The Library of Roger Wagner - PBA Galleries

Sale 424
Thursday, March 18, 2010
1:00 PM
The Library of Roger Wagner
Auction Preview
Saturday, March 13, by appointment
Monday, March 15, 9:00 am to 5:00 pm
Tuesday, March 16, 9:00 am to 5:00 pm
Wednesday, March 17, 9:00 am to 5:00 pm
Thursday, March 18, 9:00 am to 1:00 pm
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Administration
Roger Wagner, Chairman
Scott Evans, President
Shannon Kennedy, Vice President, Client Services
Dan Sweetnam, Shipping Clerk
Consignments, Appraisals & Cataloguing
Bruce E. MacMakin, Senior Vice President
George K. Fox, Vice President, Market Development & Senior Auctioneer
Gregory Jung, Senior Specialist
Erin Garland, Specialist
Marketing
Maureen Gross, Vice President of Marketing
Photography & Design
Chad Mueller, Photographer
March 18, 2010 – The Library of Roger Wagner
Winter - Spring Auctions, 2010
April 1, 2010 – Americana with Travel & Exploration
April 15, 2010 – Fine Books in All Fields with the Winky King Collection of the Wizard of Oz
April 29, 2010 – Sporting – Angling – Natural History
Schedule is subject to change. Please contact PBA or pbagalleries.com for further information.
Consignments are being accepted for the 2010 Auction season. Please contact Bruce MacMakin at
bruce@pbagalleries.com.
Bond # 14425383

Section I: Fine Books, Lots 1-62
Section II: Autographs & Manuscript Material, Lots 63-93
Section III: Henry Miller – Manuscripts, Books & Related Material, Lots 94-214
Section I: Fine Books
DOHENY COPY OF ST. THOMAS AQUINAS, 1482
1. AquinAs, ThomAs, sAinT. Summa Theologica Pars I. 198 leaves (incl. front blank). A4, a10, b-f8, g6,
h8, i-n6, o-u8, x-z6, z6, c6, h8, aa6. Text in two columns, gothic types. (folio) 11¾x8¼, 18th century
half calf & speckled boards.
Venice: Antonius de Strata de Cremona, 1482
The first part of St. Thomas Aquinas’s great work, the culmination of scholastic philosophy,
the harmony of faith and reason. This first part is often considered the most important,
his considerations of God. With the old
bookplate of W.H.H. Newman of Buffalo,
N.Y., and the more recent small leather
bookplate of Estelle Doheny. The Doheny
library was legendary, formed with the
riches of her husband, oil tycoon Edward
L. Doheny, Sr., a principal in the Teapot
Dome Scandal. The character Vern Roscoe
in Upton Sinclair’s 1927 novel Oil! (the
inspiration for the 2007 film There Will Be
Blood) is loosely based on Doheny. Two
old booksellers’ catalog entries affixed to
the front pastedown. Laid into the volume
is a small typed card, of the St. Mary’s
of the Barrens Rare Book Collection,
Perryville, Missouri, indicating the book to
the “A perfect copy of a rare edition, only
two copies of which are recorded in this
country.” Indeed, OCLC/WorldCat lists only
two copies of this edition, at the Huntington
Library and the Newberry Library. Goff
T-199. Covers rubbed and worn, spine worn,
joints repaired; light dampstaining to first
4 leaves, top margin of the first half of the
contents with small and light dampstain,
very minor worming to some of the gutter
margins, still in very good condition, the
contents quite clean and fresh, a rare
incunabular printing of one of the most
Lot 1
influential medieval religious philosophers.
(10000/15000)
Page 1

FIRST ONE-VOLUME EDITION OF ARISTOTLE’S WORKS, 1496
2. ArisToTle. Opera. [4], 403, [1] leaves (408 leaves in all). aa4, a-g8, h6 (with h6 a blank), i-s8, t6,
u-x8, y6, z8, &8, ?8, rx8, A8, B-C6, D-N8, O6, P-Z8, AA-OO8, PP-QQ6. With woodcut diagrams
in the text; numerous woodcut decorative initials; large woodcut printer’s device on final leaf. (folio)
11¾x7¾, recent blindstamped calf in period style, raised spine bands, leather ties.
Venice: Joannes & Gregorius de Gregoriis de Forlino for Benedictus Fontana, 13 July 1496
The first one-volume edition of Aristotle’s works, which, despite its claim to
comprehensiveness, does not include the biological works. Nonetheless, a complete copy of
Aristotle’s Opera from the fifteenth century; all incunable editions of Aristotle in Latin are
rare, and complete Latin editions of the Opera most of all. There is early ink marginalia and
occasional underlining in the text. x1 (f. 157) misbound after D8; f. 158 (x2) misnumbered 157.
Goff A-966. Tiny wormhole to first several and last several leaves, affecting a few letters; still in
fine condition, quite clean.
(20000/30000)
SIGNED BY MANHATTAN PROJECT SCIENTISTS
3. (Atomic Bomb - Manhattan Project) smyTh, h[enry] D[eWolf]. A General Account of the Development
of Methods of Using Atomic Energy for Military Purposes under the Auspices of the United States Government,
1940-1945. Lithoprint typescript. Approx. 200 typed pp. 10½x8, original wrappers. True First Edition.
Washington: Adjutant General’s Office, August 1945
True first edition of this seminal report, predating the edition published for public consumption
by Princeton University. This was George M. Murphy’s copy, with his ink name on the front
wrapper, dated 24 September 1945; Murphy was the Associate Director of the Manhattan
Project. He has also signed the title-page, as also have project participants W. F. Libby (who one
the Nobel Prize for Chemistry in 1960 for his method to use Carbon 14 for age determination
in archeology, geology, geophysics and other branches of science), R. H. Crist, F. B. Brown,
George Scatchard, Francis Miller, Bruce Miller, and Graham Cook. H.D. Smyth was Chairman
of the Department of Physics ot Princeton University and Consultant to Manhattan District of
U.S. Corps of Engineers. Also included is another copy, in yellowish cream wrappers (which are
possibly later), unsigned. The signed copy has light soiling to the wrappers, else very good.
(4000/6000)
Lot 2 Lot 3
Page 2

Lot 4
Page 3
4. BAcon, frAncis. Of the Advancement and
Proficience of Learning or the Partitions of Sciences
IX Bookes. Written in Latin by the Most Eminent
Illustrious & Famous Lord Francis Bacon Baron of
Verulam Vicont St Alban Counsilour of Estate
and Lord Chancellor of England. Interpreted by
Gilbert Wats. [38] (including frontispiece &
engraved title), 60, [14], 477 [i.e. 479], [20] pp.
Copper-engraved frontispiece & title-page.
(folio) 11x6¾, period calf, rebacked with
later leather, later endpapers. First Edition
in English of the Expanded Edition, Second
Issue.
Oxford: Printed by Leon: Lichfield, printer
to the University, for Rob: Young, & Ed.
Forrest, 1640
Translation of the De Augmentis
Scientiarum (first part of the Instauratis
Magna) which is an enlargement of
the Advancement of Learning, 1605.
STC 1167. With ownership signatures/
inscriptions on front flyleaf of H.
Cartwright, 1754, and G.W. Southouse,
1836; on the back of the frontispiece is
the early signature of Robert Dangerfield.
Bookplate of Viscount Birkenhead.
Provenance: From the Library of Arthur
M. Ellis. Some staining and wear to the
covers; a very nice copy.
(1000/1500)
5. BenThAm, Jeremy. Rationale of Judicial Evidence, specially applied to English Practice from the Manuscripts of
Jeremy Bentham, Esq. Edited by John Stuart Mill. 5 volumes. 8¼x5¼, half morocco & marbled boards,
spine gilt lettered, edges marbled, marbled endpapers. First Edition.
London: Hunt & Clarke, 1827
Bentham (1748-1832), philosopher, economist and jurist, founded the doctrine of utilitarianism.
He was deeply involved as a leader with the Philosophical Radicals, along with James and John
Stuart Mill, and with them founded and edited the Westminster Review, which served as an
outlet for their reformist ideas. Bentham died in London on June 6, 1832 and, in accordance
with his wishes, his body was dissected in front of friends and his skeleton, fully clothed and
provided with a wax head (the original was mummified), is kept in a glass case at University
College, London, which he helped to found. A rare and important set. Bindings rubbed, corners
showing, some short tears to spine heads & tails of a couple volumes; bookplates of Henry W.
Taft to front pastedowns, two or three hinges cracked, else a very good, sturdy set.
(1500/2500)
Each lot is illustrated in color in the online version of the catalogue.
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6. (Bible in Hebrew) [The Five Books of Moses]. Text in Hebrew. 15¼x10¼, full linen, slipcase.
Berlin: Soncino Gessell-schaft, 1929
Fine printing, considered the most beautiful Hebrew printing of the Pentateuch. Slipcase a little
sunned & soiled; vol. spine slightly sunned, else fine.
(1500/2500)
7. (Bible in Hebrew - Facsimile) * Facsimile of the Kennicott Bible. 2 volumes. Introduction by Bezalel
Narkiss and Aliza Cohen-Mushlin. Profusely illustrated throughout from the original illuminated
pages of the Kennicott Bible. The Bible measures: 11½x9; introduction text volume is: 12¼x10, both
full calf, decoratively embossed, housed together in a blue cloth clamshell box, interior lined with blue
velvet. No. 58 of 500 hand-numbered copies. Facsimile Edition.
London: Facsimile Editions / Bodleian Library of Oxford, 1985
A masterpiece and one of the most beautiful illuminated Hebrew manuscript bibles in existence,
in a handsome binding and with exquisite facsimile reproduction illustrations from the original
illuminated pages. The original bible, together with Rabbi David Kimchi’s grammatical treatise,
was copied by the scribe Moses Ibn Zabrara in 1476 at the commission of Isaac, the son of
Don Solomon di Braga of La Coruña in northwestern Spain. Executed almost twenty years
before the final expulsion of the Jews from Spain in 1492, this manuscript shows what great
importance the Jewish communities attached to the perpetuation of their heritage by investing
in the production of an accurate and beautifully adorned Bible. The Kennicott bible is named
after Benjamin Kennicott, the English Christian Hebraist (1718-1783) of Oxford, whose
pioneering work was published in his “Dissertatio Generalist.” Even as a facsimile, this is
an extremely important specimen of Jewish art, and includes many carpet pages, decorated
arches, and biblical miniatures, all of which are wonderful examples of Jewish art in Spain of
that period. Signed by the publisher on a loosely laid in limitation leaf (as issued). Produced by
the Italian master printer Luigi Canton, in a nearly perfect reproduction of the intricate gold
and silver colors throughout the hundreds of pages. Includes a typed letter signed by David
Patterson of Oxford Centre for Postgraduate Hebrew Studies; two illuminated facsimile leaves
with gilt coloring; the prospectus; opening instructions; publisher’s gift certificate; order forms
and other related and issued loose paper items, all inside the publisher’s booklet will other
illustrations. Slight fraying to box; else fine.
(3000/4000)
Lot 6 Lot 7
Page 4

8. ByrD, richArD evelyn. Skyward. [2], xv, [1], 348 pp. With 58 plates with printed tissue guards
including frontispiece portrait after a pencil sketch & others from photographs; portions of the
fabric from the Josephine Ford with gilt lettered description mounted on front pastedown. 9¾x6¼,
half gilt-ruled blue cloth & boards, gilt lettered spine. No. 463 of 500 copies. “Author’s Autograph
Edition.”
New York: Putnam’s, 1928
Signed by Byrd to the limitation page. Pieces of the plane, which flew over the North Pole on
May 9th, 1926, are naturally scarce. Corners ever so slighly worn, else near fine.
(1200/1800)
Lot 8
You can bid absentee directly from the item description in
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Or bid during the auction using the Real-Time Bidder.
Page 5

NURSERY “ALICE” INSCRIBED TO QUEEN VICTORIA’S
GRANDDAUGHTER PRINCESS ALICE
9. cArroll, leWis. The Nursery “Alice”: Containing Twenty Coloured Enlargements from Tenniel’s Illustrations
to “Alice’s Adventures in Wonderland” with Text Adapted to Nursery Rhymes by Lewis Carroll. [10], 56, [5]
+ [2] pp. Chromolithographed frontispiece & 19 chromolithographed illustrations in the text from
Tenniel’s designs. 10x7½, original cloth-backed chromolithgraphed boards designed by E. Gertrude
Thomson.
London: Macmillan, 1890
Presentation copy inscribed by Carroll to
the granddaughter of Queen Victoria on the
half-title in blue ink, “Presented to H.R.H. the
Princess Alice by the Author, Mar. 25, 1890.”
With the bookplate of Alice Mary Victoria
Augusta Pauline on the front pastedown.
This is probably the highest level of a royal
presentation copy of this book, the association
made even more marvelous by the recipient
being an “Alice.” There were several trial issues
of the book in 1889. Avery 34. With modern
custom-made folding cloth box with leather
spine label. Some rubbing and soiling to the
boards, top corner of front board creased,
corners showing; top right quarter of the
second leaf of “An Easter Greeting” at the end
of the book torn off, affecting 9 lines of the
text, else very good.
(8000/12000)
HAND-PAINTED PORCELAIN “ALICE” MENU CARDS
USED AT TENNIEL FAMILY DINNERS
10. (Carroll, Lewis) Tenniel, John. Six Hand-Painted Alice in Wonderland Porcelain Plaques used as menu
cards at Tenniel family dinners. Six small hand-painted porcelain plaques by John Tenniel, each with its
own wrought-iron miniature easel. Each has a character from Alice’s Adventures in Wonderland or
Through the Looking-Glass taking up about a quarter of the plaque, with the remainder blank, and
“Menu” written at the top of each. The plaques measure 5x3½; the easels are about 7½” high.
No place: No date
Lot 10
Lot 9
Marvelous and unique group of original hand-painted
plaques used as menu cards for the Tenniel family
dinners, descended in the family over the years. The
night’s fare was evidently written in the blank spaces
with a crayon or grease pencil, then wiped off after the
meal was completed. The characters pictured are The
White Rabbit (with his pocket-watch), the Mock Turtle
(crying away), the Frog Footman (delivering a letter), the
Walrus (without the Oysters and the Carpenter), the Leg
of Mutton (taking a bow), and a frog with a rake. The
plaques have a small wooden case with a removable top,
on which is a label with writing “China (Delicate)”. The
case top has two sides missing, some other wear. The
White Rabbit’s ears have rubbed off (alas), as has the
word Menu on that plaque, four other plaques with the
word Menu partially rubbed, otherwise in fine condition,
unchipped, the pictures bright.
(20000/30000)
Page 6

11. cAsAnovA, JAcques. The Memoirs of Jacques Casanova. 6 vols. Translated and Edited by Arthur
Machen. A chapter by Arthur Symons. 8½x5¾, gilt-lettered blue cloth, gilt-lettered black cloth spine
labels. One of 500 sets.
[No place]: Privately Printed, [1902]
From the rare unabridged London edition of 1894, translated by Machen. Light rubbing to
extremities, spines a bit sunned; else a near fine and bright set.
(400/600)
12. [cox, nicholAs & richArD Blome]. The Gentleman’s Recreation, in Four Parts. Viz. Hunting, Hawking,
Fowling, Fishing. Collected from Ancient and modern Authors Forrein and Domestick, and rectified by the
Experience of the most Skilfull Artists of these times. [14], 284 + [2] ad pp. Illustrated with 3 (of 4) folding
copper-engraved plates; copper-engraved added pictorial title-page. (12mo) 6½x4¼, modern quarter
morocco & marbled boads, spine lettered in gilt. First Edition.
London: Printed by C. Fisher, for Maurice Atkins, 1674
Rare first edition of this important and hightly influential work, with 57 pages on angling.
Lacks the hunting plate, as is often the case. Westwood & Satchell p.68; Wing C6702. With the
bookplates of Joseph Delaplaine Bates, Jr., and Jeffrey Norton. Rubbing to board edges; some
darkening and minor soiling to the contents, else very good.
(1500/2500)
13. (Custer, George Armstrong & The Massacre) Scrapbook. Scrapbook formed by using the first
half of Public Instructions and School Law, Michigan, 1852, into the first third of which have been
pasted numerous newspaper clippings regarding the Custer fight and its aftermath, nearly all from
1876. Cloth, spine lettered in gilt.
Various places: Various dates
Interesting selection of contemporary accounts of the massacre, the reasons for it, the folly
of our Indian policy, the brave conduct of the soldiers, etc. Custer would have been attending
school in Michigan at the time the book on school law was published. Some wear to covers,
including a split front joint; front hinge repaired with cloth tape; else very good.
(200/300)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.
Page 7

FIRST EDITION OF “THE MOST IMPORTANT BIOLOGICAL BOOK EVER WRITTEN”
14. DArWin, chArles. On the Origin of Species by Means of Natural Selection, or the Preservation of the
Favoured Races in the Struggle for Life. ix, [1], 502 + 32 ad pp. Folding lithographed diagram. 7¾x4½,
original blindstamped green cloth, spine lettered in gilt & decorated with 2 ornate gilt triangles. First
Edition.
London: John Murray, 1859
First edition of “certainly the most important biological book ever written” (Freeman). This
first edition (often called the first issue, since the second edition was also dated 1859 with
few differences) has the two quotations (not the three of later editions) on the verso of the
half-title (p.ii); the misprint “speceies” on
p.20, line 11; and the whale bear story on
p.184. As Freeman notes, “There is only
one issue of the first edition, the text being
identical in all copies. There are, however,
small differences in the cases and in the
inserted advertisements....” There were 1250
copies of the first edition printed, of which
only about 1170 copies were available to
the trade, the remainder being reserved for
presentation or review. It has often been
stated that all copies were sold the first day
of publication, but Freeman doubts the
verifiability of this, “indeed once copies had
reached the bookshops, up and down the
country, how could anyone know whether
they were sold or not.” At any rate, the book
was rapidly consumed by the public, and
swiftly reprinted. This copy is (apparently)
in Freeman’s “b” binding state, with the
M in Murray in the spine imprint below
and between the N and D on London, but
mostly the N. The inserted advertisements
at rear are dated June 1859, with the text not
surrounded by a frame. Light rubbing and
mild bumps to spine ends and corner, ¼”
spot to front cover; front hinge neatly split
through at endpapers with the free endpaper
& half-title detached, rear hinge cracked and
nearly split; still a very nice, unsophistcated
copy, contents clean & fresh, covers fairly
bright, preserved in folding cloth box.
(70000/100000)
Lot 14
60 YEARS OF THE STRAND MAGAZINE REPLETE WITH SHERLOCK HOLMES
15. Doyle, ArThur conAn, conTriB. The Strand Magazine. 73 volumes. Complete run from January
1891-June 1927. (6 issues bound together per volume.) Illustrated by Sidney Paget, Walter Paget,
Frank Wiles, Howard Elcock, and others. 10x7¼, original pictorial cloth, spines gilt-lettered. All
of the Sherlock Holmes Stories and Novels as Published in The Strand, Mostly Being the First
Appearances in Print. Plus: Further 44 volumes of The Strand. Nearly complete run from July
1927-March 1950 (lacking only 8 issues). 5 volumes in original cloth; 9 volumes in library cloth; 30
separate monthly issues in wrappers. Together, 117 volumes.
London: George Newnes, 1891-1951
The Sherlock Holmes stories were originally divided into series as follows: Adventures of Sherlock
Holmes (July 1891-June 1892 and December 1892-December 1893); The Hound of the
Baskervilles. Another Adventure of Sherlock Holmes (August 1901-April 1902); The Return of
Sherlock Holmes (October 1903-December 1904); The Valley of Fear. A New Sherlock Holmes
Page 8

Story (September 1914-May 1915); [Reminiscences and New Adventures of Sherlock Holmes]
(September 1908-December 1911); His Last Bow. The War Service of Sherlock Holmes (September
1917); [New Sherlock Holmes Stories] (October 1921-April 1927). These would become
the collected editions known as “Adventures of Sherlock Holmes”, “Memoirs of Sherlock
Holmes”, “The Hound of the Baskervilles”, “The Return of Sherlock Holmes”, “The Valley of
Fear”, “His Last Bow”, and “The Case-Book of Sherlock Holmes”. The relationship between
The Strand and Arthur Conan Doyle was phenomenally successful for both parties. Although
Sherlock Holmes had already been introduced to the public in “A Study in Scarlet” and “The
Sign of Four”, it was not until his appearance in The Strand that he gained both unprecedented
popularity and a visual identity (thanks to Sidney Paget, who was also the first to portray him
with a deerstalker cap). The first story that Doyle submitted to The Strand, “A Scandal in
Bohemia” appeared in July, 1891. By December 1891, Doyle himself was profiled as a celebrity.
Approximately 20 of the volume spines are rubbed or faded, but most are quite bright, some
shaken and a little internal foxing; many of the wrapper-bound issues with wear and chipping to
spines, a few are perished, still an excellent run; very good or better overall - extremely difficult
today to find.
(6000/9000)
SIGNED BY ALBERT EINSTEIN
16. einsTein, AlBerT. Mein Weltbild. 269 pp. Black cloth lettered in gilt. First Edition.
Amsterdam: Querido Verlag, 1934
Lot 16
Lot 15 (partial)
Signed by Einstein on the front free endpaper,
dated 1934. The great physicist’s “Worldview”
signed by him the year of publication. Rubbing to
the spine, front hinge a little weak, else very good
or better.
(3000/5000)
Page 9

17. (Eldredge, Zoeth Skinner) 51 printing blocks from Zoeth Eldredge’s books. 51 printing blocks of various
sizes ranging from 2½x2½” to 14¾14¾” including maps, portraits, facsimiles, etc.
No Place: [c. 1912-15]
Original printing blocks for illustrations from Eldredge’s “Beginnings of San Francisco” (1912)
and “History of California (1915). Most still wrapped in craft paper with a printed example of
the block enclosed within, as returned from the printer. Near fine to fine.
(1000/1500)
18. (Everest) hunT, John. Our Everest Adventure: The Pictorial History from Kathmandu to the Summit.
Profusely illustrated from photographs. 9½x7¼, cloth, jacket. First Edition.
Leicester: Brockhampton Press, 1954
Lot 18
Lot 17
Page 10
Signed on the front free endpaper by
expedition members John Hunt, who was
the leader, Ed[mund] Hillary, George Lowe,
Alfred Gregory, Michael Westmacott,
George Band, Charles Wylie and Michael
Ward, by the Times correspondent James
(Jan) Morris, and team reserve J.H. Emlyn
Jones. Pictorial account of the first
successful ascent to the top of Mount
Everest, the highest mountain in the world.
Light shelf wear, jacket price clipped, else
very good.
(1000/1500)

RARE FIRST EDITION OF WARWICK WOODLANDS IN ORIGINAL WRAPPERS
19. foresTer, frAnk [pseuD. of henry WilliAm herBerT]. The Warwick Woodlands or Things As They
Were There, Ten Years Ago. 168 pp. 7½x4¾, original buff printed wrappers. First Edition.
Philadelphia: G.B. Zieber, 1845
Lot 19
Page 11
The exceedingly rare first edition, in the
original buff wrappers. This was the H.
Bradley Martin/Jeffrey Norton copy, with
book label of the former laid in, and that of
the latter mounted on the chemise. It was sold
at auction at Sotheby’s in 1990, and at PBA
Galleries in 2002. The 1940 Van Winkle sale
included a “slightly defective” copy, lacking
the back wrapper, with the notation “one of
only two copies recorded in the wrappers.” It
has not been determined whether the copy
being offered here is the other one referred
to, or another, unrecorded copy. In custommade
half morocco slipcase and chemise. Van
Winkle pp.13-14. Minor staining and wear to
wrappers, old ink notation (“Sell 1/6 b/o”)
to top of front wrapper, rear wrapper with
old but neat reattachment along lower inside
gutter, else near fine, quite possibly the best
copy in existence.
(3000/5000)
20. frAnce, AnATole. The Works of Anatole France.
30 volumes. Gravure frontispiece. 8¾x5½, half
gilt-ruled blue levant morocco & cloth, spines
decoratively tooled & lettered in gilt, raised bands,
top edges gilt. No. 410 of 1075 sets. Autograph
Edition.
New York: Gabriel Wells, 1924
Signed by Anatole France on the limitation-page in Vol. I. Handsome set of the works of the
Nobel Prize-winning French author. Some minor scuffing to spine ribs, near fine to fine.
(800/1200)
21. frosT, roBerT. The Complete Poems of Robert Frost, 1949. xxi, 666 pp. Frontispiece portrait of Frost
from a photograph by Clara E. Sipprell. 8¼x5½, blue-green cloth, spine lettered in gilt. Sixth Printing.
New York: Henry Holt and Company, [1956]
Signed “Robert Frost Placéd ‘57” inked on the front free endpaper. Faint rubbing to spine ends,
top corners a bit bumped, about fine.
(600/900)
You can bid absentee directly from the item description in
the online version of the catalogue at www.pbagalleries.com.
Or bid during the auction using the Real-Time Bidder.

