slightly cocked. Red and gilt stamping to spine is rubbed. Minor wear to extremities. Bookplate on front free endpaper. Lacks cardboard slipcase. Very good.

Steinbeck wrote about this book, his personal favorite: "It has everything in it I have been able to learn about my craft or profession in all these years. [...] I think everything else I have written has been, in a sense, practice for this."

John Steinbeck. The Grapes of Wrath. New York: The Viking Press, [1939].

First edition. Presentation copy, inscribed and signed by John Steinbeck on the title-page: "To Stewart-Brilliant / compassionate 'Okie,' my / Friend- / John Steinbeck / -Eureka California '39-" Octavo (8 x 5.375 inches; 203 x 137 mm.). [6], 619, [3, blank] pages.

Publisher's beige cloth pictorially stamped in brown across the covers and spine and lettered in brown on spine. Top edge stained yellow-orange. Pictorial endpapers. In the original color pictorial dust jacket with jacket illustration by Elmer Hader and with the $2.75 price and "First Edition" intact on the front flap. Housed in a custom clamshell case by Robert Wang (with his label on the inside of the case) of blue and orange paper with facsimile reproductions of the front and rear panels and spine of the dust jacket inlaid into the covers and spine of the case. Very slightly shaken, slight browning to spine and to lower edge of rear cover, minor rubbing to corners and spine extremities. Endpapers slightly browned, with a small abraded area at lower edge of front pastedown. Over-opened between the half-title and the title, with a few short splits to the half title. Tiny adhesion in the upper gutter margin of p. 167, with corresponding abrasion on p. 166. Short tear to the upper blank margin of pp. 451/452, short tear to the upper gutter margin of pp. 537/538, tiny tear at the lower edge of pp. 227/228, with a small piece folded up, a few additional tiny tears and folds or creases at the lower edge. A few upper corners creased, some very occasional minor marginal soiling. The jacket is slightly browned and rubbed, rubbing at extremities, just affecting the word "The" at head of spine, with a few tiny chips and tears at the edges, a one-inch closed tear at the upper edge of the front panel, but is totally untouched. A very good copy, with a wonderful presentation inscription.

Goldstone & Payne A12a.

John Steinbeck. The Grapes of Wrath. New York: The Viking Press, [1939].

First edition. Octavo. 619 pages.

Publisher's beige cloth with illustration and titles stamped in dark red. "Battle Hymn of the Republic" endpapers. Publisher's pale mustard yellow stain to top edge. Faint quarter-sized discoloration to front board. Slight darkening to spine and joints. Contents clean and bright. Dust jacket has $2.75 price at top of front flap. Bottom corner of front flap has been clipped, but as reviews are not present on the front flap, this appears to be the first issue dust jacket. Jacket is lightly chipped at spine ends and flap folds. Some rubbing to spine and along folds; a shallow vertical crease to center of spine runs the length of the book. A fine copy in a lightly worn dust jacket.

John Steinbeck. Three Books, including: The Wayward Bus. New York: Viking Press, 1947. First edition, first issue. Publisher's brick red cloth with gilt stamping on front and spine. Dust jacket is very lightly rubbed and toned on verso. [and:] East of Eden. New York: Viking Press, 1952. First edition. Publisher's bright green cloth with lightly rubbed extremities. Dust jacket shows minor rubbing and soiling. [and:] Sweet Thursday. New York: Viking Press, 1954. Publisher's beige cloth. Dust jacket is lightly rubbed along the edges. All volumes in this lot in very good or better condition.

Robert Louis Stevenson. Strange Case of Dr. Jekyll and Mr. Hyde. London. Longmans, Green, and Co., 1886.

First edition, first issue with date corrected. Octavo in wrappers. 141 pages.

Publisher's printed wrappers. Spine chipped and flaking with rear cover lacking and front cover with chip out of lower corner. Final leaf detached. Light surface soil with minor toning to pages. A fair copy of this fragile item.