GALILEO’S GROUND-BREAKING WORK ON SUNSPOTS, 1613
22. GAlilei, GAlileo. Istoria e dimostrazioni intorno alle macchie solari e loro accidenti comprese in tre lettere scritte
all’illvstrissimo signor Marco Velseri ... dal signor Galileo Galilei ... Si aggiungono nel fine le lettere, e disquisizioni
del finto Apelle. 2 parts in 1. 164; 55, [1] pp. A6, B-S4, T6, V4, a6, C-G4. First part with engraved
portrait of Galileo, 38 full-page copper-engravings of sunspots, 5 copper-engraved plates of satellites
of Jupiter, extra set of the 5 Jovian satellite plates, 1 copper-engraving & 8 woodcut & typographic
diagrams in text; second part with 1 folding copper-engraved plate, 1 full-page copper engraving, 3
text engravings, 9 typographic & woodcut diagrams & illustrations in the text. (4to) 8¾x6¾, 19th
century ¾ morocco & mottled boards, spine lettered in gilt, joints repaired. First Edition.
Rome: Appresso Giacomo Mascardi, 1613
Galileo’s ground-breaking work on the sunspots which he discovered in the course of his
astronomical observations, as well as on the satellites of Jupiter. It is this work, in which he
boldly advocated the Copernican system, which provoked the censure of the ecclesiastical
authorities. This is the issue with the addition of the “Lettere e disquisizioni” of Christoph
Scheiner, with separate paging and half title: “De maculis solaribus tres epistolæ...” It is a quite
large copy, with full margins, with the notable presence of the additional suite of plates of
the moons of jupiter. A handwritten note, dated 1902, affixed to the front flyleaf, attests to
the scarcity of the book: “This is without the least possible doubt the rarest of all the early
Galileo publications. I have never known another copy to be offered for sale; do not remember
having seen one mentioned in a libary catalogue...” Signed with initials, possibly RCH. There is
occasional early ink marginalia, and a few instances of underlining to the text. Some light foxing
within, neat 2” repaired tear in title of Part 1, affecting no text, tiny hole in B3, a nearly fine
copy of a rare and highly important work.
(20000/30000)
Lot 22
Page 12

FIRST PRINTED ACCOUNT OF GALILEO’S TOWER OF PISA EXPERIMENT
23. GAlilei, GAlileo. Risposta alle Opposizioni del S. Lodovico delle Colombe, e del S. Vincenzio de Grazia,
Contro al Trattato del Sig. Galileo Galilei, delle cose che stanno sù l’Acqua, ò che in quella si muouono. All’illvstriss.
Sig. Enea Piccolomini Aragona, Signore de Sticciano, &c. Nella quale si contengono molte considerazioni filosofiche
remote dalle vulgate opinioni. [2], 319 (i.e. 335), [5] pp. *², A-X8, Y². Woodcut devices on title-page and
final leaf. (4to) 8¾x6¼, period vellum.
Florence: Cosimo Giunti, 1615
First Edition of one of Galileo’s rarest and most significant works, covering both dynamics
and hydraulics. This work contains what is perhaps the first printed account of the famous
experiment conducted at the Tower of Pisa, in which it was shown that the force of gravity
is a constant. Though at times catalogued under Benedetto Castelli as the author, the work
is accepted by scholars of science as having been written by Galileo himself, although he is
listed as the translator on the title-page. Castelli did write the introduction. The manuscript,
in the Biblioteca Nazionale Centrale (Florence), is largely in Galileo’s hand. This copy has
been expertly restored, with the vellum covers repaired, the contents washed and resewn, new
endpapers. There is an old monastical library stamp to the title-page, and the trace from another
which has been removed. *2 misbound after A8; it contains the dedication. Several leaves in
signature G misbound but all present. There are a number of errors in the pagination. A very
nice, restored copy, with minor paper loss to a few of the margins.
(20000/30000)
Lot 23
Page 13

ORIGINAL LEAF FROM THE GUTENBERG BIBLE
24. (Gutenberg Bible Leaf) Original Leaf from the Gutenberg Bible. Printed leaf, Folio 148 from Volume I,
being 2 Samuel, Chapter 3 (with parts of Chapters 2 and 4). With 2 hand-executed initials in red, one
on either side. 14½x11¾, set in custom-made burgundy cloth chemise and folding box.
[Mainz, Germany]: Johannes Gutenberg, c.1450-1455
Original leaf from the most famous book in the annals of western civilization, the 42-line
Bible of Johannes Gutenberg, acknowledged as the first book printed with moveable type. A
tremendous project, the culmination of years of effort and the toil of many workmen, the
printing of the Bible marked a turning point in the social, political, economic and religious life
of Europe. The dissemination of information which resulted from the advent of the printing
press, both religious and
secular, demolished many of
the boundaries which had for
so long held Europe stratified,
and set loose the full vigour
of the renaissance. Of the
production itself, Printing and
the Mind of Man (1) states
“Standards were set in quality
of paper and blackness of
ink, in design and professional
skill, which the printers of
later generations have found
difficult to maintain; it is only
in legibility of type that they
have been able to improve
on this, the first and in many
ways the greatest of all printed
books.” Original leaves
from the Bibles printed by
Gutenberg are justly prized,
and are a cornerstone of
any library concerned with
the evolution of the printed
book. Lightly foxed, a little
rough along one edge where
originally bound, a few tiny
chips and slight stains at lower
edge, very good condition.
Lot 24
(40000/50000)
25. (Haight-Ashbury - Communication Company) Mimeographed flyer headed ORDER OUT OF
CHAOS. Mimeographed flyer made from all-caps typescript, headed ORDER OUT OF CHAOS
and addressed to the people of San Franscisco, warning that the “City of San Francisco’s Health
Department/Police Department Combination Will Attempt, By Their Own Word, To Find What
They Consider Unhealthy Living Conditions in the Haight-Ashbury. The Health Department Is Not
Legally Required To Have, Or Use, Search Warrants....” The flyer goes on to consider the results of
such a crackdown in New York in 1959, “the Scene Was Killed, Macdougal Street Is Now a Tourist
Trap with Floursheim [sic] Shoe Stores Moving In,” and advises to “Avoid Any Contact With City
Authorities. If You’re Not At Home, They’ll Just Have to Come Back Some Other Time. If You’re
Never At Home, Inspection Cannot Take Place. Install a Peep-Hole. Clean Up! Clean Up! Clean Up!”
The imprint at the bottom, written, not typed, reads “Gestetered by the Communication Company
(U.P.S.)”. 11x8½.
San Francisco: 1967
Classic piece for the Haight-Ashbury of the 1960’s. Paper browned somewhat, a short marginal
tear, spot in the margin, else very good.
(200/300)
Page 14

26. heminGWAy, ernesT. For Whom the Bell Tolls. Cloth, jacket. First Edition.
New York: Scribner’s, 1940
First issue dust jacket without photographer’s name below portrait of Hemingway on verso.
Hanneman A18.A. Some chipping and a few short tears to jacket extremities, light crease near
lower half of rear joint; minor offsetting to endpapers; still a fine copy in a very good and clean
jacket.
(600/900)
LEONARDO DA VINCI’S TREATISE ON DRAWING
Lot 27
27. leonArDo DA vinci. Trattato Della Pittura. [bound with,
as issued:] Trattato Della Statua [Pittura] di Leon Battista
Alberti. [xx], 112, [12]; [1] (blank), [xiv], [2], 62 pp. (a4,
é2, í4, A-O4, [P1], Q2, R4; a4, é2, í2, a-h4). Illustrated
with copper-engravings, including 2 portraits, 2
engraved titles, head- & tail-pieces, ornamental initials,
numerous in-text diagrams & cuts (19 of which are
after Nicholas Poussin, the others by Pierfrancesco
Alberti). (Folio) 16½x11, modern half- morocco &
cloth, raised bands, gilt-ruled compartments, giltlettered
spine. First Edition.
Paris: Jacques Langlois, 1651
Rare first edition in the original Italian of perhaps
the most important treatise ever published on
the art of drawing, much scarcer than the French
language edition which was came out the same
year. Published some 132 years after Leonardo’s
death, the work showcases Da Vinci’s theories on
perspective, light, art of drawing, etc. Complete with
the rear blank h4, as well as the interior blank R4.
Some scuffing to joints and extremities; slight aging
to contents, near fine.
(8000/12000)
SMALL COLLECTION OF JACK LONDON
28. lonDon, JAck. The Call of the Wild. Serialized in 5 issues of The Saturday Evening Post, Vol. 175,
Nos. 51-52, Vol. 176, Nos. 1-2 (June 20, 27, July 4, 11, 18, 1903). Illustrated by Philip R. Godwin &
Charles Livingston Bull. 14x11¼, original wrappers. First Appearance.
Philadelphia: Curtis Publishing Co., 1903
The original appearance in print of Jack London’s most famous novel. The illustration on the
front wrapper of the June 20 issue by Charles Livingston Bull depicts Buck in traces on the
edge of a crevasse. Walker & Sisson 6.; Woodbridge 20. Some minor soiling & darkening to the
wrappers, each with a small address label affixed on the top (printed, not illustrated) portion;
else very good.
(700/1000)
29. lonDon, JAck. Circulate the Jungle. Printed on a single sheet 6x3½.
No place: 1906
Appeal to fellow Socialists to buy and read Upton Sinclair’s latest book, The Jungle. Offsetting
from tape to corners; else very good - quite scarce.
(200/300)
Page 15

30. lonDon, JAck. Dutch Courage and Other Stories. xii, [4], 180 pp. Frontispiece photograph of Jack
London, 7 plates from drawings by G. M. Richards. 7½x5, red cloth decorated & lettered in black on
front cover, in gilt on spine. First Edition.
New York: Macmillan & Co., 1922
Inscribed and signed by Becky London, Jack London’s daughter, on the front free endpaper,
dated 1982. A collection of very early nautical-themed short stories written in the period when
London was still struggling for recognition. The second story in the collection “Typhoon Off
the Coast of Japan” is named by Charmian in her preface to the collection as “the first story
ever written by Jack London for publication.” The descriptive narrative was published in the
“San Francisco Call” newspaper in Nov., 1893 when Jack was 17. Only 4,348 copies printed.
BAL 11985; Sisson & Martens, p. 105. Staining and rubbing to covers, darkening to endpapers,
good to very good.
(200/300)
31. lonDon, JAck. “To Build a Fire,” - article within The Youth’s Companion. Article on page 275 of The
Youth’s Companion, Vol. 76, No. 22 (Memorial Day Number). 16½x11½, pictorial wrappers. First
Appearance.
Boston: Perry Mason Co., May 29, 1902
“This most famous of all Jack London Stories, was written during the Snark voyage.” -Walker &
Sisson 108. Browning to extremities of wrappers; creased where folded; else very good.
(300/500)
32. lonDon, JAck. We live in a beautiful part of the country...leaflet written by London. 4 copies of the leaflet
that begins, “We live in a beautiful part of the country, about two hours from San Francisco by two
routes...” Each 4 pp. on blue paper, folded as issued. 6¼x3½.
Glenn Ellen, CA: [c.1911]
Leaflet written by London giving instructions to guests visiting his home, describing local
accomodations and transportation, directions on how to find the ranch, and describing the daily
routine for themselves and for guests. Apparently 1,000 copies of the leaflet were printed. Three
have additional type-written instructions along left side of page [1] with red pencil underlines,
and pencil correction to one word in printed section (changing “Northwestern Pacific train” to
“Southern Pacific train”) - these were likely amended by Charmian. -BAL 11935. A rare item; in
fine condition.
(600/900)
33. (London, Jack) Bosworth Inc. Presents - silent film programs for The Sea Wolf and John Barleycorn. Lot
consists of: Bosworth Inc. Presents: The Sea Wolf by Jack London, in Seven Reels. 6 identical
programs. * Bosworth Inc. Presents: John Barleycorn by Jack London, in Six Reels. 3 identical
programs. Together, 9 folding film programs, illustrted from film stills.
Los Angeles: Bosworth, [1913]
From the silent films directed by Henry Bostworth. Creased from folding; very good - scarce.
(600/900)
34. (London, Jack and Charmian) Three items framed together. 3 items: “We live in a beautiful part of the
country...” blue leaflet of directions to his Glen Ellen ranch, written by Jack London. * Bookplate of
Charmian London. * Piece of personal stationary paper of Charmian London. Together in frame
measures 8½x10½.
[Glen Ellen]: [c.1915]
Fine.
(500/800)
Page 16

35. (London, Jack) Jack London by Himself. 3 pamphlets of the same title (above): 8 pp., including
photo-pictorial self wrappers, 7¼x5½. First Edition. 1915. * Another 2 copies, in wrappers, 7¼x5.
First British Editions. [c.1915].
New York & London: [1915]
Issued as an advertisement, primarily for The Valley of the Moon. BAL 11948; Woodbridge
1055. A tiny chip in cover of American edition; tiny stain on cover of British Edition; else fine.
(200/300)
36. (London, Jack) Jack London by Himself - pamphlet framed with calling card and bookplate. 8 pp. including
photo-pictorial self wrappers. 7¼x5½.
New York: Macmillan, [1913]
Framed with Jack London’s original bookplate and his calling card. Together with frame
measures 10x12¾. BAL 11948; Woodbridge 1055. Near fine.
(250/350)
37. (London, Jack) Box of Jack London ephemera. Includes numerous issues of The Wolf & Jack London
Echoes from the 1980’s, Book Club Quarterlies, postcards of Heinhold’s Tavern, framed photo of
Becky London, stationery picturing London, Jack London bookplates, audio tapes of London stories
and memories, etc.
Various places: Various dates
Interesting group, bears examination. Generally fine condition.
(300/500)
38. (London, Jack) Group of ephemeral items. Including: Life of Jack London. Ten Cent Pocket
Series No. 183. [1923]. * Several pieces of stationery belonging to Charmian London. * Folding
lithograph map of California [c.1920]. * London. Eight Factors of Literary Success. [1917]. *
Order form for Jerry of the Islands and The Human Drift. [c.1919]. * Plus a few others.
Various places: Various dates
All were given to collector Mark Zamen by Milo Shepard at the Jack London Ranch in 1983.
Very good or better.
(200/300)
MICHENER’S TALES OF THE SOUTH PACIFIC, SIGNED
Lot 39
39. michener, JAmes A. Tales of the South Pacific. Cloth,
color pictorial jacket. First Edition.
New York: Macmillan, 1947
Signed by James A. Michener on title-page with his
rubberstamped initials in red. The first book by the
Pulitzer Prize-winning author. ¾” chip lacking to top
rear jacket panel, a few tears over ½”, short tears and
nicks to edges; light edge wear to volume; light age
toning to page margins; very good volume in like jacket.
(2000/3000)
40. michener, JAmes A. Tales of the South Pacific. Gilt-lettered
cloth. One of 1500 copies.
New York: Macmillan, 1950
Signed by Michener on the half-title. Issued in honor
of the golden anniversary of the American Booksellers
Association. Spine lettering worn off, else near fine.
(250/350)
Page 17

41. miller, ArThur. Death of a Salesman. Orange pictorial cloth, pictorial endpapers, pictorial jacket.
First Edition.
New York: Viking, 1949
Signed by Arthur Miller on the title-page, and who seldom signs. Winner of both the Pulitzer
Prize and the New York Drama Critics Circle Award. One of the most important plays of the
twentieth century by one of the greatest American playwrights. Mild crease to front and rear
jacket panels, tiny nicks to edges; slightly leaning, spine a bit faded, faint dampstains at spine
foot; minor foxing, bookplate; very good in a very good and bright jacket.
(2000/3000)
Lot 41
IMPORTANT PRESENTATION COPY OF GONE WITH THE WIND
42. miTchell, mArGAreT. Gone With the Wind. Cloth, jacket. First Edition, Second Printing.
New York: Macmillan, 1936
Presentation copy inscribed and signed on the front free endpaper “For Powell Pendley from
Margaret Mitchell.” Accompanied by two letters from Mitchell to N. Powell Pendley. The first,
dated July 10, 1936, is a 11-line autographed note, “Dear Powell: Just a note to thank you for
all the kind words. And was I flattered that you wanted an autograph! I hope the book reaches
you safely and that you found it interesting. Best to you - Peggy M.M.” The envelope in which
the note was sent, addressed in Mitchell’s hand, is affixed to the front free endpaper below the
inscription. The other letter, typed, signed by Mitchell, with two small ink corrections, dated Jan.
5, 1947, compliments Pendley on purchasing and donating some historical documents, “Dear
Powell: When you and I were members of the Younger Generation and very superior indeed,
both of us thought the most damning term that could be applied to any human being was `civic
minded.’ Of course `God fearing’ and `worthwhile’ were runners-up. I am glad I am now old
enough enough [sic] to realize how many fine things are embodied in that phraze `civic minded,’
for after long thought it is the only phrase I can apply to you for the generous way you acted in
purchasing the documents on Georgia history... I think what you did was wonderful and I know
students coming after us, long after we both are gone, will benefit by what you did. So this old
friend of yours says `thank you,’ and I am certainly proud to know you. Peggy.” The envelope
is also present. The book itself the second printing, with “Published June, 1936” (rather than
Page 18

May) on the copyright-page; the jacket has GWTW at the top of the left-hand column on
the rear panel listing New Macmillan Books. Provenance: Formerly the property of the High
Museum of Art in Atlanta, previously sold to benefit the Acquisition Fund, now offered by
the current owner. The jacket is very badly worn, heavily chipped with large portions missing,
extensive old tape repairs; the book has foxing and darkening to the covers, rubbing to spine
ends and corners, spine creased vertically; shaken, hinge cracked before title-page, darkening to
the endpapers with some staining and tape residue, in good condition, with an inscription and
accompanying letters to a long-time friend of Mitchell’s, a fellow resident of Atlanta, Georgia,
and a civic-minded student of Georgian history. Archivally stored in folding box and archival
paper folders.
(10000/15000)
Lot 42
43. (Oneida Community) First four issues of The American Socialist. 4 issues, including: Vol. I, Nos. 1-4
(March 30, 1876-April 20, 1976). Edited by John H. Noyes. Each are 8 pages. 16x11½, printed weekly.
Oneida, NY: Oneida Association, 1876
The first four issues of the periodical of the once promising American Utopian experiment,
the Oneida Community, which flourished for over 30 years under the leadership of its founder,
John Noyes, editor of the above. Also known as “Bible Communists” or “Perfectionists” the
group was notorious for a controversial ideal, the complex marriage, wherein every man was
mated to every woman and vice-versa, which was intended for procreative causes. Though
famed for a crafty invention, a certain steel-trap, the group lost societal approval and was met
with harsh criticism by their neighbors over the issue of complex marriage around the time of
this publication. The subtitle of the journal reads “Devoted to the Enlargement and Perfection
of Home,” but at the heart of the articles are workers and “the common good.” Disbound
copies with stabholes in the gutter margin, light wear about the edges, but only lightly foxed,
thus very good, scarce first issues.
(200/300)
Page 19

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

Lot 44
Page 21

INSCRIBED COPY OF PERRY’S EXPEDITION TO JAPAN
45. perry, mATTheW cAlBrAiTh. Narrative of the Expedition of an American Squadron to the China Seas
and Japan, Performed in the Years 1852, 1853, and 1854, under the Command of Commodore M.C. Perry,
United States Navy, by Order of the Government of the United States. Compiled by Francis L. Hawks. 3 vols.
xvii, [1], 537; [6], [2], 414, [4], 14, xi, [2]; xliii, 705 pp. Vol. I illustrated with 89 lithograph plates, most
color, including 3 “facsimiles” of Japanese woodblock prints, 2 folding; 6 maps & charts, 2 folding;
numerous woodcuts in the text. Vol. II with 4 color lithographs of Chinese scenes; 2 uncolored
natural history engraved plates; 4 (of 6) hand-colored lithographs of birds; 10 hand-colored steel
engravings of fish; 5 lithographs of shells, 2 hand-colored; 16 diagram plates of winds & currents;
14-page facsimile of Japanese language version of the U.S. Japan treaty; 16 (of 17) folding charts
on 15 (of 16) sheets; numerous woodcuts in the text. Vol. III with woodcut star charts throughout.
11¼x8¾, original cloth, spines lettered in gilt. First Edition.
Washington: Beverly Tucker, 1856
Inscribed & signed in ink by M[athew] C. Perry at top of title-page of Vol. I.; pencil inscription
on front endpaper of Vol. III, “From M.C. Perry,” apparently also in Perry’s hand. Detailed &
profusely illustrated account of Perry’s expedition to open Japan to the West; as the Dictionary
of American Biography describes it, “In January 1852 he [Perry] was selected to undertake the
most important diplomatic mission ever
intrusted to an American naval officer, the
negotiation of a treaty with Japan, a country
at this time sealed against intercourse with
the Occidental powers.” By March 31,
1854, the treaty granting the U.S. trading
rights had been signed by the Japanese.
Upon his return to the U.S., his chief duty
for the following year was to compile his
reports of the expedition, aided by Francis
Hawks. The importance of Perry’s mission
to Japan cannot be overstated. Not only
did Perry open Japan to Western trade and
influences which she would soon master,
thrusting her into the forefront of nations
during the 20th century, but the accounts
of the country and culture, and the pictorial
representations, were some of the earliest
to be readily available to the public, being
superseded only by the cumbersome tomes
of earlier missionaries. In addition to the
artist W. Heine, from whose drawings a
great number of the lithographs were
made, the daguerreotypist E. Brown, Jr.,
went on the expedition, taking what were
Lot 45
Page 22
undoubtedly the earliest photographic
images of Japan, many of them reproduced
lithographically in this work. This copy
without the nude bathing plate, which was not issued in all copies, being suppressed, but does
contain the oft-removed photographer plate. Lacking, however, are two hand-colored bird plates
and the track chart of the world. Some rubbing, fading, wear & light staining to covers; several
hinges cracked or cracking few of the folding charts with crease tears, else very good, contents
generally clean & unfoxed.
(2000/3000)
Each lot is illustrated in color in the online version of the catalogue.
Go to www.pbagalleries.com

46. (Punch) Punch, Or The London Charivari. I-XXVI (July 1, 1841-July 1, 1854), and L-LI (1866), many
bound 2 vols. in 1. Profusely illustrated with engravings. Each approximately 11x8, various bindings,
but Vols. I-III (in 2) and Vols. L & LI (in 1) in original gilt-stamped, blind embossed blue cloth, all
edges gilt.
London: Punch Office, 1841-1866
A nice run of the Saturday morning “guffawgraph,” including the first issue, which has the
original magazine titled, Punch And The London Charivari. Five volumes (in 3) in original blue
cloth, with gilt stamped vignette of Punch kicking the globe up above him. Some wear to all
extremities, many with hinges cracked or starting; internally bright, clean, good to very good.
(500/800)
47. rAckhAm, ArThur. Arthur Rackham’s Book of Pictures. Introduction by Sir Arthur Quiller-Couch.
Illustrated with 44 tipped in color plates by Arthur Rackham with printed tissue guards. 10¼x8, giltstamped
gray cloth.
London: William Heinemann, [1913]
A necessity in Rackhamiana, illustrating fairy tales, the grotesque and the fantastic. Slight
rubbing and discoloration to cloth; front hinge cracked; else very good.
(300/500)
48. rice, Anne. The Interview with the Vampire. Cloth, Jacket. First Edition.
New York: Knopf, 1976
Signed by Rice on the title page. Chipping to jacket spine ends, remainder stamp to bottom
edges, usual creases to flaps, else very good.
(400/600)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.
Page 23

49. rueff, JAkoB. De Conceptu & Generatione Hominis...Libri Sex, congesti opera Jacobi Rueff, Chirurgi
Tigurini. aa4, a-z4, A-C4, D1 (with aa1, c4-d2, h1 & i3 supplied in facsimile). [4], 105 fl. Errata to
verso of last leaf. Illustrated with 58 original printed woodcuts depicting aspects of real & imagined
embryology, plus historiated initials & others in facsimile. (4to) 7¼x5¼, old full calf, panelled in blind
on covers. First Latin Edition.
[Zurich]: Christopher Froschauer, 1554
Jakob Rueff (1500-58) was the town physician and Professor of Medicine at the university
in Zurich, famed particularly as a surgeon and obstetrician. This book was published
simultaneously in Zurich in two editions, one in German and one in Latin, of which the
present copy is an example, and it is known to be the first to contain “true anatomical pictures
in an obstetrics book.” Indeed, Rueff described smooth-edged forceps for delivery of a live
baby, preceding Chamberlan, and a toothed forceps for an extraction of the dead fetus, both
illustrated within. Also, celphic versions of manipulation are explored in the cuts as too are the
conjugal twin variations and cross-mammalian fantasy. The first English translation would not
appear until 1637, titled pragmatically The Expert Midwife. Divided into six sections or “books”
the volume covers the entire pregnancy cycle along with discourses on related medical diseases
and situations. Book one opens with information on conception and nutrition of the fetus;
the second section contains descriptions of the uterus and guidelines for the pregnant women;
book three deals with the birthing process, subsequent care of mother and infant, as well as a
portion devoted to the use of obstetric instruments; section four pertains to the management
of “unnatural” births such as multiples and awkward presentations; book five discusses
related conditions such as false pregnancy, uterine tumors, abortions, and deformed infants (or
“monsters”); while section six discusses causes for sterility with suggested remedies. With fine
armorial bookplate of Clare College, Cambridge University, 1701 and also early signature of “J.
Littlechild, Fulbourn [village near Cambridge], his Book” to front endpapers. Also, some old
marginalia near leaf numbers noting (studiously?) flowers in English. Morton 463. Moderate
scuffing and wear to covers; front and rear pastedowns present but free and apparently never
pasted; as noted, lacking 6 original leaves supplied in photoduplicate facsimile, some light
dampstaining to the whole towards fore-edge, but exceedingly scarce in any condition, near very
good.
(3000/5000)
Lot 49
Page 24

FIRST EDITION OF SALINGER’S CATCHER IN THE RYE
50. sAlinGer, J. D. The Catcher in the Rye. Black cloth, spine lettered in gilt, pictorial jacket. First Edition.
Boston: Little, Brown, 1951
The classic story of the “cynical adolescent” Holden Caulfield. The jacket is a first issue, with
the photo credit of Salinger’s portrait by Lotte Jacobi on rear panel. Jacket price clipped, 1½”
split to front joint, 1” tear and tiny chips to front panel, short tears to bottom edge, mijnor tape
stains to verso, spine slightly darkened; light wear to volume spine head and top front joint,
faint rub streak to front cover; ¼” split at top of rear hinge; near fine in a very good and bright
jacket.
(6000/9000)
Lot 50
51. (Sappho) The Songs of Sappho: Including the Recent Egyptian Discoveries. xiv, 436 pp. Translated into
rimed verse by Marion Mills Miller; text translated into prose by David M. Robinson. Illusrated
with 10 plates from photographs of artifacts and text. 9½x6½, cloth-backed paper over boards,
facsimile vignette of Mytelene coin on covers, original slipcase. No. 232 of 500 copies of the Author’s
Autographed Edition.
Lexington, KY: Maxwelton Company, 1925
Signed by Miller and Robinson at the limitation statement. Perhaps the best scholarly study
on Sappho, celebrated muse of Lesbos. Cracked, tape repair at edges of slipcase; corners
of volume and spine a touch rubbed; front hinge cracked; else a near fine volume in a good
slipcase.
(200/300)
Each lot is illustrated in color in the online version of the catalogue.
Go to www.pbagalleries.com
Page 25