The classic and still fascinating novella that examines the duality of human nature that exists in us all, set against the strict mores of Victorian society. Though actually published in 1885, Longmans held off the release of Strange Case of Dr. Jekyll and Mr. Hyde until 1886, fearing it would get lost in the Christmas publishing frenzy. First issue books were already printed with "1885" on the front cover and the publisher elected to correct the date by hand on these copies.

[Jonathan Swift]. Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, first a Surgeon, and then a Captain of several Ships. London: Printed for Benj. Motte, 1726.

Third octavo edition of "Gulliver's Travels" (Teerink's B edition), published in December 1726, and often referred to as the "first edition, third issue." Four parts in two octavo volumes (7.625 x 4.625 inches; 194 x 118 mm.), with continuous pagination to each volume. viii (including general title to Volume I), [4, title and contents of Part I], 148, [6, title and contents of Part II], [149]-310; [6, general title to Volume II and contents of Part III], 154, [8, title and contents of Part IV], [155]-353, [1, blank] pages. Engraved frontispiece portrait of Lemuel Gulliver by Sturter Sheppard, in the second state, printed on paper with vertical chain lines, with the inscription "Captain Lemuel Gulliver of Redriff. Ætat. suæ LVIII." around the oval and the tablet bearing a Latin inscription, five engraved maps (two for Part III and one for each of the other Parts), and an engraved plate depicting the writing machine in the "Grand Academy of Lagado" in Part III. Decorative and historiated woodcut head-pieces, decorative woodcut tail-pieces and initials.

[Bound together with (at the end of Part I in Volume I):] [Edmund Curll]. A Key, Being Observations and Explanatory Notes, upon the Travels of Lemuel Gulliver. By Signor Corolini, a noble Venetian now residing in London. In a Letter to Dean Swift. Translated from the Italian Original. London: Printed in the Year 1726. 29, [3, publisher's advertisements ("New Books printed for H. Curll in the Strand")] pages. Catchword at the foot of the final page of advertisements: "Tantum."

[And (at the end of Part II in Volume I):] [Edmund Curll]. The Brobdingnagians. Being a Key to Gulliver's Voyage to Brobdingnag. In a Second Letter to Dean Swift. London: Printed in the Year 1726. 32 pages.

[And (at the end of Part III in Volume II):] [Edmund Curll]. The Flying Island, &c. Being a Key to Gulliver's Voyage to Laputa, Balnibarbi, Glubbdubdribb, Luggnagg, and Japan. In a Third Letter to Dean Swift. London: Printed in the Year 1726. 32 pages.

[And (at the end of Part IV in Volume II):] [Edmund Curll]. The Kingdom of Horses. Being a Key to Gulliver's Voyage to the Houyhnhnms. In a Fourth Letter to Dean Swift. London: Printed in the Year 1726. 28 pages.

Contemporary polished calf. Covers with gilt double fillet border, spines ruled in gilt in compartments with five raised bands and brown leather labels ruled and lettered in gilt (the label has gone missing from Volume II label), board edges decoratively tooled in blind, sprinkled edges. The bindings are slightly worn, with board edges and spine extremities rubbed; the joints of Volume I are starting at the head of the spine; the joints of Volume II are cracking, but still sound, the head and foot of spine are chipped, and the headband is loose at the foot of spine. Occasional browning (especially at the end of Part II); a few small mostly marginal stains or ink spots. Volume I with slight dampstaining to the front endpapers and to the frontispiece portrait; tiny wormtrack in the gutter margin of the Key at the end of Part II. In Volume II, leaves C2 and C3 (pages 19/20 and 21/22) of the Key at the end of Part IV are slightly darkened and creased at the upper margin. Despite these minor flaws, this is an excellent copy, extremely scarce bound together with the four Keys (only one copy has sold at auction since 1975). Early ink stamp with the initials "A G" on the front pastedown of each volume and early ink signature of Amos (?) Goddard on the front free endpaper. Ink signature of "L. M. Bukowski, Jr. 1970" on the verso of the front free endpaper of each volume.