FOUNDATION OF MODERN ECONOMIC THEORY
52. smiTh, ADAm. An Inquiry into the Nature and Causes of the Wealth of Nations. 2 volumes. [12], 510; [4],
587 + [1] ad pp. (4to) 11x8½, period calf. First Edition.
London: Printed for W. Strahan; and T. Cadell, 1776
First edition of Adam Smith’s ground-breaking analysis of capitalist economics, in which it was
demonstrated that the impetus of individual greed would create wealth for the many. The book
is of profound influence in the development of modern society, and its appearance in the same
year as the American Declaration
of Independence matched the
burgeoning political freedom to the
unfettering of economic activity.
Printing and the Mind of Man aptly
states: “Where the political aspects of
human rights had taken two centuries
to explore, Smith’s achievement
was to bring the study of economic
aspects to the same point in a single
work. The Wealth of Nations ins not
a system, but as a provisional analysis
it is completely convincing. The
certainty of its criticism and its grasp
of human nature have made it the
first and greatest classic of modern
economic thought.” Printing & the
Mind of Man 221; Rothschild 1897.
With the bookplates of Agnes &
Alfred Stern. Covers worn, detached,
spine strips partially perished; rear
flyleaf and final text leaf of Vol. I
detached together, light marginal
offset to title-page of Vol. I and
half-title of Vol. II (Vol. I has no
half-title, and was not issued with
one), internally a very nice, clean,
wide-margined copy, well worthy of
Lot 52
restoration of the binding.
(50000/80000)
Lot 53
INSCRIBED BY STEINBECK
53. sTeinBeck, John. Bombs Away: The Story of a Bomber
Team. 185 pp. Illustrated from 60 photographs by
John Swope. 8½x6, decorative blue cloth stamped in
black and white, color pictorial jacket. First Edition.
New York: Viking, 1942
Inscribed and signed by John Steinbeck on the
front free endpaper “For...(?) six lessons from
Madame, John.” Written by Steinbeck for the
U.S. Army Air Forces, with all royalties from its
sale going to the Air Forces Aid Society Trust
Fund. Goldstone-Payne A18.a. Rubbing to jacket
extremities, a little wear along top edge, 1” closed
tear to rear panel; volume spine leaning, ends
rubbed, small bumps/tears to top edge of boards;
about very good in very good and bright jacket.
(3000/5000)
Page 26

RARE TALL GALLEY PROOF OF THE PEARL
54. sTeinBeck, John. The Pearl. 71 leaves, printed on rectos only. 11½x6, wrappers, cloth spine, printed
and typed label affixed to front wrapper with clear tape, housed in a custom blue cloth clamshell box.
Uncorrected Proof of the First Edition.
New York: Viking Press, 1947
Uncorrected tall galley proof of the first edition, quite rare. (Goldstone-Payne A25.a). Fine
condition - an exceedingly scarce Steinbeck item.
(3000/5000)
Lot 55
Lot 54
TORTILLA FLAT SIGNED BY STEINBECK
55. sTeinBeck, John. Tortilla Flat. Illustrated by Ruth
Gannett. 7½x5¼, beige cloth, spine lettered in blue,
stamped horizontal blue line around covers and
spine. First Edition.
New York: Covici-Friede, [1935]
Signed by Steinbeck on the front pastedown,
below laid in bookplate of Henry T. Drown,
Jr. Goldstone-Payne A4.b. Light shelf wear;
offsetting to front pastedown from bookplate,
else fine.
(4000/6000)
Page 27

INSCRIBED BY CARL SANDBURG TO JOHN STEINBECK
56. (Steinbeck, John) sAnDBurG, cArl. Abraham Lincoln: The War Years. 4 volumes. Gilt-lettered cloth.
First Trade Edition.
New York: Harcourt, Brace, [1939]
Inscribed and signed by Sandburg to John Steinbeck on the half-title of Vol. I (“John Steinbeck,
as between two soldiers. Citizens and fellow strugglers - with affectionate good wishes, Carl
Sandburg, Los Gatos, 1940.”), and with Steinbeck’s embossed stamp to a few pages of each
volume. Front hinge of Vol. I cracked at half-title. Rubbing to spines, else very good.
(2500/3500)
STEINBECK’S SOPHOCLES FROM HIS SCHOOL DAYS,
WITH PERSONAL NOTES, INSCRIBED TO HIS WIFE
57. (Steinbeck, John) sophocles. The Tragedies of Sophocles. Red cloth.
Cambridge: University Press, 1917
Steinbeck’s personal copy from his school days, with his signature in pencil (“J.E. Steinbeck, Jr.”)
to front pastedown, 10-line inscription to his wife by Steinbeck on front free endpaper in light
pencil: “Dear Carol, Here is my old school copy of Sophocles. I want you to read the Trilogy
of Oedipus particularly. I like this translation, it has more * than most of the pretentious (?)
translations in * I hope you will enjoy these plays. They are timeless, * things, John.” Most
importantly, Steinbeck has written notes (from school-day era, likely written during class and
passed to a friend sitting next to him.) in upper margins of a few pages having to do with his
life, for instance on page 15: “Sewerd invited me to go down to Carmel last week-end. I was
too broke to go.” A cryptic note on p.1, likely to a girl, reads, “Busy to-night? May come til 10.
Mother’s tears are more anatomical.” Another reads, “Ray! I have to play Polo on the 31st - my
1st public appearance. I’m skeered. Run the boat?” Yet another says, “Who in hell’s Montaigne.
He ain’t s’much. Trilogy & 2 Electras.” A couple of other notes from Steinbeck also present.
Dampstaining to spine and joint areas, affecting internal portions as well, thus good, but with
great personal content from a young and older Steinbeck.
(10000/15000)
Lot 56 Lot 57
Page 28

THE HOBBIT SIGNED BY J.R.R. TOLKIEN, RARE ASSOCIATION COPY
58. Tolkien, J.r.r. The Hobbit; or, There and Back Again. Illustrated by J.R.R. Tolkien with 8 drawings in
text, color frontispiece and cartographic endpapers. 7¼x5, original green cloth, pictorially decorated
in dark blue across covers and spine with illustrations after Tolkien’s designs, pictorial jacket. Second
Edition, Eleventh Impression (overall) with author’s corrections.
London: George Allen & Unwin Ltd., [1959]
Signed by J.R.R. Tolkien on title-page. One of the most internationally acclaimed works in the
fantasy literature genre and one that is eternally popular with readers young and old of any
generation, its influence made even more profound by the acclaimed films in the Lord of the
Rings series. This copy is a rare association copy signed by Tolkien on the title-page. Tolkien
was in the habit of signing slips and attaching them to books, and books signed by him directly
on the title-page are quite uncommon. This copy belonged to one of Tolkien’s close personal
friends, George Sayer. The recipient and his wife were longtime friends of Tolkien’s and are
known by Tolkien biographers to have
been highly influential in the publication
of “The Lord of the Rings.” They
were among Tolkien’s most trusted and
approved manuscript “proof readers” and
he valued their advice on many aspects
of the publication of the “Rings.” In a
letter to Rayner Unwin, Tolkien called
the recipient “...the most normal reader
and liker of the work that I could think
of....” These friends helped Tolkien in
choosing the book’s individual titles and
helped with countless editing and rewriting
sessions. Also close friends of C.S. Lewis
the recipients were well known in the
publishing world and helped Tolkien in
dealings with Allen and Unwin publishers
as well. As close personal friends, they
attended the funeral of C.S. Lewis together,
aided Tolkien during his wife’s sickness
and frequently welcomed him as a quest in
their home in Melvern. This copy of “The
Hobbit” was from the personal library
of the recipient before being sold to the
current owner. The scarce dust jacket with
a few small neatly restored tears at upper
verso edge; spine leaning ever so slightly,
a touch of sunning at tail of spine, else
a near fine copy in a near fine and rather
Lot 58
clean and bright jacket.
(10000/15000)
59. viDAl, Gore. Williwaw. Black cloth, lettered in blue, pictorial jacket. First Edition.
New York: E. P. Dutton, 1946
Signed by Vidal on the title page. The author’s first book. Chipping to jacket spine ends and
corners, rubbing and slight creases to jacket extremities, tape repairs to jacket spine ends, price
clipped; volume spine slightly leaning, light shelf wear, else very good or better in good jacket.
(400/600)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.
Page 29

60. WinDsor, eDWArD. A King’s Story: The Memoirs of the Duke of Windsor. xi, 435 pp. Illustrated with
several plates from photographs; map endpapers. 8vo. Black cloth, decoratively stamped with three
crests on the front cover representing Edward as the Duke of Windsor, as the Prince of Wales, and
as King Edward VIII, spine lettered in gilt. First Trade Edition.
New York: G.P. Putnam’s Sons, [1951]
Signed by “Edward,” The Duke of Windsor (1894-1972) and for a short time, Edward VIII,
King of England, on his affixed regal label on the half-title page. Additionally, inscribed to radio
actress Alice [Frost] Tuttle from Ann Seagrim(?) dated March 1952 on the same page. Light
shelf wear, a few slight rub marks to cloth, very faint fading to spine, else very good or better.
(500/800)
61. (World War II Aviation) Duerksen, menno. The Memphis Belle: Home at Last. Illustrated with photo
plates. Cloth, jacket. Second Edition.
Memphis, TN: Castle Books, [1987]
Signed on the title-page by eight crew members of the first B-17 to be detached from combat
and sent back to the United States to tour the country in an effort to raise support for the war
effort. These are Robert Morgan, Pilot - he was the first American bomber pilot to achieve 25
missions and return to the U.S., later he flew B-29’s over Japan; James A. Verinis, the “other
pilot”; John P. Quinlan, Tailgunner, the only member of the crew to be wounded - He shot
down two Germans from the Belle, and later was in a B-29 which was shot down; Robert
Hanson, Radio Operator; Charles B. Leighton, Navigator; Clarence E. “Bill” Winchell, Left
Waist Gunner - it was his gun that downed the eighth and last German fighter shot down by the
Memphis Belle; Casimir A. Nastal, Right Waist Gunner; and Harold P. Lock, Third Top Turrett/
Engineer. Fine condition.
(400/600)
62. (World War II Aviation) Glines, cArroll v. The Doolittle Raid. Illustrated from photographs.
Cloth, jacket. First Edition.
West Chester, PA: Schiffer Military History, [1991]
Signed by nine crew members aboard the B-25 bombers which attacked the mainland of Japan
on April 18, 1942, on a signature sheet affixed to the front free endpaper. These are: Bill Bower,
pilot of crew #12; Hank Potter, navigator of crew #1; Travis Hoover, pilot of crew #2; R.E.
Cole, co-pilot of crew #1; Guff Williams, co-pilot of crew #15; J.R. Stark, co-pilot of crew
#10; William L. Birch, bomber of crew #11; Dave Lobe (?) gunman of crew #8; and Ting
Shing Lui (?), a helper of crew #2. Fine in fine jacket.
(300/500)
Section II: Autographs & Manuscript Material
63. ByrD, richArD e. 1888-1957. Signature on envelope by explorer Richard E. Byrd. On envelope which
bears a rubberstamp circular Little America - Antarctica - Jan. 31, 1934 postmark and a Byrd Antarctic
Expedition II cancelled U.S. postage stamp. Signed and dated “R.E. Byrd - Dec. 9, 1936” in blue ink.
Measures 4x9½”.
Antarctica: December 9, 1936
Admiral Byrd (1888–1957) the pioneering American polar explorer and famous aviator. Light
wear from age and handling; else near fine or better.
(200/300)
Each lot is illustrated in color in the online version of the catalogue.
Go to www.pbagalleries.com
Page 30

LETTER FROM GEORGE WASHINGTON CARVER ABOUT PRICE OF PEANUTS
64. cArver, GeorGe WAshinGTon. 1864-1943. Autographed Letter, signed, from Carver to “My esteemed
friend, Mr. Porter”. 18 lines, in ink, on letterhead of the Tuskegee Normal and Industrial Institute.
Tuskegee Institute, Alabama: 1935
Lot 64
Page 31
George Washington Carver, African-
American botanist, writes Grady Porter at
the Tom Huston Peanut Co. in Columbus,
Georgia, inquires about various matters,
and discusses the peanut business, “...just
how are we going to pull out of it is a very
serious problem. Just think of it, $110.00
per ton for peanuts, phenomenal. My
strength is holding up I guess fairly well for
a person of my age. The latch string always
hangs on the outside for you here.” With
original mailing envelope. Fine condition.
(1200/1500)
65. DumAs, AlexAnDer, fils. 1824-1895.
Autograph Letter Signed “A. Dumas.”. One page,
8vo, on imprinted “98, Avenue de Villiers”
stationery, in French, not translated.
February 20, 1884
Alexander Dumas fils. 1824-1895. French
playwright and novelist. Fine
(200/300)
EDISON WRITES TO HIS LAB ASSISTANT
66. eDison, ThomAs AlvA. 1847-1931. Autograph Letter Signed T.A. Edison, to his lab assistant E.P. Fabbri.
15 lines, in pencil, on 8½x6 sheet of plain paper.
No place: March 17, [18]81
The great American inventor Thomas Alva Edison writes to his lab assistant (and later director
of Edison Electric Light Company) Egisto P. Fabbri, “Please state what library in N.York is rich
in Italian Literature we want to find where there is a complete set of the Neuvo Cimento, the
Astor & Merchantile have it not.” Fabbri has added a pencil note in bottom margin asking for
the information Edison seeks. Left blank corner missing, light foxing and age toning.
(1500/2000)
Lot 66

67. eDison, ThomAs AlvA. 1847-1931. Typed Document Signed by Edison. On both sides of single sheet
9½x7.
No place: 5 June 1922
Minutes of a Meeting of the Board of Directors of Thomas A. Edison, Inc. Concerns the
authorization for Walter Stevens, Vice President, Manager of the Export Division, to purchase
Disc and Amberola Phonographs, Primary battery Products, Safetae Blanks, Ediphone
Products, Amberol Records and Disc Recreations. Also signed by Stevens, Charles Edison and
four other officials. Closely trimmed along left edge and bottom not affecting signatures. Light
age toning, small chip in right blank margin, with a dark signature of Edison.
(1000/1500)
Lot 67
LETTER FROM ALBERT EINSTEIN TO DUTCH COLLABORATOR
68. einsTein, AlBerT. 1879-1955. Autograph Letter Signed Einstein written on verso of German postcard. 23
lines, in ink, written in German. On 3½x5½” postcard, addressed to Wander Johannes de Haas in
Holland, with Berlin postmark.
Berlin: 6 July 1916
Dutch physicist and mathematician de Haas
collaborated with Einstein in formulating
the The Einstein–de Haas effect, a physical
phenomenon delineated the mid 1910’s, that
exposes a relationship between magnetism, angular
momentum, and the spin of elementary particles.
The text of the letter translates as: “Got back last
night from Gottingen and found your letter waiting
for me. I have already written to an experienced
freight company and have asked for an estimate.
The freight company is without a doubt possible.
I will contact the landlord in order to discuss the
return of any rent money. The second half of July
I will not be here I am going to Rugen. Through
that trip, however, time will definitely not be lost,
because I will give someone my power-of-attorney
for this matter. You will hear again from me soon.
That you are staying there pleases me for you
and particularly for your little one, for whom it is
infinitely better. Good luck with the experiment!
Heartfelt greetings from Einstein.” Very light
uniform age toning, else fine.
Lot 68
(3000/5000)
Page 32

69. einsTein, AlBerT. 1879-1955. Envelope addressed in German to Mechaniker un Physikal Institut in Zurich,
and signed by Albert Einstein. 3¼x6, addressed and signedin ink, with postmark.
Berlin: No date
Einstein has written his name A. Einstein and address in Berlin in the lower left corner. Light
uniform age toning and very minor wear, with a dark signature of Einstein.
(2000/3000)
LETTER FROM FERDINAND & ISABELLA OF SPAIN
70. ferDinAnD v. 1452-1516 AnD isABellA i. 1451-1504. Manuscript Letter Signed by both Yo el Rey and
Yo la Reyna. One page, 8¾x8. contained in an antique hand-tooled brown leather folding case, with
crimson cloth lining.
Palencia, Spain: 12 December 1501
The King and Queen of Castile and Aragon, famed in history for dispatching Christopher
Columbus on his epic voyages across the Atlantic in search of a shorter route to India, write
to the Bishop of Malaga and his council:
“We have seen your letters of the 15th
of November in which you notify us
of the departure of the Princess, our
children, on their way to us, causing us
much happiness and because to see them
is what we most desire and in order to
be more at ease, for our peace and to our
service we wish you to help hasten their
trip without any inconveniences and in
such good news we will find complete
relief.” The death of their two eldest
children left the succession of Castile to
their third daughter, Joan the Mad, and her
husband Philip the Handsome, and they
were to make the journey from Flanders
to Spain. A significant letter from perhaps
the most famous and influential of all
Spanish monarchs, a most desirable set
of autographs, the basis for a collection
Lot 70
Lot 69
Page 33
of American historical documents. Light
toning in upper left corner, 4 horizontal
tear in lower blank margin and small area
of paper thinness not affecting signatures or writing, usual folds; a nice example with the writing
and signatures dark.
(6000/9000)

AUTOGRAPHS OF MEMBERS OF FRENCH ACADEMY OF SCIENCES
71. (French Royal Academy) 68 Autograph signatures of Members of L’Académie des Sciences, tipped into
volume. 68 autograph signatures of Members of L’Académie des Sciences on manuscript list of
members, plus other autograph signatures on letters, all bound into a volume history of the Academy
by Ernest Maindron. 9½x6, period mottled boards recased with later morocco backing, gilt-letterred
spine.
Paris: Germer Baillière, 1888
With the bookplate of H.F. Norman. The list of members (Laplace, Le Gendre, Ampere et
al) is inked at top in French, “State of Distribution for...Members of the Royal Academy of
Sciences, during the month of November 1826.” Also bound in are other autograph letters, as
well as mounted clippings. A nice printed book in itself, with a hand-colored plate, portraits and
other illustrations throughout. Some wear to boards, spine lightly rubbed at ends; manuscript
material in very good condition.
(2000/3000)
Lot 71
72. freuD, siGmunD. 1856-1939. Envelope addressed in his hand to his colleague and American translator Dr.
A.A. Brill in New York City. 5x6, addressed in ink, with Fred’s name and Vienna address printed on
the back.
Vienna: No date
The Austrian neurologist and founder of psychoanalysis Sigmund Freud addresses the envelope
the Austrian-born American psychatrist Abraham Arden Brill, who was the first practicing
psychoanalyst in America in addition to translating Freud’s major work into English. A few tears
and minor wear.
(600/900)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.
Page 34

LETTER FROM ERNEST HEMINGWAY TO SCREENWRITER PETER VIERTEL
73. heminGWAy, ernesT. 1899-1961. Typed letter signed by Hemingway as Papa to screenwriter Peter Viertel.
With a six line holograph addition by Hemingway, on his Finca Vigia, San Francisco de Paula, Cuba
home stationery, one and one quarter pages (on a single leaf), quarto, dated August 21, no year.
To screenwriter Peter Viertel: “...this picture business has some comic aspects when you read the
contracts all the way through and when you have to go and see the actual moving pictures to check
on characters. Did you have to watch The Purple Plain?...the chicken aircraft stuff and the abusive
close-ups and Peck’s march to the river...Well I must try again...”.
Cuba: [c. 1950’s]
Viertel’s association with Hemingway is an important one; he wrote the screenplays for two
Hemingway films, The Old Man and the Sea and The Sun Also Rises. According to Jefferey
Meyer’s book, Hemingway had an affair with Mrs. Viertel (Jigee) and Peter Viertel’s book,
Dangerous Friends, also alludes to that effect. Light wear, else very good or better.
(3000/5000)
Lot 73
74. huGo, vicTor. 1802-1885. Autograph note signed. ANs on blue paper by Victor Hugo. In French.
Expertly matted with a striking vintage gravure.
January 24, 1864
Fine.
(400/600)
Each lot is illustrated in color in the online version of the catalogue.
Go to www.pbagalleries.com
Page 35

75. (Indian Captivity) spArks, eDWin erle. 1860-1924. Typed Manuscriptof Sparks’ introduction to the
1905 reprint of Charles Johnston’s account of his Indian Captivity. Nineteen pages, 4to, with numerous
holographic corrections and additions.
[No place]: c.1905
Sparks’ introduction to the 1905 reprint of Charles Johnston’s account of his Indian Captivity
first published in 1827. Johnston, a Virginian, was taken prisoner by Indians while on a journey
to Kentucky in 1790. After being ransomed by a Canadian trader, he made his way back to New
York where he was interviewed by President Washington. Some soiling, wear and chipping along
edges, with area of paper loss in upper right blank corner of first page; generally very good.
(200/300)
76. mAximilliAn. 1832-1867. emperor of mexico. Document Signed Maximillian, in Spanish. One page,
oblong octavo. 4½x8½.
[Mexico]: 1866
Safe-conduct pass to Paso del Norte, signed by the unfortunate Austrian Prince who, with
French backing, assumed the throne of Mexico, only to be defeated by Juarez and shot. Some
soiling and wear, very good, the writing dark.
(1200/1800)
FINE AUTOGRAPH LETTER FROM HERMAN MELVILLE
77. melville, hermAn. 1819-1891. Autograph Letter Signed
by Melville, to John H. Gourlie, Esq. 6 lines, in ink, on 8x5”
sheet of paper.
New York: Dec. 14, 1869
In full: “Dear Sir, I am very glad to do as you desire. H.
Melville.” Provenance: The John H. Gourlie collection.
John H. Gourlie of New York City was an author
and ardent supporter of the Union cause during the
Civil War. He served as Chairman of the Finance
Committee of the New York Metropolitan Fair in
1864, which raised $1,183,506.23 for the United States
Sanitary Commission. Gourlie was an avid collector
of autographs from 1850 to 1880. Herman Melville
autograph letters are quite rare. Fine condition.
(12000/15000)
Lot 77
Lot 76
Page 36

LETTER FROM JAMES MONROE ABOUT NATIONAL BANK
78. monroe, JAmes. 1758-1831. Important Draft Autograph Letter regarding the National Bank. Three full
pages, in ink, unsigned, recipient unknown. 9¾x8.
New York: March 1831
Remarkable, detailed letter written by the “Father of the Constitution” concerning his views
on the establishment of a national bank as opposed to a private bank. “…Your letter touches
on a very interesting subject, one which is of the highest importance to the national prosperity
and to the success of our free system of government itself. The great object of your inquiry
is, whether a bank of the government, founded on the public’s revenue, and under its exclusive
control is to be preferred, for all the national purposes specified, to such a bank as that which
now exists, founded partially on the stock of individuals and exclusively under their control. I
have no hesitation in declaring it my decided opinion that the latter is to be preferred…A bank
of individuals founded on their stock and under their control, connected with the government
on just and independent principles, would accomplish all…A supervision by the government,
of a bank of it’s own, whether confined to the city, or extended by branches to the states, would
interfere with its other duties distinctly pointed out by the Constitution. It adds a new branch
with powers of great extent and of a peculiar character. It is by a national bank as you suggest
that this proper currency is to be raised, and sustained on a par with specie, that exchange
is to be regulated, remittances made to individuals throughout the union, and what is of the
highest importance, that loans be furnished, and obtained by others, in great emergencies,
in war for example. In my judgment none of their duties could be performed with complete
affect by a bank of the government. Personal interest would operate on some of the parties
connected with it…A bank established on the funds of the union, under the control of the
Executive might by the abuse of the power, to which there would be great temptations, shake
our free system of government if not overthrow it…a party might be formed repugnant to
the Constitution and the safety of the republic…A century might elapse before these dangers
would be realized…” He continues with detailed thoughts on the merits of a bank founded on
the funds of individuals. A letter of particular import today, as the questions of government
control versus an unfettered banking industry are at the forefront of debate. Writing strong and
dark. Uniform age toning, with light soiling, else fine.
(8000/12000)
Lot 78
Page 37

FOUR DOCUMENTS AND LETTERS SIGNED BY NAPOLEON
79. nApoleon BonApArTe. 1769-1821. Document Signed by Napoleon, appointing Antoine Claude Dominique
Juste de Noailles as a Count of the Empire. Engraved document on vellum, filled out in ink, signed by
Napoleon. 18x22, framed under glass. * Red wax seal, 4½” in diameter, with attached ribbon (torn).
In shadow box, under glass, 9x9½. The original tin cylindrical document case, with a place for the wax
seal as well, 23” high, accompanies the lot.
Paris: 27 September 1810
Napoleon appoints the nobleman Antonin Claude Dominique Just de Noailles (1777-1846) as
the Count of Worsen. He thrived after Napoleon’s downfall as well, serving as ambassador to
Russia and and in the chamber of deputies. Document a little creased and discolored, 2” cut at
left side, ink writing a beit weak in places, still very good.
(3000/4000)
Lot 79
You can bid absentee directly from the item description in
the online version of the catalogue at www.pbagalleries.com.
Or bid during the auction using the Real-Time Bidder.
Page 38

80. nApoleon BonApArTe, 1769-1821. Manuscript Document Signed Bonaparte, as General in Chief of the
Army of Italy. Two pages on 4-page folio, 14¾x9¼.
Italy: 8 March 1797
Exceptional manuscript document, Napoleon as General in Chief of the Army of Italy issues
five articles ordering the Convent of San Benedetto to be suppressed and the monks there
to return to their provinces. He also orders that half of the goods belonging to the convents
present in Mantua be given to civilians who had lost their homes in consequence of the defense
of the city. The other half to be divided: Two thirds to the coffers of the army and the other
third to the inhabitants of San Benedetto to compensate them for the alms which the convent
would have given them.
The third article orders
any good belonging to the
convent in the Cisalpine
Republic or in Lombardy
are to be confiscated for
the benefit of the army.
The convent of San
Benedetto is to be turned
into a military hospital
under the disposition
of the Chief Director.
This document bears an
exquisite large engraved
vignette at the top of page
one of the French Liberty
figure and Bonaparte’s
name as General in Chief
of the Army of Italy.
Bonaparte’s signature, on
page two, is strong and
dark. Fine condition.
Lot 80
(3000/5000)
Lot 81
Page 39
81. nApoleon BonApArTe, 1769-1821.
Manuscript Letter Signed Napole, to his
adopted son Prince Eugene Napoleon. 8 lines,
in ink, on sheet 9x7¼.
Paris: 22 February 1806
Napoleon writes to his adopted son
Prince Eugene Napoleon (1781-
1824), Viceroy of Italy. He writes in
full: “I am extremely displeased that
you have given General Lauristan
some orders contrary to those that
I had given to him. I directed him
to take possession of Dalmatia, to
go there without delay. This kind
of action is unbelievably foolish.
Under no circumstances whatsoever
are you to countermand any of my
orders. You do not have the right.”
With a large signature and paraph of
Napoleon. Fine condition.
(2500/3500)