"Gulliver's Travels has given Swift an immortality beyond temporary fame. All those who had been fascinated by the realism and vivid detail of Defoe's Robinson Crusoe were captivated again, even though they knew that Gulliver must be fiction. The brilliance and thoroughness with which his logic and invention work out the picquancies of scale involved by the giant human among the Lilliputians, and then by a minikin Gulliver among the Brobdingnagians, ran away with the author's original intention. Gulliver's Travels has achieved the final apotheosis of a satirical fable" (Printing and the Mind of Man).

The four Keys were written anonymously by Edmund Curll and published by Henry Curll. The Key to Part I is signed at the end: Corolini, di Marco. The remaining Keys are signed at end: C.D.M. The four Keys were issued together in 1726 with the general title: Lemuel Gulliver's Travels into Several Remote Nations of the World. Compendiously methodized, for Publick Benefit; with Observations and Explanatory Notes throughout.

"Ralph Straus, The Unspeakable Curll, 1927, p. 283 says that "The Evening Post, Sept. 21, 1727 has this advertisement: A Compleat Key to Gulliver's Travels. A New Impression. (This is probably the above [Lemuel Gulliver's Travels into Several Remote Nations of the World. Compendiously methodized, for Publick Benefit; with Observations and Explanatory Notes throughout. London: 1726], after the four 'Keys' had first appeared separately.)-These Keys (without the frontisp., the general title, and the 2 pp. of Verses, and the 16 pp. advs. at the end) are sometimes found bound up with the genuine Travels, one at the end of each of the four Parts. It seems that this practice first began with the B edition (No. 291, ante)" (Teerink 1215).

"Curll had a special reason to salute Gulliver's Travels. It gave him the opportunity to issue a key to the book in four parts, published between late November and the end of the year...The work took the form of letters to Swift, with paraphrase, quotation and impertinent commentary intermixed, but its chief purpose lay elsewhere: 'It was a neat project, which skilfully advertised a number of recent Curll publications, regretting that they were not to be found in the libraries of the various Royal palaces which Gulliver visited' (Straus, p. 280)...Corolini offers a few unexpected insights: unusually for the time, he has seen that the storms in the South Sea at the beginning of the work have oblique reference to the great Bubble of 1720. The inclusion of this observation allows a note on Swift's poem The Bubble...In fact, the Key functions as a kind of advertising brochure, in which the writer takes every chance to puff various items of Swiftiana on sale at the bookshop, however contrived the link...The coup de grace came when the four parts were reissued in a single volume as Lemuel Gulliver's Travels into Several Remote Nations of the World. Compendiously methodized, for Publick Benefit; with Observations and Explanatory Notes throughout. Here, the first few lines of the title are set out in such a way that a careless buyer might easily suppose that he or she was purchasing the original rather than the shameless spin-off " (Paul Baines and Pat Rogers, Edmund Curll, Bookseller (2007), pages 178-179).

ESTC T139452, and T2486, T2487, T2484, and T2485 (the four Keys). Grolier, 100 English, 42. Printing and the Mind of Man 185. Rothschild 2108. Teerink 291, and 1215 (the four Keys). See also Ralph Straus, The Unspeakable Curll, page 116, note 2.

Anthony Trollope. The Last Chronicle of Barset. London: Smith, Elder and Co., 1867.

First edition. Two octavo volumes, complete. 384; 384 pages. Illustrations. Illustrated frontispieces.

Half-bound in polished calf over marbled paper boards by R. Nelson. Red and black title labels to spine. Gilt lettering and rules. All edges marbled. Leather is scarred and worn; spines slightly faded. Head of spine of Volume II snagged. Marbled paper on boards is rubbed and torn, with some surface loss. Hinges cracked, but bindings quite sturdy. Scattered foxing throughout both volumes. Overall, very good.

Originally issued in thirty-two weekly parts, this is the first issue in book form. Barset was Trollope's personal favorite of his novels: "I regard this as the best novel I have written [...] there is a true savour of English life all through the book."

Sadleir 26.

Mark Twain. Adventures of Huckleberry Finn (Tom Sawyer's Comrade). New York: Charles L. Webster and Company, 1885.

First American edition, early issue, with these points: title-leaf is a cancel (BAL second state, the earliest state found in published copies); p. [13], illustration captioned "Him and Another Man" is listed at p. 88 (BAL first state); p. 57 has the misprint "with the was" (BAL first state); p. 283 is original conjugate leaf (BAL first state); on p. 155, the second "5" of page number extends below the first two numbers (BAL third state); and the portrait frontispiece has the Heliotype Printing Company imprint with tablecloth (BAL first state). Square octavo. 366 pages. 174 illustrations. Portrait frontispiece.

Early twentieth-century half brown morocco over slate moiré silk boards. Spine has decorative gilt and two small jade green leather onlays and one raised band. Marbled endpapers. Top edge gilt. Pages are somewhat toned with occasional foxing, light staining, and some thumb smudges. Short closed tears to a couple of pages; final printed leaf has a large chip to top edge (not affecting text) which has been repaired/filled. Eugene Field's purported bookplate to front free endpaper. Handwritten notation by Eugene Field II at rear. Gift inscription from Harry D. Sickles in pencil on flyleaf. A handsome binding of a book in very good condition.

Ostensibly Eugene Field's copy, with a bookplate bearing his name and "Eugene Field's Copy" printed in gilt on the spine. On the verso of a terminal blank leaf is this notation, written in green ink: "This book came from the library of my father, Eugene Field. - Eugene Field II, 6/3/19." Eugene Field the elder was a well-known writer of children's verse (best-known for his poem "Wynken, Blinkyn, and Nod"). Field's son, Eugene Field II was not so beloved a figure. The younger Field was a notorious forger of Abraham Lincoln's signature (and, also, incidentally, of his own father's and grandfather's signatures as well as Mark Twain's signature).

In his book Great Forgers and Famous Fakes, Charles Hamilton writes: "Sometime in 1930 or 1931, Eugene Field II apparently formed a partnership in the manufacture of Lincoln-signed books, pamphlets, sheet music and maps with Harry D. Sickles, a Chicago forger then living at the Congress Hotel. Sickles was not as skilled as Field, but his items had an equally good provenance." The pair of forgers were extremely successful in their scams. Not only does this book contain the signature of master forger Eugene Field II, it also has the signature of his partner in forgery, Harry D. Sickles. The book apparently once belonged to Sickles, with a gift inscription in pencil that reads: "To Roy from Harry D. Sickles 1926." Given the unreliability of both men, it's debatable whether this book actually did come from the elder Field's library, but the association value of famed forgers Field and Sickles certainly adds a great deal of interest to this classic work by Twain.

BAL 3415, Hamilton, p.14.

Mark Twain [Samuel L. Clemens]. The Adventures of Tom Sawyer. Hartford: The American Publishing Company, 1876.

First edition, first printing. Half-title and frontispiece on different leaves. Follows the BAL collation. Wove paper. Octavo. xvi, [275].

Original full sheep. Expertly recased, retaining original boards and much of the original backstrip. Raised bands. Morocco title label with gilt lettering to spine. New endpapers (matching the peach color of the original) and fly leaves. Moderate foxing throughout, a few pages dog-eared. Very good.

BAL 3369.

John Updike. Three Signed Books in the Rabbit Series, including: Rabbit Redux. New York: Knopf, 1971. First edition. Signed by Updike on title page. Octavo. 406 pages. [and:] Rabbit is Rich. New York: Knopf, 1981. First edition. Signed by Updike on title page. Octavo. 467 pages. [and:] Rabbit at Rest. New York: Knopf, 1990. First edition. Signed by Updike on title page. Octavo. 512 pages. All volumes in this lot in very good or better condition.

Kurt Vonnegut. Deadeye Dick. [New York]: Delacorte Press, [1982].

First edition. Front free endpaper is signed by Vonnegut who has also drawn a wonderful doodle of his profile. Octavo. 240 pages.

Publisher's blue cloth with gilt titles. Minimal fading along top edge. Bookplate on front pastedown. Dust jacket is mildly toned along the edges and has a quarter-inch tear to bottom edge of rear panel. A fine copy.

Alice Walker. The Color Purple. New York: Harcourt Brace Jovanovich, [1982].