82. nApoleon BonApArTe. 1769-1821. Manuscript Letter Signed with his scarce full Napoleon signature, to his
adopted son Eugene Napoleon, Viceroy of Italy. Two pages, on conjugate lettersheet 9¼x7½.
Paris: 16 February 1806
Lot 82
Page 40
Important letter from the French
Emperor to his adopted son Eugene
Napoleon, Viceroy of Italy. Napoleon
lists in detail the amounts of taxation to
be paid to the Grand Army by various
regions in Italy: “...Verona is to pay
400,000 francs; the region of Venice
1,000,000 francs; the Treviso region
1,500,000 francs (etc)...” He adds: “It
is essential that the sum be deposted
because I need it. I would be happy if
it reaches ten million...Don’t forget that
I need a lot of money; that I must add
to my army, and that I am organizing
my fleet...I note that you are spending
too much money in Italy...” Napoleon
also writes: “I greatly approve of the
steps that you have taken to prevent the
introduction of English merchandise
into the Venetian region; do the same
thing for the Kingdom of Italy. Those
are good and useful measures, with
advantageous results for France and
very severe ones for our enemies...” A
superb letter in excellent condition.
(4000/6000)
83. (Napoleon Bonaparte) 65 engraved and printed portraits of Napoleon. Various sizes.
Various places: Various dates
Engraved and printed portraits of Napoleon of him at various stages of his life, with many
unusual and seldom encountered images. Generally very good
(200/300)
84. orWell, GeorGe. 1903-1950. Typed Letter Signed Geo. Orwell, on imprinted stationery of The Tribune.
3 lines, on 5x8 sheet.
London: 16 August 1944
Rare signed letter from the British novelist and essayist, one of the major political writers of the
20th century. “I am keeping your poem 48 Hours. The usual proviso - it will have to wait over
for some time.” Recipient’s name crossed out. With portrait and related article. Very good.
(800/1200)
Lot 84

85. pAsTeur, louis. 1822-1895. Autograph Letter Signed L. Pasteur, in French. 10 lines, in ink, on 5x4”
piece of paper.
No date
Note from the famed French chemist and father of microbiology who developed the cure
for rabies in dogs and children and developed the process known as Pasteurization. Roughly
translates as “To Monsieur Sergurd. Here is the address I gave at the grave of Monsieur
Servand. I had forgotten to give it to you this afternoon.” Very good condition.
(1500/2500)
Lot 85
86. pounD, ezrA. 1885-1972. Holograph postcard from Pound to Richard Wirtz Emerson, editor of The Golden
Goose. In pencil. Plain postcard 3¼x5½.
Washington: 1950
On word postcard, written to the editor of The Golden Goose thanking him for his letter
(“Than’ g”), signed by Pound (with his initials) and hand-addressed by him on the front.
Emerson’s letter (carbon of which accompanies this lot) discusses the state of poetry in 1950, a
visit he had just made to William Carlos Williams (enclosing the transcript of their discussion,
which is not present), and mentions Rexroth, Norman McLeod, Wallace Stevens, Patchen,
Olson, and others. An interesting letter with boldly signed reply from Pound. Fine.
(300/500)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.
Page 41

LETTER FROM RODIN WITH TWO PENCIL SKETCHES
87. roDin, AuGusTe. 1814-1917. Letter signed (“Aug. Rodin”) to M. Sardou, with pencil sketches. 1-page
letter signed, with two pencil sketches and notes on the verso filling the entire page. In French. (4to)
8¾x6½ (sight size), framed on hinge to show both sides, with portrait and explanatory plaques.
Rue de l’Université, 182, [Paris]: 24 January 1905
Translated, in full: “I studied your side of the pedestal. I am making one of my side also—as
for the dimensions that you asked me to make, they follow with this letter (turn over). Accept
my warm greetings. Aug. Rodin”. An exceptional item from the famous sculptor in which he
collaborates with the architect Sardou on a sculpture project. The sketches show the pedestal
with two details, and give complete dimensions. Rodin letters with drawings are scarce on the
market. Some minor creasing and edge-toning to letter; near fine.
(3000/4000)
Lot 87
88. roDin, AuGusTe. 1840-1917. Autograph Letter Signed “A. Rodin.”. One page, 8vo, in French. “My
Dear Friend, Tomorrow, Friday, I shall be away. Saturday, as you request, I shall be around and will
expect you in the morning, as you wish.”
No date
Partial fold break at center, light age toning.
(300/500)
89. roDin, AuGusTe. 1840-1917. Autograph Note, unsigned. On Rodin’s imprinted personal calling card.
He writes: “Mme. Cimino has no authority whatever to speak for me. Monday I shall not be in. Let
us say Thursday, it you can.”
No date
Light uniform age toning, else fine.
(200/300)
90. (San Francisco) Manuscript invoice on printed folio letterhead of John O. Ralston relating to painting and
construction at the Cliff House. 14x8½.
San Francisco: 19 January 1884
Invoice to “Mr. Adamson Agt. for A. Sutro,” detailing the costs of construction work at San
Francisco’s Cliff House, including the bar, mostly painting. The total amount of $605.25 was
paid in cash in three payments. Very good.
(200/300)
Page 42

HANDWRITTEN MS. OF PLAY BY JOHN STEINBECK WRITTEN IN SOVIET UNION
91. sTeinBeck, John. 1902-1968. Handwritten manuscript of an untitled play by Steinbeck, dating from his
month-long visit to the Soviet Union in October and November, 1963. 5 pages on rectos of 5 leaves, written
in felt pen on unlined, rather pulpy stationery with a picture of the monument in Kiev to the old
Ukrainian leader Bohdan Khmelnitski.
Kiev: 1963
Steinbeck made the visit at the suggestion of President John F. Kennedy and the subsequent
invitation of the Union of Soviet Writers. At Steinbeck’s request, the American Embassy in
Moscow assigned as his escort a young officer named Peter Bridges who was knowledgeable in
Soviet literature and fluent in Russian. The Soviet writers’ union provided its own escort and
interpreter, a woman named Frida Lurie. The play, or outline of a play, reflects some of the
difficulties Steinbeck and his wife Elaine
had with the Soviet authorities, and his
creative genius in dealing with them. The
Steinbeck visit, and the Soviet attempts
to manipulate it, are described in detail
in Jackson L. Benson’s biography The
True Adventures of John Steinbeck
Writer (New York: Penguin, 1984). The
visit is also dealt with in the forthcoming
memoir by Steinbeck’s one-time escort
in Moscow, Peter Bridges, Safrika: An
American Envoy, published by the Kent
State University Press in May, 2000. The
handwritten play by Steinbeck, though
untitled, is headed on the first page
“Notes & lists of dialogue for a play in
2 acts so far.” The five-page script was
given by Steinbeck to Peter Bridges in
Kiev. The play, in a tongue-in-cheek
vein, reflects the unsuccessful attempts
of the Soviet authorities to prevent
Bridges from accompanying Steinbeck
beyond Kiev. The play’s characters
include “Big Dick Kleiberg, owner of
the King Ranch” (i.e. Nikita Khruschev);
“Johnson, a northern industrialist looking
Lot 91
Page 43
for a site for a factory” represents
Steinbeck himself; “Fredrika, a tour
mistress” is Frida Lurie; “George...an
advertising executive from Madison Ave.” is Peter Bridges; and “Gustave, an expert in Indian
culture” is another writers’ union functionary who accompanied Steinbeck to Kiev. The “Florida
Chamber of Commerce” (i.e. the Soviet Authorities) is trying to sell Johnson (Steinbeck) a
piece of swamp land, and he wants George (Peter Bridges) along because he knows real estate
values, reflecting Steinbeck’s desire to have Bridges accompany him as a hedge against politically
motivated translations. This unique and significant unpublished manuscript material from John
Steinbeck, given by him to his embassy escort Peter Bridges in 1963, is now, some forty years
later, offered for public sale. It offers a rare glimpse of Steinbeck on his third and final journey
to Russia. Fine.
(10000/15000)
Each lot is illustrated in color in the online version of the catalogue.
Go to www.pbagalleries.com

92. sTeinBeck, John. 1902-1968. Two items from Steinbeck’s visit to Russia in 1963, including a handwritten
note. Includes: A note with seven numbered points, handwritten by John Steinbeck on a small piece of
stationery from the Hotel National in Moscow where the Steinbecks were staying in November, after
returning from Kiev, Yerevan and Tbilisi. The note, which was given by Steinbeck to U.S. Embassy
official Peter Bridges, reports his private conversation with Alaksei Adzhubei, editor of Izvestiya and
Khrushchev’s son-in-law. Among the points, Steinbeck relates that K (i.e. Khrushchev) wants to meet
him, and it will be arranged; an agreement has been confirmed for direct flights between Moscow
and New York three times a week; Steinbeck has agreed to “write a short piece of sterling prose for
his sheet”; “In the name of his outfit, he gave me the bauble you see on my left wrist”; etc. Bridges
has added a short notation at the bottom of the note, and a longer one on the reverse. * A carbon
copy of poem, typed either by John or by Elaine Steinbeck, entitled “Latoniquem.” An ink note by
Bridges in the upper right of the page states that the poem is in “John Steinbeck’s new language -
translation of Shevchenko’s `Zapovit’!” Bridges relates years later that “While in Kiev, the Ukrainian
branch of the writers’ union had made much of the 19th century Ukrainian poet Taras Shevchenko,
and the Steinbecks had been exposed to a little too much untranslated Ukrainian including the poet’s
`Zapovit’ (`Precept’). Steinbeck reacted by inventing a new language which he thought was more
melliflous than Ukrainian was.”
Moscow: 1963
Both items are in very good condition, unique and significant pieces which shed light on his
final trip to the Soviet Union.
(1500/2000)
93. WAshinGTon, Booker T. 1856-1915. Typed Letter Signed by Washington, on imprinted Tuskegee Normal
and Industrial Institute stationery. 5½x8¼.
Tuskegee, Alabama: November 13, 1899
The African American educator writes to the editor of the Boston Herald requesting
publication of an appeal for an endowment fund endorsed by President Grover Cleveland. Very
good or better.
(500/800)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.
Page 44

Section III: Henry Miller – Manuscripts, Books & Related
Material
Nearly all of this important manuscript material by Henry Miller and his circle was
purchased from the personal archives of Henry Miller, which were sold in a
series of three auctions at PBA Gelleries in 1997 and 1998. The first portion comprises
letters and manuscripts by Henry Miller, arranged in chronological order. Following are
archives relating to Miller and his works, then books by Miller, and letters from members
of his circle.
94. miller, henry. Typed carbon of a letter sent to “an old friend” (Cohen) from Paris in 1928. 9 page typed
carbon letter.
[Paris]: [1928]
The letter was written while Miller and his wife June spent six months touring Europe in 1928
(June had extracted the money necessary for the trip from her “patron”, Pop). This contains
Miller’s earliest recorded impressions of Paris and Europe and predates his move to Paris by
nearly two years. Of Germany, Miller writes disgustedly: “At Aachen, I think it was, just over the
French border, I caught the first glimpse of that boorish spirit which the world insists on calling
German. Factory workers, stripped to the waist, making their toilet in 4th class trains, throwing
ugly grimaces at the tourists, begging for cigarettes, heads shaved - as thoroughly bestial
and depraved in appearance as a machine man can become. You remember George Grosz’s
caricatures? Hell, they are not even caricatures. The man is the most painstaking photographic
realist...” Miller, true to style, takes up 2 or 3 pages with descriptions of toilets in Poland and
Paris, then goes back to architecture and street scenes in Paris: “...And then the bookshops and
the bookstalls. Wonderful! Especially those along the quays, where at night the possessions are
all locked up in strong boxes that repose calmly on the walls of the Seine embankment. What a
pity not to know French! Books are dirt cheap here - and what books. Anything and everything
you want... Then as to the inhabitants. Whiskers still flourish, and corduroys, and wide sashes
around the belt. Fairies galore - this must be their Paradise. At night squads of street- walkers,
but all bunched pretty much in one or two localities. For the most part Paris is eminently
respectable - frightfully bourgeois, in fact. Prostitution is no index of great liscence...The
French, I imagine, take their women like they take their wines and apéritifs. Anybody who calls
Paris wicked does not know his New York...” A wonderful letter comparing America to Europe,
Brooklyn toughs to Paris toughs, sex-drives of Americans and French, etc. While a carbon, the
letter is likely unpublished and an important contribution to Miller’s early history in Europe.
Fine.
(500/800)
You can bid absentee directly from the item description in
the online version of the catalogue at www.pbagalleries.com.
Or bid during the auction using the Real-Time Bidder.
Page 45

HENRY MILLER’S PARIS NOTEBOOKS, ASSEMBLED IN THE 1930s,
PRESENTING HIS THOUGHTS & REFLECTIONS AT A CRUCIAL TIME
95. miller, henry. Miller’s Paris Notebooks from 1932-1936, with manuscript and typed notes on ideas and
resources for his writings. 3 volumes, comprising approx. 413 leaves, typed and holograph manuscript,
each signed at the front (“Property of Henry V. Miller...”). 9½x6¼, half morocco & marbled boards,
spines lettered in gilt.
Paris: 1932-1936
Extraordinary and highly important notebooks written and assembled by Henry Miller during
his years in Paris in the 1930’s, providing source material for his three novels written in Paris,
Tropic of Cancer (1934, an account of his bohemian life in Paris), Black Spring (1936, an
examination of his early childhood, inspired by his relationship with Anais Nin), and Tropic of
Capricorn (1939, a fictionalized account of his struggle to become a writer before coming to
Paris). The literary significance of these notebooks can hardly be overstated - they capture the
thoughts and reflections of Miller during his period of greatest creativitiy, and provide the basis
for the works which were to make him famous. The notebooks contain an astounding array of
material, both typed and handwritten, and occasionally newsclippings and other material pasted
in. Included are notes on scenes and events in Paris; typed and handwritten excerpts from Lady
Chatterly’s Lover and Anais Nin’s diary; keys to the names of characters in his novels; lists of
debts he owes; letters from friends such as Alfred Perles, Emil Shnellock and Anais Nin; several
photographs including his father and Anais Nin; erotic cartoons, movie programs, a French
vocabulary, several drawings, a list of Miller’s residences in Paris from 1930-1932, numbering 23
places, “which doesn’t take account of the places where I’ve `flopped’ for a night,” and much
more. Among his reflections on life in Paris: “The women of Montemartre! One has to go
back to Virgil for comparisons - to the harpies!”; “At night screams, shouts, curses, animated
discussions on streets - all very course, loud, terrifying, thoroughly Latin. Altercations with
women absolutely unheard of in
America - treat women like dogs, no
chivalry, not even the slightest respect.
The commoner here is a very low,
crude specimen”; “Here June gets
angry because I loaned `Chadla,’ the
dancer, her book of Dostoievski.
Later she & Chadla become good
pals...”; plus Miller’s transcription
of Anais Nin’s notes on Tropic
of Cancer; notes from Nin’s diary
which, when she read them to him,
precipitated their sexual relationship;
and much more. In the third volume
are extensive handwritten notes on
Black Spring and Tropic of Capricorn.
There are manuscript indexes
inserted at the front of the first two
volumes. In sum, the three volumes
containing what is undoubtedly the
most important source material for
the study of Henry Miller, his mind,
his life, and his writings. Miller kept
these three volumes on his desk, and
they can be seen in many photographs
taken of him in his office. Provenance:
The Henry Miller Family, then the
Collection of Roger Wagner. Some
normal wear, but in quite nice
condition.
Lot 95
(100000/150000)
Page 46

Lot 95
Page 47

Lot 95
Page 48

MANUSCRIPT “WALL CHART” OF THINGS TO DO AND REMEMBER
96. miller, henry. “Wall Chart” - original notes by Miller on verso of a broadside. Broadside entitled,
“Information du Film,” dated April 15, 1932, with manuscript notes by Henry Miller on verso. 30x40.
Paris: 1932
Miller’s holograph notes are reminders to himself and lists to remember, such as “record
dreams,” “Cultivate stationery store man - have a drink with him Sunday morning,” “Books
to Read,” “Get card for American Library or Sylvia Beach,” “Steal good books from Am.
Library,” (At his list of books to read, he had noted “Steal” next to a few); “Plan bicycle trips
- Strasbourg, Meaux, Provins, Brussels, Amiens, Rouen, Tours, Chinon,” “Buy tin file case
like Fraenkel’s,” “Make idiot savant drawings for Emil. Skeletons whose bones are wired with
words...,” “On cold nights paint the walls - Tackle it con furioso!,” “Invite Kaun [?], Zadkine for
dinner - but separately!,” “Tragic Sense of Life - Unamuno - Multaluli - Louis Couperus (fuck
him - he’s n.g.),” and many other tidbits. A fascinating chart detailing Miller’s daily doings in
Paris. Split into two large sections, with creases from folding and tears along creases, this piece is
fragile but easily legible - would look wonderful framed; very good.
(6000/9000)
Lot 96
Each lot is illustrated in color in the online versionof the catalogue.
Go to www.pbagalleries.com
Page 49

FIRST DRAFT OF THE TROPIC OF CANCER
97. miller, henry. Tropic of Capricorn - carbon typescript first draft. 177 pp., on pink & blue carbon paper,
double-spaced, bound in quarter gilt- lettered calf & cloth; a few holograph corrections in Miller’s
hand. Hand-titled by Miller at front: “Tropic of Capricorn - First draft, scrapped. Begun at Clichy
1934.” This page also with two rubberstamps of Henry Miller’s address at 18, Villa Seurat, Paris.
Paris: 1934
Having written (but still revising) Tropic of Cancer and feeling more secure with himself as a
writer, Miller began in 1930 to first document in book form the turbulent seven years between
his first meeting with June, his second wife, and his departure for Europe in 1930. This first
version differs significantly in text and tone from the final, published version of the book and
demonstrates a writing style that varies from the rest of his published works. Miller’s time
living and writing at Clichy, rooming with Alfred Perlès and visiting with Michael Fraenkel and
Anaïs Nin on a regular basis, has been described by Miller as one of the happiest of his life,
whereas the time during which
this autobiographical novel takes
place, from the vermin-infested
cellar of his Brooklyn apartment
to the seedy speak-easies of the
Village, was without a doubt
the most turbulent and povertystricken
time of his life. With the
publication of Crazy Cock and
Moloch during 1991 and 1992
by the Grove Press, this early
and dramatically different first
draft of Tropic of Capricorn
becomes Miller’s last remaining
unpublished work from his
most creative days in Paris. This
typescript is worthy of separate
publication in its own right as
well as for literary and historical
purposes - this carbon appears to
be the only copy, the whereabouts
of the original long unknown -
Miller obviously went to some
pains to have this carbon specially
bound, at a time when money
was not plentiful for him, and he
would not likely have done that if
he had the original to bind. Upper
edges slightly trimmed, cutting
off one holograph note on page
1 and a couple of typed lines, else
very good.
Lot 97
(40000/60000)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.
Page 50

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

99. miller, henry. Typed letter from Henry Miller to author Claude Houghton, with holograph corrections. 9 page
TL to author Claude Houghton, with holograph corrections (some by Miller, some by Houghton).
Also with A.N.s. from Houghton to Miller, returning the letter in 1958.
Hollywood: [1942]
Houghton was a British writer who exchanged a series of letters with Miller beginning in 1942.
Miller said that his letters to Houghton were some of the most personal he ever wrote, and
this letter does not disappoint. Miller found important similarities in emotions described in
a book of Houghton’s to his own feelings when his second wife, June, left him for another
woman in about 1927, spurring him to write Tropic of Capricorn. (Interestingly, he states a
couple of times in the letter that June was his third wife, not his second, with no explanation,
so, a mystery.) On page 2, Miller really gets going: “In the year 1927 June, to whom I got
married soon as I had divorced my second wife, left me to go to Europe - with a woman, a
woman whom I loathed and detested. I hated as I had never hated before. it was like the Otto
Steele affair. (My only great hatred). That temporary divorce was a real death to me. Just as you
described yourself slowly and painfully struggling back to life, so might I described my return to
life during the next seven years. Up to that point I mentioned, when I saw the pattern of my life
clearly and significantly. In that three months when she was abroad I sank to the lowest point. I
resolved then that I would write a book about her, about us, which would be immortal...It will
take me to the end of my days to tell the story of my meeting with her and our life thereafter,
which lasted until one day in 1933 or 34, in Clichy, where I was living with Perlès, when she
suddenly ran away, leaving a note on the table for me, saying she wanted a divorce. I have never
seen her since...I have not the courage to see her, and yet I must see her one day - there must be
a reckoning....” In the following few pages, Miller quotes brief passages from Houghton’s book
and contrasts their striking similarity with the events, arguments, feelings, philosophies, etc. in
his (Miller’s) past. A fine and wonderfully revealing letter. It was published in “Writers Three: A
Literary Exchange On the Works of Claude Houghton with Henry Miller, Claude Houghton,
Ben Abramson” (Ann Arbor: Roger Jackson, 1995). Fine.
(1000/1500)
You can bid absentee directly from the item description in
the online version of the catalogue at www.pbagalleries.com.
Or bid during the auction using the Real-Time Bidder.
Page 52

BEVERLY GLEN NOTEBOOK – “DRINK FINE WINES EVERY DAY”
100. miller, henry. Henry Miller’s “Beverly Glen Notebook” - artist sketchbook containing numerous ink
and pencil notes. 26 pages of pencil and ink notes, compiled during 1943-46 while Miller was living at
Beverly Glen (Los Angeles), and then in Big Sur, California. 9x12, red wrappers
Beverly Glen and Big Sur: 1943-1946
Notes include lists of things to buy for his house, art supplies to purchase, & agendas of things
to do (“Personal Exercises:...Hour’s walk before breakfast (no thinking!)...Drink fine wines
every day! Type one hour per day - drudge work,” “Reprint the Etoilique with Preface. Send out
carload lots to editors & publishers everywhere!” “Ask Argus if he will mail announcements
for new books! (ditto Gotham Book Mart!),” & “Get Leite to do only letters relating to `Tropic
of Cancer,’ dedicate to all the censors of this world and the next - including Soviet Russia &
Young China.”). Miller also includes lists of proposed “Titles to Use”, “Titles of Paintings”
(quite lengthy, with prices realized and to whom they were given), “Dollar a Week Patrons -
Prospective!” (topping the list are James Agee, Ben Hecht, Judy Garland, Gotham Book Mart &
Bern Porter), “Art galleries to circularize,” “Debts to pay off ” (only several names crossed off!),
and much more. A great notebook containing the author’s daily thoughts and chores during the
early 1940’s. Very good condition. Very good.
(5000/8000)
Lot 100
Page 53

HENRY MILLER PLOTS NEXUS
101. miller, henry. “Schema for Nexus” - ten page holograph notebook with notes and synopsis of Nexus. [10]
pp. holograph notebook on taped-together versos of reproductions of a Miller watercolor, written
during the early planning stages for Nexus, with outlines of plots and charaters mapped out in blue
ink.
No place: [c.1945-1950s]
Miller plots outlines for pages 1-100, 100-200, etc., referring himself to some of his other
notebooks, including the Bern Porter notebook also in this sale. The notebook also contains
memories of real-life events Miller planned to describe: “June - Paris; Varèse, Zadkine,
Duchamp, Hotel Müller...Fred and Jeanne - North Africa! Sterling and June - Trip! Clinton
Avenue - Dave Elkus, Chess, Learning to drive, Buick throttle - trip to L.I. - June, Writing novel
for Pop - Walks and talks, Lexington Ave “L” rides...Trips to negroes Long Island with Elkus...”
With list of male and female characters and their real-life counterparts holographed by Miller at
rear 2 pp. Yellowing to tape, else about fine, with important outline and character content.
(2500/3500)
Lot 101
102. miller, henry. Approximately 16 pages of holograph notes about The Rosy Crucifixion. Approximately
16 pages of Miller’s holograph notes about The Rosy Crucifixion, Miller’s paean to his second wife,
June, written during the planning stages of the project, which spanned many years - he picked it up
and put it down many times. Accompanied by 3-pp. carbon typescript of corrections in text of Plexus
(English Lang. Ed.) published by the Olympia Press, Paris.
No place: [c.1945 and later]
The notes include quotes Miller
planned to use (including a number
from Dostoyevsky, whose writing June
adored), character studies for Bernie (3
pages), one card on which is written (in
part): “Female Charaters: Louise Ashley
(Alma Reardon) use in throw-back
with negro - bicycle store - boarder.
Margaret Heller (Sadie Lester) throwback
- Uncle Harry’s garage, Hermann
Dircks - courting and tragic conversation
30 years later! Clinton Street after
June’s return from Europe! Dewar &
his girl, O’Reagan & water colors...”
and with a wonderful 15x19¾ chart of
Lot 102
all of the characters in the trilogy, each
written in thick black ink, and who they
Page 54

epresent, with June as Electra Annapolis in the center. An important set of notes detailing the
planning of Miller’s famous trilogy, published in 1949 (Sexus), 1952 (Plexus), and 1959 (Nexus).
A bit of yellowing and a few small stains to verso of chart, few short tears; else very good.
(1200/1800)
HENRY MILLER’S “LITTLE BLACK BOOK”
103. miller, henry. Livre de Femmes (Roster) (de l’enfance à la vieillesse) et de partout au monde. Holograph
notebook containing Miller’s list of lovers throughout his life (including wives), with ratings of zero
to three stars beside their names!
No place: [c.1948]
Lot 103
Lot 104
MILLER WRITES ABOUT BOOKS
Page 55
Effectively, Miller’s little black book.
Signed by Miller on the title page. The
first 6 pages list 39 women under six
different section headings: Fillettes
de l’enfance; Jeunes Filles; Femmes
(Decatur Street); Femmes (Pendant
mariage - premièr); Femmes (2d
mariage) (Here he only lists June Edith
Smith, to whom he allots 3 stars);
Femmes (Paris) (including Anaïs Nin,
who also gets 3 stars). If Miller is
right by his calculations, he had 40
lovers between his childhood and 1948
(including a woman and her sister).
The last 3 pages of the book, written
dos-a-dos, are Miller’s holograph
translations of Japanese phrases, such
as “I’m dying for you!” and “Shy?”
Another man’s name, dated 1948, is
written on rear pastedown. Several
preliminary pages have been torn out
by Miller, else very good condition - a
rare compendium of full, partial and
maiden names of Miller’s numerous
lovers.
(2500/3000)
104. miller, henry. Books in My Life,
Volume II - carbon typescript with Miller’s
holograph corrections. Loose carbon
typescript with numerous holograph
corrections by Miller, pp. 181-429
(possibly incomplete, and with duplicate
pages, plus some earlier uncorrected
pages and two errata pages).
No place: [c.1950]
Corrections by Miller are in a variety
of colored inks, indicating Miller’s
lengthy toiling over corrections. Very
good - should be seen.
(1200/1800)