First edition, first printing, with the called for "B C D E" under the words "First edition" on the copyright page. Signed by Walker on title page. Octavo. 245 pages.

Publisher's purple quarter cloth with silver spine titles. Modestly darkened along the edges. Very slightly cocked. Faint soiling to page edges. Fine in dust jacket.

Winner of the 1983 Pulitzer Prize for Fiction.

Walt Whitman. Leaves of Grass. Boston: James R. Osgood and Company, 1881-82.

Seventh edition, known generally as the "suppressed Boston edition." One of 1,010 first printing copies of such with Whitman portrait at page 28. Twelvemo. 382 pages.

Publisher's original mustard cloth with gilt titles and spine decoration. Minimal shelf wear, dust-soiling, rubbing, and spotting to boards and textblock edge. Cloth bubbling in a few tiny areas on the boards. Spine somewhat darkened. All in all, a tight copy in near fine condition.

Previous owner Daniel Parkhurst's signature dated 1881 on the title page and front flyleaf, where he has additionally written out eleven lines of Whitman's "To a Certain Civilian." Parkhurst was an artist and author of art instruction books.

"Whitman's bad luck with Boston publishers held until the end, for soon after James R. Osgood and Company brought out the 1881-82 edition of Leaves of Grass the District Attorney of Boston threatened prosecution if the book were not withdrawn from the mails or expurgated. When Whitman refused permission to delete any lines whatever, Osgood abandoned publication and turned the plates over to the author, who soon secured a new publisher in Rees Walsh and Company, Philadelphia, and the book was reissued in 1882." (Gay Wilson Allen: The New Walt Whitman Handbook, p. 147)

BAL 21418

Walt Whitman. Two Rivulets Including Democratic Vistas, Centennial Songs, and Passage to India. Camden, New Jersey, 1876.

First edition of the Author's Edition, one of only 100 copies with the blank leaf between "As a strong bird on pinions free" and "Memoranda during the war." Tipped onto an inserted leaf with a printed three-line caption is an albumen photograph of Whitman with his signature in ink, dated 1880. Octavo. 84, 18, x, 14, 68, iv, 120 pages, plus one-page publisher's ad at the rear.

Recently bound by Sangorski and Sutcliffe in full green polished morocco. Raised bands. Gilt lettering to spine. Leather turn-ins with gilt borders. Fine.

"Two Rivulets was a hodgepodge of poetry and prose - and of printing methods also. The New Republic shop set up a new Preface and fourteen poems collected for the first time - three for the last time. To carry out the motif of the title poem, 'Two rivulets side by side,' Whitman printed poems on the top half of the page and prose 'Thoughts for the Centennial' on the second half: observations on Democracy, nationalism, Darwinism, manners, and other pertinent topics" (Allen). BAL notes that in this Author's Edition, "the photograph is usually autographed by Whitman," as is the case here.

Gay Wilson Allen, The New Walt Whitman Handbook, 142. BAL, 21413.

Tom Wolfe. The Electric Kool-Aid Acid Test. New York: Farrar Straus and Giroux, [1968].

First edition. Signed by Wolfe on title page. Octavo. 416 pages.

Publisher's white cloth with multi-colored spine titles. Modestly darkened edges with softly bumped spine ends. Faint fading to top page edge. Dust jacket is lightly rubbed with minor wear to the edges. A near fine copy.

The Electric Kool-Aid Acid Test established Tom Wolfe as one of the leading exponents of the New Journalism with his much-acclaimed literary non-fiction which became a touchstone of the late-'60s LSD-fueled hippie movement. The story chronicles the madcap adventures of author Ken Kesey and his Merry Pranksters as they experiment with the effects of LSD and other mind-expanding drugs, all while grooving to the acid rock sounds of the Grateful Dead in their day-glo school bus.

Tom Wolfe. The Right Stuff. New York: Farrar Straus Giroux, [1979].

First edition. Signed by Tom Wolfe on title page. Signed by John Glenn and Chuck Yeager on half-title page. Octavo. 436 pages.