105. miller, henry. Books to Write About - Or Subjects: original spiral-bound notebook with Henry Miller
holograph notes. Spiral-bound notebook filled almost completely with holograph notes by Miller about
books and subjects in his life to remember and write about for his book Books in My Life. Approx.
80 pages of text in purple & black ink.
No place: [c.1950]
Miller intended to write a book of “Books in My Life,” and this is his original compilation
of notes for that book. Notebook contains lists of books read and books to read, including
favorite quotes, as well as books never read and
never to be read again (“never read - regret!”);
a brief outline of the planned book; a lengthy
section entitled “Zen in Eng. Lit.” containing
many quotes and anecdotes to use, etc. He also
has pages of jottings of memories about books
and life to relate to the reader, like his experiences
at a bath-house: “The Hot Baths: All who ran
it, from fairy bookseller (Warren Wright - bad
checks!) to 2 old fairies, one with raw ass! The
audacious obnoxious fairy - every Thursday.
Confessions and revelations about `the clan’ &
their doings. `Keep hands off him!’ (Tony) just
`tolerating’ us normal ones...pricks with fancy
poodles, cattle men from ? with balls like a bull
(living Priapus) - rolls of fat. Mr. Aram strutting
like a peacock...Solitude. Idiots with rifles - target
practice on seals! The whales, sea otters, sea weed,
mist, smells, clouds, waves - double-faced rock of
King & Queen - color of rocks at low tide - old
bath tubs teetering on rocks below. Snakes on
roof in hot weather. Rocks tumbling....” Miller
Lot 105
also lists “Birds I know & recognize,” “Weeds,”
“Trees,” “Visits from....,” “Coincidences &
Things coming in at right moment!....,” “Thankful
to have met, if only once:....,” “Good lines to use: She was as attractive as an earwig!...” lastly, he
writes, “End book with Fred’s coming to write biography! Rescue of me in Paris and vice-versa
(Villa Seurat). Now ‘putting me on the map’! First full book on me....” A couple pages detached,
else very good - filled with interesting data on Miller’s life at Big Sur and influences of books
read. Very good.
(2500/3500)
Lot 106
ORIGINAL DRAWINGS, PASTELS & WATERCOLORS
106. miller, henry. Sketch book containing 17 original drawings,
pastels and watercolors by Miller. Including a self portrait, some
occasionally pornographic works, a few titles in his hand.
11x8¾, spiral bound flexible boards.
No place: No date
While none are signed by Miller, a few have titles or
words written in his hand, and many are typical of his
style. Stain to front cover (adding character!), lower half
of front cover coming detached, else very good; internal
drawings fine - a rare compilation. Very good.
(7000/10000)
Page 56

107. miller, henry. Typed copy of corrections made to the Olympia Press edition of Plexus. 3 sheets of yellow
paper, with typed “Corrections in text of Plexus (English language edition) / pub. by the Olympia
Press, Paris.” 116 corrections in all.
No place: c.1953
Near fine.
Lot 109
Page 57
(200/300)
108. miller, henry. Holograph loose leaf note-paper detailing debts owed and when paid. Approximately
50 pages or more of Miller’s holograph notations of dates that money was borrowed, whom he
borrowed from, and when the loan was repaid (if ever).
Various places: Oct. 1954 - May 1955
Amounts are for as low as $1 and generally don’t exceed $25, and include loans from such
characters as Carl Van Vechten, Frances Steloff (Gotham Book Mart), Edwin Corle & Merle
Armitage. In Miller’s unmistakable hand. Very good.
(400/600)
WORLD OF SEX WITH EXTENSIVE MS. REVISIONS BY MILLER
109. miller, henry. The World of Sex. 88 pp. Dummy cloth. 1 of 1000 copies. Second Edition.
No place: Printed by J.H.N. for Friends of Henry Miller, [1946]
Miller’s working proof copy for the revised (3rd) edition planned to be published by Olympia
Press in 1957, this second edition is heavily edited, corrected and changed, with all changes
holographed in Miller’s hand (blue ink) - Miller has lengthy changes to almost every line of the
book, including the first, and even corrects his own corrections with crossouts and add-ons,
making this copy unique and fascinating as a work-in-progress; Miller has basically created an
entirely new text here. Pages detached and many loose in binding, else very good.
(3000/5000)

110. miller, henry. The World of Sex - revisions. 42 glossy photographs, each 8x10 of Miller’s
holograph revisions. 2 pages of text per photograph.
No place: 1957
Miller was told by Olympia Press that they were to publish a side-by-side edition with one page
demonstrating his holograph revisions facing a page of the final text. The book was published
with only 10 such pages, maddening Miller. The photographs show the actual extent of
revisions and emendations by Miller on the work, which left hardly a sentence unchanged. Near
fine.
(800/1200)
Lot 110
111. miller, henry. “Third Eye Correspondence”. Envelope filled with Miller’s 9-page typed essay
on T. Lobsang Rampa’s book, The Third Eye (with numerous holograph corrections by Miller) &
ensuing correspondence from Rampa (Hoskins) to Miller and from Ken McCormick, editor in chief
at Doubleday, to Miller.
Various places: 1957-1958
Fascinating correspondence regarding the famous literary hoax, in which Cyril Henry Hoskin,
a plumber’s son from Plympton, England who had never been to the Orient, masqueraded as
Tibetan lama “T. Lobsang Rampa” and wrote The Third Eye, an “autobiographical” account
of the lama’s life in Asia, clairvoyant doings, and occult beliefs that was questioned from the
outset. In 1957, before the hoax was revealed, Henry Miller was on a “one- man crusade” to
bring about awareness of the importance of Rampa’s already controversial metaphysical book,
and to get it published in the United States, and his essay gives many insights into Miller’s
own philosophies despite the hoax. Throughout the correspondence, the hoax is revealed
and Hoskin comes up with a number of explanations, one being that he had ghosted the
story for a Tibetan in hiding, another that he was a Tibetan spiritually inhabiting the body
of an Englishman, and (my personal favorite) that he had stolen identity papers from a dead
Englishman living in the East and masqueraded as him to move to Ireland, where he resided
at the time of the hoax. There are several signed letters from him to Henry Miller, providing
these explanations, and Miller’s letters back to him are very supportive. Throughout their
correspondence, Hoskin’s language get more relaxed, making it quite clear that English is not his
second language, and the two get down to writing about the best & worst literary agents, money,
etc. As Hoskin had sworn Miller to utter secrecy regarding the revelation that he had stolen a
British I.D. off a dead body, the outside of the envelope of correspondence reads, in Miller’s
hand, “Do not open until after my death - Henry Miller.” Fine - a fascinating group of letters.
(600/900)
Page 58

DRAFTS OF UNPUBLISHED NEXUS II
112. miller, henry. Nexus II - first and second drafts of the work, with numerous holograph corrections by
Miller. 6 manila file folders that include the following contents: First Draft of Nexus II with extensive
holograph corrections by Miller. 112 pp. * First draft of Nexus II, carbon typescript. 112 pp. * First
draft of Nexus II, carbon typescript. 112 pp. * Second Draft [Fragment] A of Nexus II with a few
holograph corrections by Miller. Pages 87-115. * Second Draft Fragment B of Nexus II with a few
holograph corrections by Miller. Pages 1-87. * Second Draft of Nexus II carbon typescript.
No place: 1961
The publication of Nexus in 1959 was the first of a projected two volume work. The typescript
for Nexus II begins in the summer of 1928 when Miller and his wife June leave for a six month
vacation in Europe on money provided by June’s “patron,” Pop. The trip took Henry & June
to France, England, Belgium, Germany, Czechoslovakia, Austria, Hungary & Poland. The book
was never finished. Except for a small segment published in El Corno Emplumando during
1964, the entire text remains unpublished. Fine.
(10000/15000)
Lot 112
You can bid absentee directly from the item description in
the online version of the catalogue at www.pbagalleries.com.
Or bid during the auction using the Real-Time Bidder.
Page 59

MEMOIR OF HIS FIRST MISTRESS
113. miller, henry. Pauline - 19 page holograph manuscript, signed. 19-page holograph manuscript, signed.
Accompanied by 15-page typescript with a couple holograph corrections, and a few photocopies, one
stamped “Reece Halsey Agency.”
No place: No date
Miller’s intense memoir of his first mistress, the friend of a mother of one of Miller’s piano
students in Brooklyn, “Pauline.” In one passage, Miller describes his first sexual experience with
her: “As I said before, she had not fallen for me at first blush. I believe she sensed what she was
letting herself in for. She must have known from
the beginning that it would end tragically for her.
I, on the other hand, acted as if I were blind, deaf
and dumb. I questioned nothing. I never looked
ahead a millemetre. Of couse it was my initiation
into the world of sex. And it was a most beautiful
one. As for Pauline, I am certain she had been
deprived of a sex life for a number of years. She
had never remarried and, so far as I knew, had had
no lovers We were both hungry for it. We fucked
our heads off...” Later, a shocking revelation, a
description of Pauline’s late-term abortion of
Miller’s baby: “...I rushed to the bureau, opened
the second drawer and there I saw the body of a
child wrapped in a towel. I spread the towel and
beheld a perfectly formed little boy, red as an
Indian. It was my son. I choked on the realization
of that fact. And from that to tears at the thought
of what she must have suffered. It seems to be
the lot of women to suffer. For the pleasures of
the flesh they offer us men; we give them in return
only pain. If the abortion itself was a horror the
aftermath was even worse. The question was how
Lot 113
and where to get rid of the body. The doctor,
whoever he was - I never saw him - decided to
chop the body into pieces and throw the pieces
down the toilet. Naturally the toilet got clogged - and the landlady discovered all. She was not
only irate but shocked and threatened to notify the police. How Pauline talked her out of doing
this I don’t know, but the result was that we were obliged to move on short notice...” Miller
ended up leaving Pauline, twice as it turned out, and feeling so guilty about it that he never
called or wrote her. However, an interesting memoir of Miller’s first “relationship.” Near fine.
(1500/2500)
114. miller, henry. Looseleaf note-paper of approximately 100 pages containing the addresses of Henry Miller’s
friends and acquaintances. Approximately 100 loose leaf pages (lacking notebook). Most addresses within
are typed, but there are numerous corrections & additions by Miller, as well as many holograph
addresses in his hand added in.
[Pacific Palisades]: [c.1960s]
With many famous names of authors, actors and directors, as well as family members and Paris
figures Ana‹s Nin, Miller’s 2nd wife June (Corbett), et al. Very good.
(400/600)
115. miller, henry. Two notebooks - Henry Miller’s address book in original binders. 2 loose leaf notebooks,
approximately 200 pages. Many pages are typed, but contain numerous corrections and additions by
Henry Miller, as well as many holograph addresses in his hand added in.
[Pacific Palisades]: [c.1960s]
Page 60

Containing the addresses of Miller’s friends and acquaintances, including many famous names
of authors, actors and directors, as well as family members and Paris figures Anaïs Nin, Miller’s
2nd wife June (Corbett), et al. Very good.
(400/600)
116. miller, henry. At the Garden Door - typed carbon of a love song by Miller, written for his wife, Hoki,
with holograph corrections by him. Typed carbon of the lyrics to a love song by Miller, written for his
wife, Hoki, with holograph corrections by him. Accompanied by a cleaner copy (no corrections) and
initialed note.
No place: 1968
Rust marks from paperclip; else about fine.
Page 61
(200/300)
117. miller, henry. Introduction to “Life and Times of Henry Miller” - 4 page typescript with holograph
corrections by Miller. 4-page typescript with holograph corrections by Miller. Together with Introduction
to Bradley’s Book. [2nd draft of preceding?] 4-page typescript with holograph corrections by Miller.
Together with 1-page typed outline of intro. with holograph corrections by Miller.
No place: [1970]
The Life and Times of Henry Miller was published by Playboy Press. The introduction was
written by editor Bradley Smith, so this Miller essay was never actually used. Second draft signed
by Miller at the end About fine.
(200/300)
118. miller, henry. Early Days in Williamsburg - typescript draft with holograph corrections. Includes: First
Draft, 6-page carbon typescript with holograph corrections. * Second Draft, 6-page carbon typescript,
uncorrected. Accompanied by printed version in the New York Times, Oct. 17, 1971.
1971
A beautifully written memoir of Miller’s boyhood in Brooklyn: “...The house I lived in was between
North First and Metropolitan Avenue, then called North Second Street. Opposite us was
Dr. Kinney, the veterinarian, and on the roof top next door to his place Mrs. Omelio kept her
twenty to thirty cats. Diagonally opposite us was Fillmore Place, just one block long, which was
my favorite street and which I can still see vividly if I close my eyes. At the Driggs Avenue end
of this street was a saloon and at the other end a kindergraten. I remember the saloon because
as a child I was often sent to get a pitcher of beer at the side entrance; we called this `rushing
the growler.’...At the Bedford corner was the police station where I was dragged by the arm
one afternoon by the young lady whom my mother had asked to take care of me. I must have
been six or seven years old; the crime I had committed was to use dirty language in her presence.
Florence Martin was her name, and her father, known as Professor Martin, made a good
living exterminating rats in the big hotels in Manhattan. He used to carry two ferrets, which
he used to catch the rats, in his overcoat pocket...Dividing North First Street from South First
Street was Grand Street, a rather exciting street to us kids because [it was] full of stores of all
kinds. The most outstanding of these was Reynolds Bakery, which even at that date, was already
an institution. Mrs. Reynolds was undoubtedly the first woman I looked upon as a queen, or at
least an aristocrat. She stood out above all the women I knew. The back of the bakery gave out
on North First Street, where we often played cat, of shinny as we called it then, and the aroma
of fresh baked bread, crullers and doughnuts, assailed our nostrils day in and day out. On the
other side of Grand Street was Daly’s Fish Market, which also stands out vividly in my memory,
particularly the man Daly, who was very swarthy and hairy and, in my mind at least, seemed always
to be opening oysters....” Miller goes on to remember the vaudeville houses, early cinemas,
school, playmates, candy stores, etc. Of his fantasies of childhood, Miller adds, “But there were
also what I call dream streets, that is, streets which I only imagine I knew, and the memory of
which was so strong, so vivid, that years later when I was fully grown, I would return and try
to find these streets which never existed except in my dreams....” Really a well written, almost
Proustian memoir. Fine.
(300/500)

119. miller, henry. On Female Sexuality - carbon typescript for Mademoiselle. 1¼ page carbon typescript
with one holograph note at top “(For Mademoiselle).” Accompanied by a TLs from Mary Cantwell,
Managing Editor at Mademoiselle, thanking him for the article, who remarked, “As ever, you are
controversial.”
Pacific Palisades: 1971
“Despite the impression my books may have created in the minds of some,” Miller writes, “I
have sinned more on the side of love than sex...I believe that women are more preoccupied
with sex than men are; they dream about it in the waking state as well as asleep. Unless they are
extremely inhibited they seem ready to make love any time, and they are not so easily disturbed
by draughts, noises or other external conditions...” Published in July, 1971. Faint rust mark from
paperclip; very good.
(200/300)
120. miller, henry. On Seeing Jack Nicholson for the First Time - 11 page holograph manuscript, signed. 11 page
holograph manuscript and notes, signed (initials). Accompanied by a 4 page original typescript with
holograph corrections and photocopies of the same. Together with publicity material, photograph
stills, etc. for 1970s Nicholson films including “Five Easy Pieces.”
No place: [1970s]
A review of the film “Five Easy Pieces” as seen by Henry Miller, together with materials used
for the purposes of writing the review. Rust to most from paperclips; else near fine.
(300/500)
121. miller, henry. Untitled - one act play in typescript with holograph corrections and notes. 40 pages of
typescript, with numerous holograph corrections and notations. Plus several small pages of holograph
notes.
No place: [c.1970s]
Gathered in 6 paperclipped groups, this appears to be a rough draft of an untitled play Miller
was working on about a stripper on trial, plus additional notes. Rust from paper clips; else very
good.
(250/350)
122. miller, henry. Masculine-Feminine - 15 page carbon typescript article with holograph corrections. 15page
carbon typescript article (5 pages are inserts) with holograph corrections. Accompanied by a
photocopy.
Pacific Palisades: [1972]
A well-written article on the war of the sexes, which begins: “In this age of transition, when
customs and traditions are being shattered, it is only natural that these effects shoud be
noticed in the realm of sex. Sec is the touchy spot in man’s thinking and behaviour. When
there are continuous wars and revolutions, such as we have had almost since the beginning of
this century, there are bound to be serious repercussions in this domain as well as in others.
What marks man’s thinking most today is the predominance of fear, anxiety and frustration.
It applies not only to the Western world but to the Oriental world as well....” He goes on to
write, “The question being asked more and more today is whether the noncomforist groups
of young people are tending to become less polarized sexually or possibly epicene. Though
non-conformist with respect to the Establishment, in dress and behavior they present quite a
different picture, one of look alike, talk alike, act alike. Observing them individually and at close
range, a limited view admittedly, I get the impression that they run the whole gamut of sexual
behavior. Some are fucking like jack rabbits, absolutely promiscuous and striving desperately to
become uninvolved, to avoid a more lasting relationship with one another. Some are frustrated
and eaten by despair. Some have retreated into the realm of drugs and seem immune to
enthusiasm or excitement in any realm, sex included. Some fall in love the same old-fashioned
way as did their elders before them, and are even more confused, more tormented than were
their elders. The idealistic ones seek outlets through political activity or religious experiences.
Others again, either through a feeling of inadequacy or a sense of adventure, turn to
homosexual relationships....” An unusual philosphical arguement against promiscuous, loveless
sex from Henry Miller. About fine.
(300/500)
Page 62

123. miller, henry. Preface for New, Revised Translation of Capricorn (in French) - 2 page typescript with
holograph corrections by Miller. 2 page carbon typescript with holograph corrections by Henry Miller.
No place: 1972
This preface to the revised French edition of Tropic of Capricorn has never been published
in English. With holograph note by Miller in upper corner of first page: “Sent to Georges
Belmont 1/31/72.” Rust marks from paperclip; else about fine.
(200/300)
124. miller, henry. On Turning Eighty - 2 carbon copy drafts with holograph corrections by Miller. 2 carbon
drafts (9 pp. and 11 pp.) with holograph corrections by Miller.
No place: [1972]
The early corrected drafts of Miller’s essay on growing older, with reflections on his life behind
and ahead. Faint rust from paperclips; very good.
(200/300)
MILLER REVIEWS JONG’S FEAR OF FLYING
125. miller, henry. Schlock or Literature? - 2 page holograph manuscript article signed with Miller’s initials.
2 page holograph manuscript article, signed with Henry Miller’s initials, written for the Los Angeles
Times Book Review section. Accompanied by two ALs from Erica Jong to Henry Miller, one 13
pages (11/18/74), the other one page, enclosing John Updike’s review of the book.
No place: May 25, 1975
Lot 125
Page 63
The article reviews Erica Jong’s Fear of Flying.
Miller begins, “Well, well, so Herr Prelutsky
thinks ‘Fear of Flying’ a lot of schlock...
Naturally a book which sells in the millions
is going to be misinterpreted by thousands.
As the ‘dean of American literature’ today I
must say that this book is literature, and not
schlock...I am doing all I can to champion
the book. I want to see it read all over the
world. The style is natural, free flow. Just the
contrary of Hemingway’s studied prose which
so many Americans consider ‘good writing.’
This is a book which the British have published
cautiously. Apparently their mildewed critics
don’t cotton to it. For them, it’s not a woman’s
book. But it is a woman’s book, very definitely
so. And it speaks to women, as the thousands
of fan letters she receives, testifies. It is more
than that. It is a book. Perhaps not the greatest
of the century, but a damned good piece of
honest writing, whether by man, woman or
hyena.” Miller became close friends with Jong
when she began a correspondance with him,
and both of her letters here intimately discuss
Fear of Flying and its huge controversy. Rust
from paperclip, else near fine.
(1200/1800)
126. miller, henry. Fuck Away, Fuck Away! - 25 line pornographic poem. 25 line poem typed carbon with
one holograph correction in red ink.
No place: [1975]
One of only a handful of poems Miller would write in his lifetime, this one is, alas, unquotable
here. Very good.
(250/350)

127. miller, henry. Cousin Henry - 19 page typescript with holograph corrections. 19 page typescript memoir
of Miller’s cousin Henry, with holograph corrections; accompanied by a copy of the same.
No place: [1976]
An interesting memoir of Miller’s childhood visits spent with Cousin Henry on 85th Street in
Manhattan, the boys he played with, the girl he almost slept with, shenanigans with the gang in
the streets or cool cellars during the summers, playing cards & reading aloud. From one passage,
he writes: “And then there were those wonderful slices of rye bread with rich sweet butter and
sugar which his mother handed us when we came home from play. She did it as if we were two
little angels. Never did she suspect, sweet innocent creature, what her two `good little boys’ were
capable of. Never would she have believed that we two had killed a boy in a gang rock fight.
No, we looked just the same as ever that day, or perhaps a little paler, for we were conscious of
the crime we had committed. For days we trembled if there was an unexpected knock at the
door. The police were constantly on our minds. Fortunately none of the gang knew we were
responsible for the killing. We were intelligent enough to keep our mouths shut. Besides, it was
an accident and not a deliberate killing. As soon as it happened we had sneaked away. We didn’t
feel very heroic about it either....” Rust marks from paperclips; else about fine.
(300/500)
128. miller, henry. Jimmy Pasta - 22 page typescript essay with holograph corrections about Miller’s childhood
friend. 22 page typescript essay, with holograph corrections, about Miller’s childhood friend, Jimmy
Pasta, and school & young adulthood memories of his Brooklyn neighborhood. Accompanied by a
carbon copy of the same.
No place: [1976]
Pasta attended P.S. 85 with Miller in Brooklyn, and later got him a job at the office of the
Brooklyn Park Commissioner, where he began writing and eventually earned enough money
for his passage to Paris. Pasta appeared as Tony Marella in Miller’s Plexus & Nexus, and is
referred to many times in Miller’s notebooks of outlines for The Rosy Crucifixion. Holograph
corrections are generally in the form of crossing out last names of people from Miller’s
youth that he is slandering (pedophiles, homosexuals, lusty female teachers at P.S. 85, etc.).
He describes, as a 21-year old, hearing lectures given by Emma Goldman which changed
the course of his life, his first marriage (rarely talked about) to his piano teacher: “I married
her not because I was in love with her but to escape the draft. We quarreled almost from the
very beginning. Sometimes we rolled on the floor struggling with one another. It was truly
disgraceful the life we led...” (She eventually joined a nunnery after he left her for June). He
details extra-marital affairs, asking his first wife to let his mistress come live with them (she said
no), meeting and shacking up with June, June and Jean Kronski’s lesbian affair, their collective
pennilessness (“It was a cold winter and I had chopped all the furniture to pieces to make
firewood...”), meeting Pasta on the street and getting a job with the Parks Commissioner, June
and Jean leaving him for Paris, and the following years in brief. Rusty paperclip marks, else near
fine - a well-written memoir.
(400/600)
MEMOIR OF LONGTIME FRIEND JOE GRAY
129. miller, henry. Joe Gray - 44 page holograph manuscript for a chapter in Miller’s Book of Friends. 44 page
holograph manuscript for a chapter in Miller’s Book of Friends. Accompanied by two 33-page typed
photocopies.
No place: c.1976
Lengthy memoir of Miller’s longtime friend, Joe Gray, whom Miller met in Los Angeles after he
had returned from Europe. Full of sex, mischief, boxing, and adventures, Miller describes with
zeal his friend’s life, and of course his own in the process: “...For a man who had had no great
eduation it was amazing how keen his judgement of authors was. His great favorite was Byron,
followed closely by Keats and Shelley. He even named his dog Byron. For a man who could
so easily ingratiate himself with women, it was amazing to observe the affection he bestowed
on Byron. Byron came first in everything. Of course this lavish affection for a dog came about
through some heart- breaking setbacks with women. He had been betrayed three or four times,
with the result that he was absolutely adamant as regards showing any further affection toward
Page 64

the other sex. All his attention now centered on Byron, his dog, and me. He couldn’t avoid
fucking the women occasionally but he could never fall in love again...” Miller discusses many
aspects of Gray’s short life (he died in his late forties) and his love for him. Fine.
(1000/1500)
130. miller, henry. J’suis pas Plus con Qu’un Autre - photocopy of Miller’s holograph text, plus typed drafts.
63½ pages of photocopies of Miller’s holograph text, and added to the end of that are 2½ holograph
pages by Henry Miller. On the photocopied part are many holograph corrections by Dominique
Robertson in blue and pink ink. Also includes a carbon typed copy with holograph corrections, a
typescript dated 4/10/75 and a photocopy of the same, and a typescript with holograph corrections.
Attached to the last is a short ALs with Henry Miller’s initials about filing this particular archive.
Holograph corrections presumably all by Robertson.
No place: [1976]
Dominique Robertson was charged with making corrections in the text regarding spelling and
correct French usage of words. Miller asked that this book never be translated into English.
Some rust marks from paperclips; else fine.
(200/300)
131. miller, henry. Letter to the Editor of the Los Angeles Times. 4 page holograph letter/article, signed
twice, on Henry Miller’s personal letterhead. A response to an article published a few days earlier
regarding polygamy. Accompanied by a 4 page carbon typescript of Millers above letter, and a TLs
from Roderick Mann at the LA Times to Henry Miller, in 1978.
No place: 2/14/76
Miller comes out in favor of plural marriages in his letter to the editor: “...As I see it, there is no
real conflict between this ancient idea of plural marriage and the new modern one of living your
own life. This man and his `wives’ were doing it of their own accord and not at the biddance
of the church. Indeed, I believe he was excommunicated from the Mormon church because of
his behavior and beliefs. It’s also interesting to me that this sort of thing only seems to happen
in the Far West, never in the Mid-West or the East. I must confess that I strongly doubt the
members of the Women’s Liberation Movement can come up with such kindly, cheerful faces!...
Unless the man or the woman is sufficient unto herself, she or he cannot give love. One has
to be free of fear and anxiety, devoid of jealousy, as capable and potent as one’s partner, for a
match to survive any length of time, particularly under monogamy. The gentleman with eight
wives is so right - monogamy, at least for men and women, is unnatural. It may be o.k. for the
birds or the wild beasts. But not for sophisticated civilized men and women.” About fine.
(400/600)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.
Page 65

MILLER’S HIGH SCHOOL FRIEND GEORGE WRIGHT
132. miller, henry. Max Winthrop (George Wright) - 6 page holograph manuscript. Includes: 6 page
holograph manuscript. * 20 page first draft carbon typescript with small holograph corrections, with
photocopy. * 19 page second draft carbon typescript with holograph corrections, with photocopy.
No place: [1976]
A memoir of Miller’s high school friend, with whom he helped form the Xerxes Society
(of which Wright was the president). Miller describes him at length in his book, Plexus. The
manuscript was originally titled “George Wright” but was later changed to “Max Winthrop” to
protect the name of his friend. Each of
the drafts is quite different, describing
variant events of the personalities
involved. The two remained friends after
high school, when George became a
school teacher: “As [a] school teacher he
was already screwing all the good looking
girls in his classes. He took terrible risks
but managed never to get caught redhanded.
Even later, as principal, he was
dating the most attractive students....”
Miller waxes nostalgic for the time in his
life when he was in his early twenties: “It
was the time of the trolley car, of Trixie
Fraganza and Elsie Janis, of George
N. Cohan and Charlie Chaplin, of the
great dance halls, the marathon and little
bunches of violets for your sweetheart.
There were great wrestlers, like Jim
London, for example, or Earl Caddock,
the man of a thousand holds, not phonies
like today. There were great fighters, like
Fitzsimmons, Corbett, Jim Jeffries, Jack
Johnson. There were singers, like Caruso
and Tetrazzini. There were six day bike
riders and world famous pugilists....” He
Lot 132
Page 66
writes of the spring he spent with George
on a New Jersey farm where George was
convalescing from pneumonia (a passage
that is included in Plexus) - the sex, love, the cold, the jokes and stories told. He even compares
the prostitutes of his youth to the ones today. An interesting essay in near fine condition.
(1000/1500)
133. miller, henry. Mother, I Love You! - 22 page holograph manuscript. 22 page holograph manuscript,
accompanied by photocopied typescript.
No place: [1976]
Eventually printed in Miller’s Mother, China and the World Beyond, printed in 1976 by the
Capra Press. A bizarre imagined meeting and conversation between Miller and his mother in the
afterworld, with many insights into Miller’s chilhood & lukewarm relationship with his mother.
Fine.
(300/500)
Each lot is illustrated in color in the online version of the catalogue.
Go to www.pbagalleries.com

134. miller, henry. Things are Getting Better - 3 page holograph article, signed. 3 page holograph article
written by Henry Miller and signed with his initials. Written for the Yale Daily News. Accompanied by
a 2 page carbon typescript (with small note in Miller’s hand) and the TLs from the Yale Daily News
requesting the article.
No place: 1976
Miller was chosen by the Yale Daily News as the “Most Interesting Person of 1976” and was
asked to write an article entitled either “Things are getting better” or “Things are getting worse.”
Miller takes up the challenge by answering to the first statement, avering that 1977 “will be the
American dream come true. Evil, for example, will be eliminated once and for all. There will be
no distinction between good and bad. In other words, we will all be as angels, only angels with
sex. That is to say, not only male and female, but homosexual and bisexual, so that, generally
speaking, we will all be buggering each other indiscriminately. As a consequence there will be
no need for marriage and divorce, nor for wars or revolutions. The vices such as greed, hatred,
envy, jealousy will die out utterly....” Miller continues on in this vein, creating a science fiction of
America without poverty, war, transportation (astral projection only), or government. Rust from
paperclip; else about fine.
(500/800)
135. miller, henry. Marie Corelli - two 5 page carbon typescripts, each with holograph corrections. Two five
page carbon typescripts, both with holograph corrections.
Lost Pleiad Press: 1977
A critical biographical essay of the author, Marie Corelli. Rust from paper clipse; else very good.
(200/300)
You can bid absentee directly from the item description in
the online version of the catalogue at www.pbagalleries.com.
Or bid during the auction using the Real-Time Bidder.
Page 67

MEMOIR OF BROTHER-IN-LAW BEZALEL SCHATZ
136. miller, henry. Bezalel Schatz - holograph memoir and other materials including an archive of correspondence
from Schatz to Miller. 18 page holograph memoir of Miller’s Israeli friend, brother-in-law, and illustrator
of Into the Night Life. Accompanied by a 16 page original typescript, and photocopy, as well as a
holograph letter from Miller to Schatz (signed), and a large archive of correspondence from Schatz
to Miller.
No place: [c.1977]
Of his long friendship with Schatz, Miller writes, “...it was in Big Sur that I first met him.
He came to me on my birthday, beaming all over, and fill [sic] of a project which he was
determined to interest me in. It became the Night Life book which we did together. A beautiful
and most unusual piece of collaboration, if I may [say] so myself. As with Lawrence Durrell,
I was immediately taken by Lilik...It was Lilik who did the major work. Not only did he do the
illustrations and the lay-out, but he did all the silk screen pages by himself. I think it took him
almost two years to complete the job...During this period at Big Sur I had a number of Jewish
friends. They all got to know each other but I can’t say they fell in love with one another. Each
one was unique and outstanding
in his own way. I was a friend with
all of them. Often, in fact, I was
taken for a Jew. All my life, as I have
remarked again and again, I seemed
to be surrounded by Jewish friends
to whom I have always been greatly
indebted. Only a Jewish physician,
for example, would say to a patient,
a Goy like myself, that I need not
pay him anything for his services
and could he perhaps lend me a little
cash?...” Miller’s memoir contains a
long passage describing his trip to
Europe with his wife, accompanied
by Schatz and his wife: “...I believe
we went directly from Brussels to
London and thence to Wells to visit
my old copain Alfred Perles...Every
time I accompanied Alf to purchase
wine we were obsequiously greeted
by the owner of the store, a typical
Englishman who always called Alf
Mister Perles and who was obviously
impressed by the fact that Mister
Perles was a writer who had lived
in Paris many years. Watching the
Lot 136
Page 68
two exchange greetings I saw my
old friend in a new light. He was
no longer the clown, the rogue, the scoundrel, but an English citizen, a man of standing in
the eyes of his townfold. Of course as soon as we got out of the wine shop we would burst
into guffaws. ‘The old fart!’ Fred would say. ‘They’re all like him here, Joey.’” Miller goes on
to describe the trip back to Paris, where he and Schatz met the artist Vlaminck (“There he sat
in his armchair a huge hulk of a man weighing over 225 pounds at least...looking at his girth
and his huge ass, I wondered how he ever managed to sit on a narrow Brooks saddle...His
home was now in Normandy where he owned a large farm and raised horses. He introduced
us to his two daughters, very healthy, buxom teen-agers who could put away a tumbler of pure
alcohol without blinking an eye...”), and down to the south of France where they met Joseph
Delteil (“Needless to say Delteil and his wife treated us like royalty. We stayed several days in
Montpellier going back and forth to Les Tuileries [sic] and sampling the excellent ‘vins d’ami’ in
his cave...”), who accompanied them to Spain for the final leg of their journey. An interesting
narrative of a long friendship between the two men, and their travels together, illustrated also by
the many lengthy letters from Schatz to Miller over the years included in this lot. Fine.
(3000/5000)

137. miller, henry. Anaïs Nin - Venus Anadyomene - tribute to Nin on her 75th birthday. Lot includes:
6-page holograph manuscript tribute to Anaïs Nin on her 75th birthday (her last), on personal
notepaper, initialed at end. * 4-page holograph manuscript. * 3-page carbon typescript, with holograph
corrections. * 2-page holograph letter from Lawrence Ferlinghetti to Henry Miller, requesting use of
a transcription of the audio-tape of Miller’s tribute. * Printed program of the birthday celebration. *
Several signed release forms for use of Miller’s audio tape for the celebration.
Various places: [1977]
A laudatory tribute to Anaïs Nin on her 75th birthday. Miller wrote on the envelope from
Ferlinghetti: “No, don’t want tape published! HM.” Thus this tribute has never been printed.
About fine.
(700/1000)
HENRY MILLER ON CENSORSHIP
138. miller, henry. Censorship - 10 page signed holograph manuscripts. 10 page holograph manuscript,
signed. Accompanied by a 6 page original typescript with holograph corrections by Miller.
No place: 12/17/77
Miller begins his piece on censorship by recalling a trip to the police station as a child because
of his foul mouth. He continues, “Later on, after I had written the ‘infamous’ Tropic of
Cancer I had another brush with the
authorities. It was over the French
version of Sexus. Apparently with this
book I had gone just a little too far,
as they put it. Fortunately again I was
given a hearing, a sort of pre-trial in a
court for which we have no equivalent.
I was questioned for a good half hour
by a judge who was obviously a literary
man himself. His last question was,
‘Monsieur Miller, do you honestly
believe that a writer has the right to say
anything he pleases in a book?...Today
more than ever there is the danger
of falling into a rut. Everything has
become mechanized, pasteurized, etc.
It is men’s dream that perhaps one day
the machine will replace the human
laborer. (Myself I think the idea is
far-fetched, to put it mildly.) However,
there is no doubt that the more
improvements we make the lazier
the individual tends to become...It is
therefore of the utmost importance
that the artist in our midst be
nourished, that his work be cherished.
For he is one with the creative spirit
Lot 138
which animates the universe....” Rust
from paperclips; else fine.
(1500/2000)
139. miller, henry. Some Other Women in My Life (Preface) - 3 page holograph manuscript. 3 page holograph
manuscript, accompanied by 2-page typescript with small holograph corrections, and photocopy.
No place: [1977]
A surprising admission from Miller that women mean much more to him than just sex, written
just after his 86th birthday. Fine.
(200/300)
Page 69

140. miller, henry. The Mystery of the Japanese Woman - 8 holograph pages on yellow legal-sized paper. 8
holograph pages on yellow legal-sized paper (12½x8) headed with the above title, and containing red
holograph corrections.
No place: [1977]
Published by Lost Pleiade Press in 1977 in Miller’s Gliding Into the Everglades. Fine.
Page 70
(300/500)
141. miller, henry. Emil White - 21 page holograph manuscript memoir. Original 21-page holograph
manuscript memoir of Miller’s friend Emil White. Accompanied by White’s 5 pages of holograph
corrections and notes, photocopies of original and corrected typed texts, and 13 original letters (most
holographed) from White to Miller.
No place: [c.1977-1978]
Miller begins his piece in honor of his friend Emil White thus: “You look into his eyes and you
sense a profound, an inexplicable sadness. Yet he is a jokester of the first water and a raconteur
who keeps you laughing and crying. Which side of him is it that attracts women to him so
easily? I have never decided this question, despite a long and intimate friendship. One can only
shake his head and secretly envy him. For, even in remote Big Sur, his house is like a half-way
station for transitory females, Orientals especially...With Emil it is a curious mélange of audacity
and respect. You may arrive with your wife, your sweetheart or the woman you are hoping to
lay. No matter. In the space of a few minutes Emil has taken her to one side or invited her to
look at his petunias or whatever, and right under your very nose he is kissing her and hugging
her. Absolutely unabashed and seemingly behaving in all innocence. We got into the habit of
referring to it as his `European way.’” Describing his first meeting with White, Miller writes,
“I was in Chicago, visiting Ben Abramson at his Argus Book Shop. I had never heard of Emil
White. As I’m walking along Michigan
Boulevard a man suddenly darts across
the street to greet me...Emil knew me
inside out, from reading my books...
The sequel to our chance meeting
was an invitation to have lunch with
him and a few of his friends at his
flat. I accepted readily, having realized
quickly that this was no ordinary fan,
but more of a blood brother. And
so I went. To my surprise there were
several young attractive women already
seated at the table. They were for me,
as Emil put it. Very much as if he
were offering me a bouquet of red and
white roses...I took it for granted that
the girls were all bedmates of Emil’s
in addition to being Henry Miller fans.
They were all at my disposal, according
to Emil....” Later, Emil paid an
extended visit to Henry in Big Sur:
“During the lonely evenings I would
often get out my water color set and
begin painting. Emil used to watch me
work very attentively. After a time he
got the notion that he too could paint,
Lot 141
if he tried. He began by cooperating
with me on a joint endeavor. If I made
a tree, for example, he would embellish
it with more bark and more leaves and branches, somewhat like Douanier Rousseau. Sometimes
he would add a figure, a nude. The result was usually a monstrosity but it gave Emil courage together
with a little conceit...In the early days of my stay in Big Sur I had many female visitors, all
fans. Once I happened to remark to Emil that there were too many coming, that they interfered
with my work. His ready response was: `Send them on down to my place!’ Which I did to the

satisfaction of all concerned. Indeed some of the more romantic fans would write me, after a
sojourn at Anderson Creek, thanking me for introducing them to such a charming host as Emil
White....” About fine - an interesting and nostalgic memoir, with White’s letters illuminating his
side of the story.
(2000/3000)
142. miller, henry. Autograph letter, signed from Miller to “Irving” (Stettner, editor of Stroker Magazine).
11 page ALs from Henry Miller to Irving Stetner. Accompanied by 3 photocopies of a typescript of
the letter.
Pacific Palisades: Dec. 21, 1978
Miller begins his letter rather pessimistically, stating, “...It’s also ironic that someone like myself
cannot find an outlet in an American magazine of any repute. To be sure, our one time good
mags have all disappeared. Everything of value is disappearing today in `the greatest country in
the world.’ (Oswald Spengler would have framed it differently.) So would Céline and Cendrars.”
He goes on to philosophize about poetry & to discuss Mohammed Mrabet, Hermann Hesse,
and Isaac Bashevis Singer (who had recently won the Nobel Prize). About Hesse, he writes,
“...In my latter years I have gone over the same ground in my mind. Who the hell do I think I
am? But, Irv, no matter how I argue, I am what I am and no one can take that away from me;
moreover, I know who I am, which is another way of saying `Fuck you, Jack, I’m not joining
your band-wagon. Not even if you are a Zen Buddhist.’ Hesse gave me Siddhartha, for which I
am eternally grateful. And because of that wonderful book, I not only killed in me the Jesus, the
Buddha, the Mahomet, but the guy I once thought I was and who was just another horse’s ass.
In short, I became myself.” His letter ends in typical Miller style: “This letter was not dictated
by any fucking Xmas or Hannukkah spirit but just by a strong feeling of friendship. Ever yours,
Henry.” A few smudges on page 1; else fine.
(500/800)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.
Page 71

MILLER RECALLS THEATRE OF CHILDHOOD & YOUTH
143. miller, henry. The Theatre - 15 page holograph manuscript, signed. 15 page holograph manuscript,
signed. Accompanied by a 10 page original typescript with holograph corrections by Miller, and a 2
photocopies of the same.
No place: [c.1978]
Miller recalls the theatre of his childhood and youth, with vivid details of his colorful memories:
“My earliest remembrance of any theatre is that of the vaudeville house called `The Novelty’
not far from out home on Driggs Avenue, Williamsburg. Every Saturday my mother would
give me a dime to buy a seat in `Nigger Heaven’, as the gallery was called. I was then seven
or eight years old. If there were any comedians in those days I don’t recall them, or else their
jokes were over my head. Mainly there were acrobats, trick cyclists, magicians and such like...
It’s during my adolescence (12-15 years of age) that I become aware of all the theatres there are
or were in Brooklyn. By this time we are living in the Bushwick section, not so very far from
Evergreen Cemetery, and Trommer’s Beer Garden...I discovered that in the East New York
section there were several 10-20-30 theatres, featuring shows like `Bertha the Sewing Machine
Girl’ or `The Two Orphans.’...The Neighborhood Playhouse had the same authenticity but was
more sophisticated and could afford well-trained actors. I recall vividly my first visit - they were
giving a play by a well-known British author who had encouraged Joseph Conrad to be a writer
and to write in English rather than
Polish or French. It happened
that night that the leading actress
was the beautiful, mature wife of
the well- known Richard Bennett.
The scene which electrified me
was of her sitting in her boudoir
before her make-up table, dressed
rather scantily and glorious to
behold. What got me was that she
sat there, looking at herself in the
mirror and never uttering a word.
Everything that passed through her
mind was registered in her facial
expressions. Shadows flitted across
her face, her eyes flashed, her teeth
shone white and bright, her hands
made gesticulating movements. It
was hallucinating. I had never seen
such acting before. And so, when
I arrived home, I sat down and
wrote her a eulogistic letter. I must
have put a return address on the
envelope because in short order I
received a most gracious invitation
from her to come visit her in her
dressing room....” Fine - a great,
lengthy piece containing some
of Miller’s sweetest childhood
Lot 143
memories. Near fine.
(2000/3000)
144. miller, henry. Miriam Painter - holograph manuscript and related materials. Includes: 4 page holograph
manuscript of the work. * 3 page typescript with holograph corrections. * 1 page of holograph notes
by Miller to his secretary and son.
[Pacific Palisades]: [1979]
Fine.
Page 72
(200/300)

MEMOIR OF LONGTIME FRIEND ALFRED PERLES
145. miller, henry. Mon Ami Alfred Perlès - various manuscripts and typescript drafts (with holograph
corrections). Includes: 29 page holograph manuscript of Part I. * 18 page typescript of Part I, with
holograph corrections. * 43 page holograph draft of Part II. * 25 page typescript of Part II, with
holograph corrections. * 2 page holograph of “Conclusion to Epilogue.” * 2 page typescript of
same, with holograph corrections. * 1 page holograph statement “Fred’s X-mas day.” * 5 pages of
holograph notes about the essay.
No place: [1979]
A loving portrait of a fellow writer who befriended Miller during his early, hungry years in the
Paris of the 1930’s, and who remained a friend and correspondent for the remainder of Miller’s
life. Perlès was identified by Miller as the closest male companion he ever had. The memoir
contains many anecdotes of their early years in Paris together, with June, Anaïs Nin (“When I
became acquainted with Anaïs Nin, Joey naturally fell madly in love with her”), numerous other
women (and his Madonna/whore complex/theory), numerous cockroaches & vermin, seedy
hotels, petty thefts (“It was always a collaborative event. While I engaged Michael Fraenkel
in hearty discussion of this or
that Joey would remove the
wallet from the inside pocket of
Fraenkel’s coat...”), practical jokes,
homesickness, writing Tropic of
Cancer (“At last it was finished.
But before thinking about a
publisher I knew it had to be
edited, trimmed down especially.
I looked about me in vain for
editorial guidance. Anaïs Nin was
out of the question. It was not her
type of book. One day, perhaps
at Fred’s own suggestion, I asked
him if he would help me...”),
Lawrence Durrell (“During the
period that Durrell and his wife
stayed in Paris - a year or two
- most every night was a gala
night...”), a white wine-induced
menage … trois with Miller,
Perlès, and a raven-haired friend,
an evening of bar-hopping with
Blaise Cendrars, and many other
great escapades. Miller ends
poignantly, “I wind up this chapter
about him with tears in my
eyes. He was a friend indeed, an
unfogettable one.” A wonderful
Lot 145
and valuable memoir. Rust marks
from paperclips; very good.
(2500/3500)
Each lot is illustrated in color in the online version of the catalogue.
Go to www.pbagalleries.com
Page 73

ARCHIVES AND OTHER MATERIALS
146. miller, henry. File folder containing Henry Miller’s holograph & typed drafts of letters from Miller to
various friends & professional acquaintances the world over requesting their written support for his nomination to
receive the Nobel Prize for Literature in 1978/79. File folder containing Henry Miller’s holograph & typed
drafts of letters from Miller to various friends & professional acquaintances the world over requesting
their written support for his nomination to receive the Nobel Prize for Literature in 1978/79, with
his holograph list of people to whom the letters were sent, and the replies. Approximately 46 letters
written to and received by Henry Miller from Miller’s friends, editors and acquaintances in response.
1978-1979
Response letters from such people as Kay Boyle, Elmer Gertz, Barney Rosset (Grove Press),
Albert Maillet, Maurice Girodias (Olympia Press), Hans Reitzel, John Killinger (Dean,
Vanderbilt University), J. Rives Childs (American Ambassador), Lawrence Shifreen, Raoul
Bertrand, William S. Burroughs (xerox), William Targ, Noel Young (Capra Press), and many
others. Very good.
(500/800)
147. miller, henry. Astrological information about Henry and Hoki Miller. File containing astrological
information on both Henry & Hoki Miller: 16 pp. computer generated natal chart dated 3-3-70 of
Henry Miller. * 13 pp. computer-generated natal chart dated 11-8-71 of Henry Miller. * 2pp. T.L.s.
from astrologer Carl Tobey, dated2-6-66. * Miller’s horoscope in ink on 24x18” page, folded, initialed
by Henry Miller. * 3pp. photocopy of letter from astrologer Howard Wuff to Miller, dated 6-18-68.
* 1 p. T.L.s. from Roger Bloom on Missour State Penitentiary stationary with 7 pp. horoscope of
Bloom by Erhard Scholtz. * 5 pp. horoscope of Hoki Miller’s with hand-detailed chart.
1966-1971
Rust from paper clip; else fine.
Page 74
(250/350)
148. miller, henry. Correspondence between Miller and Shigeo Tobita, a Japanese man who wrote Henry Miller’s
Philosophy of Acceptance and also acted as his Japanese translator. Folder full of correspondence between
Miller and Shigeo Tobita, consisting mostly of carbon typed letters, many of which are signed with
Miller’s initials. Also many ALs from Tobita to Miller, as well as TLs with holograph corrections, and
many original envelopes.
Various places: [c.1971]
Lot 148
File contains signed carbon typed letters
from Miller to Tobita, and numerous letters
from Tobita to Miller. Many of Miller’s
letters describe his background, philosophies,
Japanese connections, etc. In one
letter, Miller writes, “You write that two
more (!) translations of my Capricorn have
now been published - by Kodansha and
Kadokawa. I can not understand these republications
and re-translations. How can
the original publisher (Shincho-sha) permit
these deals? Don’t these new publications
detract from the sales of Shinco-sha’s own
edition? It’s difficult for me to understand
the practices of Japanese publishers. They
seem to be cutting one another’s throats...I
am enclosing a yellow card which in typical,
vulgar American fashion sums up my
Zen. I don’t know why it is but every time
I read those words I chuckle to myself.
It’s the word ‘bum’ which gets me. That
little word contains so many connotations,
especially when applied to someone like

myself. Even now, as my 80th birthday approaches I think how true that ‘bum’ business is. I am
still a bum - perhaps you might say a ‘spiritual bum.’...” Many with rust from paperclips; very
good - and with interesting material.
(1200/1800)
CORRESPONDENCE WITH LITERARY AGENT
149. miller, henry. Documents and correspondence between Miller and his literary agent Agence Hoffman. 15
file folders filled with papers between Miller and Agence Hoffman in Paris, ranging from 1961 to
1976.
Various places: 1961-1976
Includes numerous signed contracts, carbon letters from Miller to Michael Hoffman and original
letters from Hoffman to Miller (including some contentious wrangling from time to time),
royalty statements, copy letters from other publishers, etc. Very good or better - an important
group of material.
(2500/3500)
Lot 149
150. miller, henry. File containing ephemera and documents relating to Henry Miller and Hoki Tokuda’s
wedding. 2 manila folders: 1 folder contains approximately 20 pages of original and photocopies
Japanese and American clippings, along with 31 telegrams from well wishers. 1 folder contains
financial documents and correspondence regarding Hoki and Henry, including 8 cancelled checks
written by Miller to Hoki, notes on the transactions, bills, tax returns, etc.
Various places: 1967 and 1974-75
Hiroko (Hoki) Tokuda Miller, Henry’s fifth wife was a Japanese singer and pianist in a
Chinatown restaurant. The wedding of course caused a bit of sensation, as the “aging, whitehaired”
Miller was at least 75, while Hoki was reportedly anywhere from 23 to 29 to 32, and
the marriage was so sudden that Hoki’s parents could not even attend. The Japanese newspaper
clippings show candid photos of the couple. Letters from lawyers detail immigration problems
concerning taxed. Materials are very good to fine.
(200/300)
151. miller, henry. File of correspondence between Henry Miller and his major publisher, Grove Press.
Correspondence includes contracts and royalty statements.
Various places: Various dates
Includes a 2 page holograph letter, signed, from Miller to Barney Rosset at Grove Press trying
to get his paperbacks back on supermarket shelves, photocopies of contracts for various books,
including Norman Mailer’s Mailer on Miller, Sexus, Plesux, The World of Sex and Quiet Days in
Clicy, motion picture agreements, etc. Very good.
(400/600)
Page 75

LAWSUIT OVER “OBSCENE” FILM
152. miller, henry. File regarding the film of and lawsuit over Quiet Days in Clichy. File includes letters
from Miller’s lawyer, a few carbon letters from Miller (signed), one in particular to his lawyer detailing
reasons the film should not be judged obscene and with numerous holograph additions by Miller;
newspaper clippings, film monetary accounts, telegrams, reports of international openings and
censorships (particularly in Canada - Scandinavia seems to have embraced the film the most), signed
film rights between Miller and Knud Thorbjornsen; a TLs from Hans Reitzel to Miller regarding the
film; signed carbon letters between director Jens Thorsen and Henry Miller (including one in which
Miller criticizes the film’s actors), publicity, etc.
Various places: [c.1970-1975]
The film version of Henry Miller’s Quiet Days in Clichy was seized by U.S. Customs when it
arrived in the Port of Los Angeles and impounded to await a trial on the charge of obscenity.
That trial was held on July 6, 1970 before Federal Judge William P. Gray, who ruled that the film
was not obscene, and was soon released to arthouse theatres around the country. Very good.
(1500/2000)
Lot 152
153. miller, henry. Folder of correspondence, photographs and ephemera relating to the film rights and publicity
for Just Wild About Harry. Folder includes the signed film agreement between Henry Miller and Robert
Bushnell (as well as 2 signed addenda), foreign contracts, proposals, etc. Also contains 7x9½ (out of
focus) color photograph of the cast, their names on verso in ink, a flier for the production, and a
typescript of a play by Miller in French.
Various places: c.1968
Interesting look at materials relating to the film rights, publicity, etc. for Just Wild About Harry,
adapted from Miller’s book A Smile at the Foot of the Ladder. Fine.
(600/900)
Page 76