Publisher's gray cloth with stamping in silver, blue, and red. Dust jacket is slightly rubbed with edge toning. A fine copy.

Two central figures of The Right Stuff have signed this copy: John Glenn is one of the original seven Mercury astronauts and Chuck Yeager is perhaps the greatest test pilot in history and the first individual to break the sound barrier.

Tom Wolfe. Two Books, including: The Kandy-Kolored Tangerine-Flake Streamline Baby. New York: Farrar Straus and Giroux, [1965].First edition. Signed by Wolfe on title page. Octavo. 339 pages. Modestly darkened edges with softly bumped spine ends. A couple of small spots on fore-edge. Dust jacket is mildly rubbed. [and:] The Pump House Gang. New York: Farrar Straus and Giroux, [1968]. First edition. Signed by Wolfe on title page. Octavo. 309 pages. Softly bumped corners. Dust jacket is mildly rubbed with a one-half-inch tear at bottom edge of rear joint. Both are in very good or better condition.

Virginia Woolf. A Room of One's Own. New York: The Fountain Press / London: The Hogarth Press, 1929.

First edition, limited to 450 numbered copies, of which this is number 257. Signed by Virginia Woolf on the half-title page in her customary purple ink. Small royal octavo. 159 pages.

Original maroon cloth boards, lettered in gold on spine. Top edges uncut, fore-edge and bottom edge partially trimmed. Spine has faded, as has a 1.5-inch strip across the top of the front board. A faint, circular moisture stain, measuring 1.25 inches in diameter, to front board. Very minor rubbing to extremities. Pages evenly toned throughout. Neat inked name of previous owner on front free endpaper. A solid copy in very good condition.

An extended essay based on a series of lectures Woolf delivered at two women's colleges at Cambridge University in 1928 in which she examined the societal obstacles women writers faced (and, perhaps, continue to face) in the literary arena. "A woman must have money and a room of her own if she is to write fiction." A feminist classic by one of the pre-eminent modernist writers.

Three Fabulous Nineteenth-Century Sets of Literature, including: E. C. Gaskell. The Life of Charlotte Brontë. London: Smith, Elder, and Company, 1857. Second edition. Two octavo volumes. Contemporary half morocco over marbled boards. Raised bands. Gilt lettering to spines. Top edges gilt. Marbled endpapers. [and:] Nathaniel Hawthorne. The Marble Faun. Boston: Ticknor and Fields, 1860. First edition, first issue. Two octavo volumes. Original cloth over boards. Very good. [and:] James Fenimore Cooper. The Works of James Fenimore Cooper. The Beacon Edition. Boston: Colonial Press Company, [n.d.]. Thirty-two octavo volumes. Some sunning to spines. Very good.

Four Books of Poetry and Prose, including: Robert Browning. The Poetical Works of Robert Browning. London: Smith, Elder, and Company, 1902. Two octavo volumes in one. xvi, 748, vii, 786 pages. Early full polished morocco. Green and brown inlaid morocco peacock designs and title label to front board and spine. All edges gilt. Marbled endpapers. Inked sentiment of previous owner. Foxing to endpapers. Very good. [and:] Henry Wadsworth Longfellow. The Courtship of Miles Standish. Boston: Ticknor and Fields, 1858. First edition. Octavo. iv, 215. Ad for Waverley novels bound in front. Twelve pages of ads at rear. Original blind-stamped cloth over boards. Very good. [and:] Jonathan Swift. A Tale of a Tub. London: Thomas Tegg, 1811. Octavo. 322 pages. Six engraved illustrations and frontispiece by Rhodes after Thurston, all hand-colored. Some foxing throughout. Contemporary full polished calf over boards. New backstrip with raised bands and gilt lettering; later endpapers. Very good. [and:] [William Butler Yeats, editor]. Fairy and Folk Tales of the Irish Peasantry. London: Walter Scott, 1888. First edition. Octavo. xviii, 326 pages. Six pages of ads at rear. Lacking errata sheet. Rubber presentation stamp to front pastedown. Original dark blue cloth over boards. Slightly cocked binding. Hinges cracked but holding. Chipping to portions of the spine. Very good.