154. miller, henry. Group of 5 original photographs of sites from Miller’s childhood in Brooklyn. 5 original
photographs, holograph captions on versos describing their places in his novels. The images are:
formal portrait of Miller’s father, Heinrich, aged 50, in 1916 (inscribed by him on verso, dated 1916,
1063 Decatur St., Brooklyn, NY). * “Police Station - Bedford Avenue - 14th Ward, Brooklyn. (Sexus
or Plexus).” * “’The Fountain’ - Bedford Avenue (14th Ward) Brooklyn. (Black Spring).” * “Lutheran
Church mentioned in ‘Sexus’.” * “Scene of opening pages of ‘Plexus’ - ‘The Japanese Love Nest’, 91
Remsen St., B’klyn.” Last 4 are snapshot size.
Various places: Various dates
Fine.
(300/500)
155. miller, henry. Henry Miller’s card catalogue of personal addresses, mostly written in his secretary Connie’s or
his own hand. Containing hundreds of 3x5 note cards with addresses written in ink, filed in alphabetical
order in a small metal filing box.
No place: No date
Addresses include those of numerous publishers, as well as artist Sam Francis, actress Marilyn
Kim Novak, Mr. & Mrs. Eddie Albert, Tony Bennett, Gyula Brassai, John Cassavetes, Sammy
Davis Jr., Milos Forman, Ava Gardner, Ben Gazarra, Buddy & Sherry Hackett, Elia Kazan, and
many others. With some additions in Miller’s hand. Very good.
(300/500)
156. miller, henry. Membership certificate to the National Insitute of Arts and Letters. Certificate awarded
to Henry Miller. 9x11¼ with bright gold seal, and signed by Malcolm Cowley and Louise Bogan.
New York: 1957
Crease from folding; else near fine.
(700/1000)
Lot 156
157. miller, henry. Numerous ephemeral pamphlets, booklets, fliers and more for shows, books, films and readings
by Henry Miller. Items include The Henry Miller Literary Society Newsletter, No. 8, 1961; Minneapolis
Morning Tribune offprint on Tropic of Cancer, 1961; prospectuses for Lawrence Durrell and Henry
Miller: A Private Correspondence, Collector’s Quest, Henry Miller Titles from Capra Press; “I Defy
You” (Offprint from Playboy); numerous other offprints from magazine & newspaper articles; Press
release for Just Wild About Harry; Film promos for Henry Miller Asleep & Awake; Henry Miller
Recalls and Reflects, etc., etc.
Various places: [c.1950s-1970s]
Fine.
(500/800)
Page 77

158. miller, henry. Original black and white photograph of Henry Miller with wife Hoki and others. 8x10
original black and white photograph of Miller standing with his wife Hoki and others. Taken by Baylis
Glascock.
Los Angeles: [c.1970s]
A nice image of Miller during one of his briefer marriages. Fine.
PHOTOGRAPH OF THE XERXES SOCIETY
Page 78
(200/300)
159. miller, henry. Original oval photograph of the Xerxes Society, including their secretary Henry Mill in 1910
- plus related ephemera. Original oval photograph of the Xerxes Society (a club made up of several likeminded
young male contemporaries) 1910, including their secretary, Henry Miller. Taken by Pedlar’s
Photo Studio, Brooklyn (with their stamp to verso), in original glassine envelope with photographer
stamp.
Brooklyn: 1910-1912
Together with: Copy photograph of the same, with lenthy holograph note to verso by Miller;
group of 3 printed alumni cards from the Xerxes Society, listing quotes from members,
incl. Miller & certain others who were later represented by characters in Miller’s The Rosy
Crucifixion and possibly Tropic of Cancer (like William Dewar). One card illus. with
reproduction photograph of the group, incl. a very young Henry Miller. Also with the club
ribbon in fine condition, in a Nassau Nat’l. Bank, Brooklyn envelope. Brooklyn: 1910-12. Likely
one of the earliest photographs known of Miller in his youth. Miller was the Secretary of the
club, and there are long passages about the Xerxes Society in Plexus and The Books in My Life.
Photograph is near fine with only mild silvering to edges; other material is in very good or better
condition - rare early Miller ephemera.
(1500/2000)
Lot 159
HENRY MILLER’S MANY GIRLFRIENDS
160. miller, henry. Photographs of Miller’s numerous girlfriends, including several nude and lingerie shots. In
a manila folder labelled “My Girlfriend Folder,” are housed hundreds of photographs of Henry
Miller’s girlfriends, including several nude and lingerie photographs. Sizes range from 2x2 (usually cut
from another photograph) to 11x8½. Some photographs include Miller.
Various places: 1935-1975
Most inscribed on versos to Miller or captioned by him on versos. Subjects include Erica Jong,
Renate Gerhardt, Tullah Hanley, Flo Dudley, Sarah Goldberg, Zofia, Fumiko Kurimoto, Sandra
Scott, Lisa Lu, Minroo Javan, June Lancaster, Maggie Lidchi, Grace Oyama, Mara Guimaraes,
Elke Sommer (!), Cleo Usher, Letitia Roman, Susanna Cramer, Janie Wald, Jennifer Jones (taken
by Roddy McDowall, 1966), Brenda Venus, etc. Very good - quite a selection.
(400/600)

161. miller, henry. Tropic of Cancer - folder with correspondece from director Joe Strick and others discussing
the film. Includes multiple ALs and TLs from director Joe Strick, TLs from Attorney Edward Blau
regarding legal matters, typed letters from Paramount, clippings regarding controversy of the film,
etc.
Various places: 1967-1969
Technical and legal correspondence relating to the film version of the controversial book.
Joe Strick writes in a letter to Miller dated April 25, 1969, signed “Joe”: “Your misgivings
concerning the alteration of sequences and transpositions is certainly justified from the overall
vision that you have of the book. My vision has to be quite separate since the form is different.
As you say, reading a book is quite different from seeing the film...You are absolutely right
that the amount and nature of the narration is very dangerous. I can only defend it by saying
I think I can make it work and I’ll throw it out if it doesn’t...The sections that you have called
“diatribes” when we’ve talked, are terribly important to me...I would like your role on the film to
be twofold: most important, to help us in the conception of the film by suggesting ways to do
things...I don’t expect you to sit down and write scenes by your notions could be terribly helpful
to us...”. This file is of letter-size material, and there is a reference to other legal documents that
are no longer included with the archive. Very good.
(300/500)
162. miller, henry. Tropic of Cancer - collection of film contracts, rights and negotiations. 2 legal-sized folder
containing carbon copies of typed letters, contracts, etc. as well as photocopies of the same, and of
payment notices, checks, etc.
Various places: 1969-1970
Papers include contracts signed by Henry Miller, letters from studio executives and agents, check
stubs, publisher quitclaims (Grove Press), and much more - an interesting archive, should be
seen. Very good.
(600/900)
MILLER’S HANDPRINTS FOR ANALYSIS
163. miller, henry. Two handprints by Miller (right & left hand). Two handprints by Miller (right and
left hand) on separate 8x11 paper, each initialed & dated by him 9/57. Together with photocopies
and copy of a 1966 report on Miller by handwriting analyst Dorothy Sara, with Miller’s holograph
filing instructions attached.
No place: 1957 and 1966
Lot 163
Page 79
The handwriting analyst
found Miller to be “a man of
good taste, intellectual quality
of mind, and the ability to
translate his ideas into words
and action...he has a broadminded
attitude toward people
and situations...He has a quick
wit, he likes being with people
who have alert minds so there
can be a stimulating exchange
of ideas....”An interesting lot
- the two signed palmprints
would look great framed. Very
good.
(1200/1800)

164. miller, henry. Vintage theatre and vaudeville programs from Brooklyn theatres that Henry Miller attended
in his youth. File folder filled with old theatre and vaudeville programs from Brooklyn theatres that
Miller attended in his youth and saved, as well as his clippings of theatrical announcements and bills.
Brooklyn: 1898-1920s
A wonderful collection of original programs from shows Miller attended as a child and young
man living in Brooklyn, including theatres such as the Alcazar, Amphion, American Music Hall,
Casino, Folly, Gayety, Columbia, Payton’s, Brooklyn Music Hall, Watson’s Cosey Corner, Bronx,
Park, and Grand Opera House. An important archive from a significant time in Miller’s life,
which he harked back to nostalgically in many of his autobiographical writings as some of the
happiest and also most difficult memories of his life. Some browning and extremity chipping,
else good to very good.
(500/800)
165. miller, henry. Two folders containing documents relating to Miller’s donations to UCLA between 1948 and
1971. Approximately 130 pages of carbons and originals, mostly acknowledging receipt of donations
or deposits of Henry Miller’s materials at The University Library.
Various places: Various dates
A nice group of documents chronicling Miller’s bequests to the Henry Miller Collection at
UCLA. Also includes a folder (date unknown) listing in detail The Bern Porter Collection of
Millerana, which Porter gifted to the library from 1946-1948. Several of the documents have ink
& pencil notations in Miller’s hand. Very good.
(700/1000)
CORRESPONDENCE WITH LITERARY & MOVIE AGENCIES
166. miller, henry. Three folders containing papers between Miller and 3 different literary/movie agencies.
Correspondence between Henry Miller and the following: Halsey Agency (L.A.), Lawrence Pollinger
(London) and Scott Meredith Agency (New York). Includes carbon letters from Miller (some signed)
and actual letters from agencies, some with Miller’s holograph notes and additions. There are 5
holograph signed letters of various lengths (1-3 pages) to Scott Meredith from Miller expressing
frustration and interest in ongoing projects, eventually attempting to terminate their agreement.
Various places: 1960s-1970s
A fine and interesting group, with the 5 holograph letters being among the highlights. Fine.
(2000/3000)
BOOKS BY HENRY MILLER
167. miller, henry. The Cosmological Eye. Cloth, dust jacket. First Edition.
Norfolk: New Directions, [1939]
Shifreen & Jackson A23a. Heavy chipping to jacket spine ends, milder chipping to jacket
corners, short tears with creases to jacket extremities, flaps clipped; offset to pastedowns, foxing
to cloth spine, else about very good.
(200/300)
You can bid absentee directly from the item description in
the online version of the catalogue at www.pbagalleries.com.
Or bid during the auction using the Real-Time Bidder.
Page 80

WITH SILKSCREENS BY HIS BROTHER-IN-LAW
168. miller, henry AnD BezAlel schATz. Into the Night Life. Color silkscreen illustrations and text
throughout by Schatz. 14¾x11¾, decorative blue cloth, slipcase. No. 306 of 800 copies. First Edition.
[Berkeley, CA]: [1947]
Lot 168
Page 81
Signed on verso of last serigraph by
Miller and Schatz. The book is a beautiful
production, printed entirely in serigraph
and silkscreen and bound in a decorated
blue cloth from a design by Israeli
Palestinian artist Bezalel Schatz, the text a
facsimile of Miller’s holograph, a chapter
from Black Spring. Bezalel, Miller’s brotherin-law
at the time, conceived the project
and created the silkscreens, taking nearly
two years to complete the work while living
in Big Sur. Most of the 800 copies were
destroyed by rats or suffered water damage.
Three leaves with small worm holes, which
occurred before the book was bound and
are present in many copies; else fine in near
fine (slightly rubbed) slipcase.
(1500/2500)
169. miller, henry. Of By & About Henry Miller - inscribed. Wrappers. One of 1000 copies, of which
only 750 were for sale. First Edition.
Yonkers, NY: Alicat Bookshop Press, 1947
Inscribed on inside front wrapper in French, to Hans Reichel (his close friend and collaborator),
signed and dated 7/17/47. A few holographic corrections to the text by Henry Miller within (on
pages 20 and 35). Some faint creasing along edges of wrappers; else fine.
(400/700)
Lot 170
ONE OF ELEVEN COPIES
170. miller, henry. Order and Chaos chez Hans
Reichel. Introduction by Lawrence Durrell.
Morocco-backed silk over boards, dust jacket,
slipcase with cork board applied labels, in the
original cardboard shipping box. Lettered “L”
out of 11 copies. The numbering of this edition
spells out H-E-N-R-Y M-I-L-L-E-R.
New Orleans: Loujon Press, [1966]
Signed and dated by Henry Miller in red ink
at rear, dated 9/5/66. Additionally there is an
inserted holograph letter entirely in Miller’s
hand, on his letterhead, addressed to the
publisher Jon Webb, in which Miller advises
on matters related to this book’s production
and distribution; dated 9/28/66 and signed
by miller in full, folded twice, as issued. Also
included is the promotional sheet from the
publisher, inscribed in red ink. Each of the 11
copies is unique and are extremely rare. Tiny
chip on jacket’s spine heel; else fine.
(1200/1800)

171. miller, henry. Order and Chaos chez Hans Reichel. Introduction by Lawrence Durrell. Stiff
wrappers, dust jacket, slipcase. First Edition. One of 1399 copies of this “Cork Edition.”
New Orleans: Loujon Press, [1966]
Jacket with some spots of yellowing and faintly creased at some edges; else fine.
Page 82
(200/300)
PRINTER’S DUMMY OF TRIBUTES TO HENRY MILLER
172. miller, henry. Printer’s dummy of Bern Porter’s book of tributes to Henry Miller, used by Miller as a
notebook, and containing early outlines of The Rosy Crucifixion. Printer’s dummy of Bern Porter’s book, The
Happy Rock, inscribed and signed by Porter to Miller on rear free endpaper, dated 1945. Most of the
160-page book was left blank, so Miller used it as his notebook for very early outlines of The Rosy
Crucifixion over the next few years, writing in holograph on 68 pages.
No place: 1945
Section titles include: “Notes for Plexus” (which contains many reminiscences of Clinton Street
and New York with June, et al.), “Notes for Nexus”, & “The Rosy Crucifixion” which contains
the following headings for lengthy notes: “Mad Characters”, “Eccentrics”, “Lovable Ones,
Important Characters, New Names”, “Painters
and Paintings”, “Old, Vague, Remote Ones”,
“To Caricature”, “The Lovers”, “Places not to
forget”, “Excerpts from Books”, etc. These
are many pages of notes about the trilogy,
with important revelations of which characters
represented real-life friends & acquaintances
of Miller, brief characterizations of their
personalities for the book, plot details, etc. In
his “Notes for Nexus” section, Miller writes:
“1. Begin by wind-up-en-bloc of all leading
to cellar life at Henry St. & Love Lane. Long
dissertations on books, music, painting, art and
rapid-fire conversations - crazy yet purposeful,
with June, Jean, Cohen etc. Develop Jean’s
pseudo-pregnancy and results of Cohen’s
examination. Develop morbid hysterical love
for June - possessiveness - and wind up with
attempt at suicide. Jean raises money for move
to Henry St...” Also with some notes about
other books, including “Orders for ‘Big Sur &
the Oranges of H.B.’” and other books, and a
list of visitors Miller had in 1945, with many
famous names. Vintage map of Paris laid in
to rear! Rubbing to extremities, soiling (from
Lot 172
Miller’s hands), else very good - with great
content.
(2000/3000)
173. miller, henry. Reunion in Barcelona: A letter to Alfred Perlès from Aller Retour New York. Wrappers.
No. 54 out of 500 copies. First Edition.
[Northwood, UK]: Scorpion Press, 1959
Signed by Henry Miller on the half title. Near fine.
(300/500)

174. miller, henry. Scarce book on the making and production of Into the Night Life. [28] pp. Printed in
black, red and blue. Illustrated from the book. 11x8½, pictorial stiff yellow wrappers. First Edition.
[Los Angeles]: [George Yamada], [c.1950]
While the original edition of Into the Night Life was published in 1947, this book contains a
quote from an article dated Dec. 1949, so it was likely printed c.1950. The opening statement
reads, “The purpose of this publication is to give you the salient features of Into the Night
Life - how it was made, what it is about, its role in book production - together with a few
testimonials from individuals qualified to appraise its merits.” Fine. Scarce.
(200/300)
175. miller, henry. The Smile at the Foot of the Ladder. Biography of Henry Miller by Edwin Corle.
Illustrated from artworks in the collection of Merle Armitage. Cloth-backed decorative boards
designed by Merle Armitage, later slipcase.
New York: Duell, Sloan & Pearce, [1948]
Signed by Miller in purple ink on the preliminary flyleaf, dated March 30, 1949. Spine lettering a
bit rubbed, and a few other very faint marks; very good.
(300/500)
176. (Phonograph Recordings) miller, henry. Henry Miller Recalls and Reflects [and] Just Wild About
Harry. Two sets of records including: Henry Miller Recalls and Reflects: Recorded in Conversation
with Ben Grauer, New York; April, 1956. Two 33 and 1/3 RPM phonographic recordings in original
glassine sleeves, and board covers, with cloth “spine” hinge. * Just Wild About Harry. Two 33 and 1/3
RPM phonographic recordings in original glassine sleeves, and board covers.
New York: Riverside Records, 1956 [and] 1962
Together two album titles, each with two records. The first with cloth hinge peeling away, and
some wear to boards; else near fine.
(300/500)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.
Page 83

LETTERS TO HENRY MILLER FROM SECOND WIFE JUNE
177. corBeTT, June mAnsfielD [miller]. 29 autograph letters signed to Henry Miller from his second wife, June.
29 ALs (mostly one page) to Henry Miller from his second wife, June (represented by his characters
“Mona” & “Mara”, among others, in his novels), who was with him and Anaïs Nin in Paris during the
time Miller was working on Tropic of Cancer.
Forest Hills, NY: [1966-1972]
Many of the letters complain of ill health & poverty, some delve into the past, a few are difficult
to read because of ink bleeding. From one: “When I left with you for [Paris?] I was running
away from a situation that had reached its peak...” From another: “Henry - this is to explain
more that I simply acted as a buffer of the world surrounding you - I tried at the time to explain
- I could not understand Anais or anyone’s influence - I could not & still do not understand
your ---...I still am unequipped to write and explain anything - for me the world dropped. I sat
through the nights with a stranger who assumed a p-- of nonsense, who used the excuse of
making love to me but lacked the understanding - all...” From yet another, “I tuned in to Merv
Griffin and heard and saw you, and you looked younger, more beautiful than anyone on the
program. It confirms all my beliefs, that you are the saint, the master that I believed in....” From
the last, “I really have no idea. I hope that you make sense of all that has happened. I don’t. All
my love, always, June.” Accompanied by a 1-page T.L.s. from Bill Allen, Dept. of Social Welfare,
& 4 letters (2 typed, all signed) from Annette & James Baxter, all long-time friends of both
Henry and June, regarding June’s welfare, & discussing Henry’s continuous financial support
of her, 1971-72. A fine, important archive of letters from the woman who aided and abetted
Miller’s and Nin’s genius in their early Paris years - both wrote often about June. Near fine.
(4000/6000)
Lot 177
Page 84

THREE LETTERS FROM LAWRENCE DURRELL
178. Durrell, lAWrence. Holograph signed letter from Durrell to Miller on printed newstand headline
advertisement reading “Fernandel est mort!”. With drawings around letters by Durrell in purple and pink
pen. 19¼x13.
Geneva: No date
The letter to Miller reads, “Dear Henry - in Geneva last week I stole this off a newstand
and though it might make a wall decoration for your studio. It is not so much a man who
has vanished but a whole epoch of cinema in the personality of this great comic, who was
too intelligent to be a clown. Love, Larry.” A great, showy piece, with a couple short tears to
extremities and creasing from folding, else very good.
(700/1000)
179. Durrell, lAWrence. Two-page typed letter signed, to Henry Miller about wine, women and song. 2 page
TLs on personal letterhead, and with holograph corrections by Durrell. 10½x8½.
Sommieres: Sept. 25, no year
A wonderful, lyrical letter espousing the virtues of women and the grape harvest: “Dear Henry:
your marvellous long letter arrived this morning to chime with the great vendange which is in
full swing; under my garden wall groups of sharpshooter-looking Spanish, Italian and French
girls move, got-up like parrots, plucking the grape harvest. The moon is full to heartbreak point
these days and autumn is striking like a great big gong...” Durrell goes on to describe two loves
of his life, but adds, “Anyway, I think you are right about badly aspected marriage houses - and
yet you keep on marrying them. But I think that now with this marvellous Ambassadress you
have struck oil, a real geyser. She is a magnetic girl with the distinction of Vega at full, burning
blue and steadfast up there...While I was in Paris my tracks crossed with another super woman,
Miriam Woorms who adores you. I always thought her the most beautiful creature of all and
was quite knocked out when that bomb went off and shot out her eye; now with a black patch
she still looks fine. I wish to hell I had had an affair with her, but she adores and is faithful to
her husband, who is a sweetie and worth it. And so life runs on...Yesterday it was so sunny I
swam in the pool and then decided to go to Avignon. I picked up a tall willowy dark girl, auto
stopping, on the run from some awful boyfriend. I took her to Avignon to put her on the train
but suddenly she decided she would like to stay with me a day or two. What luck for an vieux
monsieur...” A wonderful letter encompassing so much of Durrell’s personality. Fine.
(800/1200)
Lot 178 Lot 179
Page 85

180. Durrell, lAWrence. One-page typed letter signed, to Henry Miller, with 3 holographed red hearts and
elaborate colorful drawings. 1 page TLs with a large black ink drawing colored with yellow, red, orange,
purple and blue marker.
Sommieres: Dec. 15, no year
Lot 180
Page 86
Durrell wrote this letter around
Christmas, reporting the usual interesting
news & memories of the old days: “...
Little Buttons sends her love for Xmas.
She has re-emerged briefly and is just as
mischevious as ever and still very pretty;
what luck to tumble into her arms on a
wet Saturday...Ghislaine is fixing up a flat
in Paris. I think with some regrets but
really we were not suited - her notion
of a foyer was the salle des d‚parts at
Orly. She wore me out with her gambols
and expense...Just reading Brassai’s solid
documented and thoughtful book about
you and incidentally us. What he brings
out so well is that our friendship and
admiration for each other was so firm
that it withstood every kind of harsh test
like changing ideas, changing notions of
good and bad writing - it was unique in
that; down deep we firmly believed in
each other as artists even when being
critical and feeling that the other had
taken a fausse route...What an epoch to
live through. Now all that is left is senile
seniority and ennui. Can we throb to
Mailer and Roth? I can’t. Bellow yes. This
is where one feels the arteries getting
hard....” Fine.
(1000/1500)
181. fonDA, JAne. Two holograph letters and one typed letter signed from Jane Fonda to Henry Miller. 2 holograph
letters from Jane Fonda, signed. Plus one TLs from Jane Fonda to Henry Miller.
California: 1976
Each letter is in regards to her fundraising efforts for a solar energy project in California.
The two holograph letters were sent to Miller before and after an auction was held in 1976
(according to the postage stamp), one requesting art work or written work from Miller to be
auctioned off, and the later one thanking him for his art work donation, which Fonda won at
auction. One letter in original envelope. Fine.
(200/300)
182. insley, Joseph “Joey” J. Three autograph letters signed from Henry Miller’s childhood friend Joey, plus an
original photograph of a 13 year old Miller with Joey and family. Lot includes: Original photograph (printed
later) of a young Henry Miller (about 13 years old) with his father, mother, and his childhood friends
Tony and Joey and their family, all in front of a large house in Bensonhurst resided in by Joey and
Tony’s aunt and uncle’s family. 7x5. Bensonhurst, [c.1911]. * 3 ALs from Joey (of Miller’s chapter
in Book of Friends entitled, “Tony and Joey”), one of which explains who each person in the
photograph is. 2 letters in their original mailing envelopes. 1978.
Various places: Various dates
The letters from Miller’s long lost friend Joe Insley (misnamed Imhof in Miller’s Book of
Friends), were written in 1978 when Joey was 89, detail where his and his brother Tony’s lives
have taken them. Fine.
(250/350)

ERICA JONG & HENRY MILLER
183. JonG, ericA. Ten-page autograph letter signed, to Henry Miller. 10 page ALs in black and green pen,
on personal letterhead. 11x8½.
New York: May 10, 1974
A great letter that cover all sorts of ground: “...About `my triumph’ - I certainly am no stranger
to horrible reviews - but I am not exagerrating at all when I say that Fear of Flying’s being
published, by a commercial press, in 1973, owes everything to your bravery in Paris in the 30’s.
I wonder if I would have had that courage to go on writing when everything conspired to stop
me, ban my books, destroy & defame them. I wonder. Part of what makes a writer is life-force
& energy - which you certainly have in abundance. Somewhere in Tropic of Capricorn, you say
that `one must write & write & write, even if everybody in the world advises you against it, even
if nobody believes in you. Perhaps one does it just because nobody believes...’...Everything in
our civilization conspires against the artist - & even when they flatter you and besiege you to
`lecture’ & be `on’ television - it’s partly in an effort to destory or pervert your talent & your
truth...” In describing a lecture by Ana‹s Nin that Jong went to, she writes, “One thing that
surprised me was Anaïs Nin’s remark that she deliberately edited out the sexual parts of the
diaries because she did not want to suffer the fate of Violet Le Duc. I love Nin’s work, admire
her greatly as a writer, yet I’m surprised at her capitulation to male standards (in that regard). It
is true that any writer who dares to use sexuality is still very severely censured in some quarters
& women writers suffer doubly because of the double standard. Women who write freely about
sex are presumed to be whores. (I get the most unbelievable phone calls in the middle of the
night.)...People are astonished to find me likeable & reasonable because they assume that any
woman who uses the words I use has to be a boiling bitch, a vagina dentata, a castrating shrew...I
love what you say about my being sick of myself after Fear of Flying. I was so tired of Isadora
& her Jewish suffering, so tired of her agonizing. I wanted to do something totally different.
Like a small perfect novel. But I don’t know whether I have that kind of talent...” Jong goes on
to discuss her writing, poetry, the fight between Kate Millett and Henry Miller, etc. Rust marks
from paperclip on first page; else fine.
(500/800)
184. JonG, ericA. Two-page typed letter signed, to Henry Miller about Fear of Flying, and other subjects. 2 page
TLs from Erica Jong on her personal letterhead, to Henry Miller. With several holograph corrections
and additions to letter in green marker.
New York: August 7, 1974
Jong reports that “I’ve been slaving away on the screenplay of Fear of Flying so that I can
have a rough first draft ready to take to California...I am as dubious about Hollywood people
as anyone could possibly be. For all the talk about money, money, money, I’ve yet to receive a
single check - I’m sure this can go on for months...I wish Fear of Flying could be done as a kind
of modern female `Tom Jones.’...In general it seems to me that great novels make disappointing
films and that mediocre novels make great films. It would probably be easier to write an original
screenplay than to adapt Fear of Flying. I am so infernally tired of the book by now. Writers
have a funny fate in relation to their public. When you are struggling and unknown and could
really use a rousing cheer after you finish a paragraph, nobody’s there to give it. But when you
are already through with a book and it seems years behind you, you are constantly meeting
people who are reacting to it for the first time and for whom it really is brand new. There’s a
considerable amount of frustration on either end of the process....” Fine.
(500/800)
185. JonG, ericA. Two letters from Erica Jong to Henry Miller. Includes two separate letters from Erica Jong
on variant personal stationery. The first is a 3 page ALs, and commends Miller for his performance
on the Merv Griffin show. 11x8½. The second is a 2 page ALs and explains her plans to publish a
French translation of Fear of Flying. 10½x7¼.
New York and Malibu: Oct. 4, 1974 and Feb. 27, 1975
Paperclip marks to the first; else about fine.
Page 87
(400/600)

186. JonG, ericA. Three autograph letters signed and 1 card from Erica Jong to Henry Miller. 3 ALs (2 in
original envelopes). Plus 1 photographic announcing the birth of her daughter.
New York: 1974-1980
Jong writes of wanting to return to California, and says, “I enjoyed meeting you more than I
can say - & I love the signed print you gave me...I loved the whole Miller ménage: Twinka, Val,
Connie, Tony...Dinner at the Imperial Gardens was a delight. Hoki later gave me a tape of her
songs (I nearly wrote `poems’) & I was enchanted by it. It makes the whole `Insomnia’ story
become realer somehow...I asked my paperback publisher - NAL - to send you 25 copies of
Fear of Flying...Meanwhile, the TV networks (NBC, CBS, ABC) refuse to carry ads for Fear of
Flying - & won’t give any explanation. Since I returned to NY, I’ve been talking to lawyers about
censorship. Apparently, it’s thought to be a dirty book. How boring! (I thought those battles had
been won years ago.)...” The 1978 letter is 5 holograph pages & encloses xeroxes of numerous
typed poems by Jong. She begins, “Of course I’ll try to think of something persuasive to
write the Nobel Committee. Who deserves it more than you? I fear, though, that because they
recently gave it to an American (Saul Bellow), they won’t want another American so soon.
Probably they are looking for some Latvian goatherd who writes obscure poems in a dialect
spoken by only 3 (very elderly) people. Some of their selections are truly idiotic - & most of the
greatest writers of all time have been neglected in favor of hacks....” Jong goes on to write about
her newborn baby & future work. The last letter is really just a brief one, again regarding the
Nobel Prize. A nice group from an important association late in Miller’s life Near fine.
(300/500)
187. JonG, ericA. Chatty 3-page typed letter signed, to Henry Miller about Jong’s life in general, and book fallout.
3 page TLs on personal letter head. 11x8½.
New York: June 16, 1976
Jong writes about hating life in New York, missing Malibu terribly, a mutual friend with a drug
overdose, and her book/film project: “...I think I am emerging from this long depression about
the lawsuit and the movie. The worst part of it was that I was manipulated by con men who I
really trusted (the lawyers and agents) and used as a pawn in a power struggle. I felt as if I had
been shorn of all my own motivation, and I feel that I never should have gotten involved in
the film or the lawsuit at all...My new book How to Save Your Own Life is in the works and
will be published in March, 1977. It has been sold to an English publisher...and there is a lot of
excitement about it. I would love you to read it, but I know your eyesight isn’t so hot...I think
I am going to ask the publisher to send a galley to you. I would love to be able to use your
comments - particularly the remark that it is too erotic....” Fine.
(400/600)
188. JonG, ericA. East-West Blues: A New Yorker Goes West - 23 page carbon typescript. 23-page carbon
typescript of the piece Jong wrote for Four Visions of America, published by Capra Press.
No place: No date
Inscribed and signed by Jong to Henry Miller on the front page, and additionally signed by her
at the end. Holograph note in Miller’s hand to upper left corner. Fine.
(200/300)
You can bid absentee directly from the item description in
the online version of the catalogue at www.pbagalleries.com.
Or bid during the auction using the Real-Time Bidder.
Page 88

NORMAN MAILER ON HIS BOOK ABOUT HENRY MILLER
189. mAiler, normAn. Two-page typed letter signed from Norman Mailer to Henry Miller. 2 page TLs from
Norman Mailer in regards to his book about Henry Miller called “Genius and Lust.” 11x8½.
No place: May 8, 1976
Mailer begins by explaining his reasons for titling the book as he did (“I think of you more
as a monarch than a demiurge...”) and his hopes that the book will interest youth in Miller:
“You’re tremendously admired in the colleges,
and I know what I’m talking about because
I must have lectured to make my living (I’m
in a miserably opposite situation financially
from your own, which is that I make as much
as two thousand dollars a year, year after
year, and never have a cent, and now owe the
government one hundred thousand bucks,
owing not only to my disorder and hoggishness
but to the comprehensible lack of mercy
in my five ex-wives and my seven splendid
children - you’re one of the few people in the
world who will perceive the epic, the comedy,
and the grind of such finances)...I’m working
on my novel now and don’t dare go too near
other novels when I write. It’s lack of a skin
to protect myself against other people’s styles
and ideas, particularly if they’re good. Besides,
what a fearful novel I’m into. Its about Egypt in
the Twentieth Dynasty, about 1140 B.C. In the
language of rock climbers I feel as if I’m in a
Lot 189
Page 89
chimney which is a mile high and am working
my way up inch by inch. Piles of soot, tons
of Egyptian bat shit. Cheers, Norman.” Rust
from former paperclip, else near fine, with Miller’s small “File” note to upper corner; near fine.
(1000/1500)
190. mAiler, normAn. Two-page typed letter signed, to Henry Miller, with holograph corrections. 2 page TLs
from Norman Mailer to Henry Miller, with holograph corrections by Mailer. In original typed mailing
envelope.
Brooklyn: Dec. 23, 1977
Mailer writes to greet Miller at Christmas & New Year’s, and to discuss the paperback design
of Genius and Lust: “I hope you like the print of Ingres on the paperback since that was my
choosing. They were going to put on a painting of a half-nude babe that would have left the
book indistinguishable from five hundred other schlock paperbacks and I said, `Let’s try that
old conservation Monsieur Ingres.’ To my surprise, they went along. Of course, you may not
like it particularly...Incidentally, Norris Church (the red-headed lady who did that portrait of you
for the hardcover) and I are going to have a baby in April. The will make my eighth kid and my
sixth wife - married and unmarried. We’re not alike in many ways, but a similarity here and there,
perhaps....” Creases from folding; else fine.
(500/800)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.

LETTERS FROM MARCEL MARCEAU WITH MANY DRAWINGS
191. mArceAu, mArcel. Holograph letters signed from Marcel Marceau with many drawings to Henry Miller
plus a typed letter in response from Miller. Lot contains what appears to be two separate ALs from Marcel
Marceau to Henry Miller, each with many doodles and drawings (clowns, faces, flowers, sun and
moon, etc.). One is a 15 page letter, the other is an 8 page letter. Also includes a typed copy of a letter
to Marceau in response from Miller, and signed at bottom with his initials.
March 13 and March 21, 1973
The 15 page letter from Marceau dated March 13, 1973 begins with “Dear Great Man.” That
first page has a mad-hatter type character doodled into the letter. There are many drawings
within the pages of each letter. In the two letters he invites Miller to his performance at
the Schubert in May, and Miller, in the 1 page TLs responds that he will likely attend with a
“distinguished Chinese actress, Lisa Lu...” Miller’s holograph note on the first page of Marceau’s
8 page letter. Fine - drawings are a must see!
(500/800)
192. miller, BArBArA. 16 original photographs of Barbara, Henry Miller’s first child. 16 original photographs
of Barbara, Henry Miller’s first child, most of her as a very young child in Brooklyn (including one
of her on the running board of a car with 2 men, one of whom may be Miller) and as a teenager; a
couple later.
Various place: [c.1922-1960]
The very early photographs of Barbara that Henry Miller held on to throughout his life show
that perhaps it was not as easy to leave his first family as is commonly thought. A few labeled on
versos, some in Henry Miller’s hand. Very good or better.
(200/300)
193. miller, eve. Four autograph letters signed, plus one typed letter signed from Eve, Henry Miller’s 4th
wife, to Henry. 4 ALs from Eve (1 to 3 pages each) and 1 TLs. Also includes a group of 21 original
photographs and 1 slide of Eve (some with friends, child, etc.) 8x10 or smaller, a couple labled on
versos in Miller’s hand.
Big Sur: [c.1950s-1965]
Friendly letters regarding family members, particularly Henry Miller’s guardianship of his
retarded sister Lauretta, along with a copy of a letter from Henry Miller to Charles Rembar
about Lauretta. The photographs show Eve mostly during the years of her marriage to Miller
(though one shows her at age 17 or 18). One was used in a publication The Intimate Henry
Miller. Very good to fine.
(700/1000)
194. miller, henry. Numerous ephemeral pamphlets, booklets, fliers, and more for shows, books, films and
readings by Henry Miller. Items include “Henry Miller Asleep and Awake” film prospectus & postcard;
“Titles Available and Unavailable” list of Miller books for sale by him, 1957; “Henry Miller Recalls
and Reflects” audio record prospectus, 1956; “The Henry Miller Literary Society Newsletter” 1961;
Here’s a Little Guessing Game by Sydney Harris. promoting Miller; A Dream of a Book, booklet
about Into the Night Life; “Water Paintings by Henry Miller” broadside with quotes; various offprints
of newspaper articles on censorship of Tropic of Cancer and other Miller-related news (incl. Why I
Wrote Tropic of Cancer, 1963); Exhibition of Water Colors, Henry Miller catalogue from Jerusalem
Artists House; offprint of Henry Miller and Friends by Milgram & Genesis of the Night Life by
Bufano; postcards printed by Miller advertising his various books; “The Henry Miller Odyssey”
flier; Playboy’s Choice: The Bulletin of the Playboy Book CLub, Apr. 1972, featuring Miller; 18page
prospectus for Catalogue Raisonn‚ of Henry Miller’s Prints, 1948-1973 in English & Japanese;
prospectuses for Miller’s books, incl. Order & Chaos chez Hans Reichel, To Paint is to Love Again,
Henry Miller - Between Heaven and Hell, Book of Friends, Reflections on the Death of Mishima,
First Impressions of Greece, Life in Big Sur by Val Miller, etc., etc.
Various places: [c.1950s-1970s]
Fine.
(500/800)
Page 90

195. miller, lepskA. Three brief autograph letters signed to Henry Miller. 3 short ALs from Henry’s third
wife, Lespka. Each regarding a loan.
Altadena: 1972
Very good.
Page 91
(200/300)
196. moore, ThomAs h., eDiTor. Bibliography: Henry Miller - with additions laid in. 32 pp. Pink wrappers.
No. 854 out of 100 copies printed by Ad Art Advertising. First Edition.
Minneapolis: Henry Miller Literary Society, 1961
Heavily annotated by Henry Miller in margins and around entries. “Do not lose this - very
precious!” written in another hand on front cover. An important copy with Miller’s corrections.
With laid in addendum sheet, additions sheet, and short note written in another hand. Near fine.
(500/800)
197. moore, Tom. Henry Miller Chronology (from April 1959 to Aug. 1, 1963) - typescript with holograph
corrections, plus photocopy, plus autograph letter signed from Tom Moore. Lot includes: 3 page typescript with
holograph corrections. * 4 page photocopy of a variant (apparently earlier) draft of the typescript. *
2 page ALs from Tom Moore, an early Miller bibliographer, written to Henry Miller on The Henry
Miller Literary Society letterhead, and dated 8/9/63.
1963
The letter from Tom Moore touches on a few subjects. He points out an error in Miller’s dates
(“One mistake, 1961, at end of that year, where you say Emil Schnellock & Joseph O’Regan
died. Schnellock died in 1958.” He mentions that “Capricorn is selling well here in paper. I hear
Grove will publish all 3 in one soon.” Near fine.
(500/800)
PHOTOGRAPHS OF ANAIS NIN
198. nin, AnAïs. Eleven original photographs of Anaïs Nin and 1 photograph of a drawing of her. Each 8x10
or smaller.
Various places: 1935-1971
The photographs cover a long stretch of time, from a copy-photograph of Nin in the 1930’s,
to 1940’s-era snapshots of her in a bathing suit, a picture of Nin seated in Henry Miller’s living
room (with his paintings behind her), a large photograph of her in a vault with her diaries, and
several of Nin in Los Angeles, 1971. One signed & labeled by Nin on verso, most others with
verso notations in Miller’s hand. Fine.
(600/900)
199. nin, AnAïs. Two-page carbon typed letter to Henry Miller, unsigned but with note in Miller’s hand “From
Anaïs Nin” at end. 2 page TL. Unsigned by with holograph note at bottom that reads “(From Anaïs
Nin).”
No place: 1933
Nin writes to Miller (though not actually addressing him) about a visit she had with Dr. Otto
Rank, with whom she studied psychoanalytic techniques: “...What I needed was the high
challenge, the acid test, and I got it. And where Rank stands after thirty years of struggle,
research, etc., there I stood equally firm, firmer I’m telling you, despite all contradictions in
my soul. It remains a fact that I conquered, and not the least important fact that I consider the
conquest a victory over myself. And if this contains anything of revelation, of wisdom, of real
vision, take it as a gift which only you have made it possible for me to offer. You have been the
teacher, not Rank. Not even Nietzsche, nor Spengler. All of these, unfortunately, receive the
acknowledgement, but in them lies the dead skeleton of the idea. In you was the vivification, the
living example, the guide who conducted me through the labyrinth of self to unravel the riddle
myself, to come to the mysteries....” A wonderful, important letter with early insights into Nin’s
relationship with herself and with Henry Miller. Touch of rubbing from paper clip; very good.
(600/900)

LETTERS FROM ANAIS NIN DISCUSSING HER DIARIES
200. nin, AnAïs. Group of 12, one to two-page typed and holograph letters, almost all signed, and 6 holograph
postcards signed, to Henry Miller. 12 one to two-page typed and holograph letters, most signed by Anaïs
Nin. One in original envelope. Post cards with Nin’s return address printed on rectos.
Various places: 1966-1976
The letters and postcards from Nin to Miller discuss much about her diaries, and what
could and could not be published of the correspondence in her Diaries, as well as mutual
acquaintances, surgeries, current activities, and memories. From one letter, Nin writes, “I am
winning my battle with man hating feminists. Kate Millet who wrote such a hate filled book
against men, has paid me a tribute and changed considerably. I suppose you have heard that
my papers will be with yours at UCLA but most of it goes to taxes. Unbelievable. I have
been venturing out in spite of the hole in my stomach caused by radiation and which erupts
at unexpected moments which kept me in the house for a year and a half...” From another,
dated 1973, “Have been reliving the past so unfortunately left out of the Diary (compassion!)
Xeroxing your personal letters for the day they can be published. I will of couse show you a
copy. I did the job myself for privacy at a College xerox machine! An hour a day is all I could
do. I hope this year there won’t be so many lectures. Deep down I don;t like the public life -
prefer just to write and stay home but my horoscope gives me dependants....” There are also a
couple of letters from a trip to Asia that Nin took in 1966, describing her travels, particularly in
Japan: “My publisher entertained me royally, with Geisha dinner - and they are eager to do the
same when you come. I feel at home with that mixture of deep meaning expressed in outward
beauty - the immaculateness, the caring, the tranquility, the poetry - Nothing is literal. A garden
is a representation of the eternal, it must always be green, no flowers, flowers die and disturb
contemplation of eternity!....” A number of the letters have Anais’ last name holographed in
Miller’s hand next to her signature. About fine.
(3000/5000)
201. nin, AnAïs. One-page autograph letter signed from Anaïs Nin to Henry Miller. 1 page ALs on International
Hotel Okazaki (of Japan) stationery. 10x8.
No place: April 13, 1969
Nin loved to gather stationary from worldly hotels to write letters on. The letter begins: “Dear
Henry: Your film is wonderful and truly captured your personalities - all of them. It is moving
and beautiful and natural. You are a natural actor - and what came through was the blending of
humor and sorrow, of playfulness and gravity both. It is you....” Miller’s holograph note, “Nin”
next to Anaïs’ signature. Fine.
(1000/1500)
Lot 200 Lot 201
Page 92

NIN CHASTISES MILLER FOR LACK OF HUMOR
202. nin, AnAïs. One-page typed letter signed, to Henry Miller regarding the editing of her diaries, with holograph
corrections. 1 page TLs from Anaïs Nin, with her holograph corrections.
No place: Nov. 16, 1968
Lot 202
Page 93
Nin writes to Miller: “Dear Henry: I will
make the changes you request, but I am
astonished at them, for now that you are a
beloved and respected person to the whole
world, how can you not laugh at all these
adventures, you with your great sense of
humor who felt free to write anything,
and free to let others write anything (Fred
or Durrell)...It is the world who will be
amazed. All that episode to me is highly
comic, ironic. And the way you quote the
part where you say you can’t do it anymore,
and I say but what about me? We were
both laughing. There was good humor,
good feeling then...Yet in your letter about
the entire diary there is not one moment
of amusement, one moment of warmth,
of friendliness...You who taught me
detachment, to see beyond the personal
as well. You who taught spontaneity and
freedom and humor about our humanity.
Diary 3 explodes the myths about all of
us....” A fine and riveting letter about Miller’s
censorship of Nin’s diaries. Fine.
(1500/2000)
203. nin, AnAïs. One-page typed letter signed, to Henry Miller, regarding male chauvanist pigs, specifically Gore
Vidal. 1 page TLs from Anaïs Nin to Henry Miller.
No place: Nov. 10, 1971
Nin’s letter begins, “Dear Henry: I have not
forgotten that letter, or your attitude towards
my work and towards me and I have said so in
countless interviews. The intelligent women in
the feminist movement understand. It is only the
others, the hate hostile ones who don’t. I don’t
like them any more than you do. They are hostile
to me because I will not attack [a] man (who has
done so much for me and taught me so much)...As
for Vidal, that is another matter. He is a dangerous
and destructive madman. Everyone now says so
but I don’t know who will attack him. He attacked
Mishima in a hideous low way, he hates you because
you were successful with women, loved by women,
and he is impotent. He now writes pretending we
had an affair, and it is so ridiculous. Yet one can’t
answer or it is demeaning, one would have to get on
his vulgar level. His tying you with Charles Manson
is all the more distorted when it is he who is a killer,
a gunman for the New York Review of Books, and
Lot 203
you have brought only joy and freedom to your
followers...About publicity, I dislike it intensely,
and we have had our share of hostilities, you and I. That goes with the love we get...” Miller’s
holograph note “Nin” next to Anaïs’ signature, and small note in upper corner. About fine.
(1000/1500)

204. (Nin, Anaïs) pole, ruperT. Two typed letters signed from Rupert Pole, Nin’s husband, to Henry Miller.
Two TLs from Rupert Pole to Henry Miller, one reporting Nin’s grave condition in 1965 and one
after her death, in 1977, which includes a xerox copy of a TLs from Lawrence Durrell to Pole,
memorializing Nin.
Los Angeles: 1965 and 1977
The first letter states that Nin is very ill, and asks Miller to not mention her diaries when
speaking to her because a deal with Dartmouth College to house the archives (including Miller/
Nin correspondence) had fallen through and she was quite upset about it. The second letter
thanks Miller for his words on Nin for the National Academy, and chattily mentions his dislike
of Alice Walker: “...I hated her piece in Ms. Anais had been so good to her, writing a piece for
each of her books - and then after meeting her only superficially at the Vonneguts, she accused
Anais of ‘professional generosity.’ I guess meeting her in that New York literary jungle, she
couldn’t believe Anais was real!...” One letter with small coffee (?) stain, the other with slight
rust marks from paper clip; else near fine couple of letters, last in original envelope.
(200/300)
205. nin, AnAïs. Nuances. Hand-bound in Indian raw silk. No. 46 out of 99 copies.
San Souci Press, [1970]
Signed by Anaïs Nin on limitation page. Fine.
Page 94
(300/500)
206. nin, AnAïs. Three volumes. 3 volumes, including: Winter of Artifice: Three Novellas. Illustrated
by Ian Hugo. Cloth, dust jacket. Signed by Nin and inscribed to Sylvia and Ted on the front free
endpaper. First Edition. Alan Swallow, [1948]. * Linotte: The Early Diary of Anaïs Nin, 1914-1920.
Preface by Joaquin Nin-Culmell. Cloth-backed boards, dust jacket. Signed by Rupert Pole (Nin’s
husband) and inscribed to Bob Kirsch on front free endpaper, with additional TLs from Pole laid
in. First Edition. Harcourt, Brace, [1978]. * This Hunger... Illustrated with woodblocks by Ian Hugo.
Pictorial boards. First Edition. Gemor Press, [1945].
Various places: Various dates
The first two volumes are inscribed, one by Nin, the other by her husband Rupert Pole. Some
wear to dust jackets; a few tiny stains to boards of This Hunger...; very good.
(200/300)
207. pAsTA, JAmes. Five autograph letters signed from Jimmy Pasta to his childhood friend, Henry Miller. 5 ALs
(of varying number of pages) from Jimmy Pasta to his childhood friend, Henry Miller, along with a
photocopied brief memoir of Miller by Pasta.
Woodhaven, NY: 1974-1979
Pasta attended P.S. 85 with Miller in Brooklyn, and later got him a job at the office of the
Brooklyn Park Commissioner, where he earned enough money for his passage to Paris. Pasta
appeared as Tony Marella in Miller’s Plexus & Nexus, and is referred to many times in Miller’s
notebooks of outlines for The Rosy Crucifixion. These letters were written when both men
were in their eighties, with news of old acquaintances and comments on Miller’s writing: “I have
glanced thru Vol. 2 of ‘Friends’ - Henry, I think you are now beginning to show to the world the
depth and warmth of your true self - your compassion and love for people and their struggles
for a better and more fruitful life...” Fine - an important set of letters.
(300/500)
Each lot is illustrated in color in the online version of the catalogue.
Go to www.pbagalleries.com

PHOTOGRAPHS OF AND LETTERS FROM ALFRED PERLES
208. perlès, AlfreD. Group of 41 original photographs, 1 postcard, and 1 original etching of Alfred Perlès. 41
original photographs, 1 postcard, and 1 original etching, of Alfred Perlès. 8x10 or smaller, some color,
but most black & white.
Various places: [c.1940s-1970]
Photographs depict Perlès in the British Pioneer Corps in the 1940s, in a Fleet Street pub, with
several women, with his new wife Anne in 1951, in Cyprus in 1965, with Henry Miller in the
1940s and again in the 1960s, portraits, etc. Most are labeled on verso in the hands of Perlès or
Miller (a few perhaps in Anne Perlès’ hand). Very good or better - a nice group.
(300/500)
209. perlès, AlfreD. Two typed letters signed, to Henry Miller. Two 1 page TLs from Alfred Perlès.
Dorset: May 11th and July 12th, 1976
They remained life-long friends; each called the other “Joey.” The first letter begins, “...It
feels good to be away from Cyprus and in an intelligible land again. Intelligible? The whole
country around here is impregnated with Hardy’s spirit and his novels, which I don’t seem able
to understand. It’s all very feudal still....” He goes on to discuss language differences between
Chinese and Turkish, and things in general. The second letter regards Miller’s Book of Friends,
of which he says, “Your former Rabelaisian lustiness seems to have given way to a new mood
of nostalgia, don’t tell me you’re getting old, Joey. Is there any more coming? Surely you can’t
end up with Alec Considine, the least sympathetique of your friends...Your sense of humour
still comes through in patches, in such sentences as `As everyone knows, there is no more
enjoyable fuck to be had than from a woman in tears.’ It’s the `as everyone knows’ that made
me laugh....” Condition of both letters is good as they were written on flimsy post-office issued
stationery; one with top section detached but present, the other with pieces of corners lacking
(a bit of text lost).
(600/900)
210. perlès, AlfreD. One-page typed letter signed to Henry Miller. 1 page TLs. One blue paper that
doubled as the mailing envelope.
Dorset: 6th July, 1978
Letter to Miller from his good friend, describing an anguished visit with his wife to his native
Vienna, which he hadn’t visited since 1947. Perlès gives a moving description of his sadness at
seeing Vienna after so many years: “Anne and I went to Vienna last month, where we spent a
week. It was my first visit to the place since 1947 when my home- town was still under the fourpower
occupation and the people were starving. Then I wept for the Viennese, but this time for
Vienna. The place has changed almost beyond recognition from the days of Emperor Franz-
Josef under whose reign I was born. Of course, much else has changed, too, in the last 81 years.
Including myself. I wandered through the streets in a haze, they might as well have belonged to
Philadelphia or Pittsburg [sic], Pennsylvania, where I’ve never been. I felt like an alien in my own
hometown. But then I’m an alien no matter where I go...The city is very prosperous now, with
a much harder currency than the English pound...I did take a day off and went all by myself to
H tteldorf, where I’d spent the best years of my childhood and early adolescence. Great changes
there, too. The garden of the house where we then lived and which, in memory, was the most
beautiful garden in the world, more beautiful even than the Luxembourg, has been turned into
a carpark! And the delicatessen shop across the street has given place to a supermarket. It was a
pilgrimage-cum-swansong to the remote past to which I can never return. Walking through the
old familiar streets I shed a few tears, just for good measure, and returned to town to meet my
beloved spouse in an expensive Konditorei....” About fine.
(500/800)
You can bid absentee directly from the item description in
the online version of the catalogue at www.pbagalleries.com.
Or bid during the auction using the Real-Time Bidder.
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211. perlès, AlfreD. One-page typed letter signed with holograph postscript, to Henry Miller. 1 page TLs, with
holograph postscript at left margin, signed Fred. 9x7, in original mailed envelope. Accompanied by a
3½x5 black and white photograph of Perlès kissing a younger female lover, identified as Ceres (who
died of a drug overdose the following year).
Dorset: Dec. 4, 1978
Perlès addresses the subject of death, after having learned that their mutual friend Joseph Delteil
had died: “...The news of his death came as a shock to me, though I knew all along that people
do die eventually. And at our advanced age it shouldn’t be a surprise that old friends keep dying
right and left. I wonder who’s next in line, but I don’t think it will be you, Joey. You’re too tough
and too resilient to let a few physical infirmities gain the upper hand. And I remember your
fortune teller (in Colossus of Maroussi) reassuring you that you’ll never die. That’s nonsense, of
course, the man was either a clairvoyant idiot or simply illiterate. All living organisms are bound
to die, else there could be no life...At any rate, I’ve no fear of death, nor even of dying. Can’t be
too bad. And it’s useless to speculate on what comes after. Best attitude to take is to wait and
see. Some happy days are still in store for you, Joey....” Fine.
(200/300)
212. perlès, AlfreD. One-page typed letter signed to Henry Miller. 1 page TLs. 12½x6, on blue paper that
doubled as the mailing envelope.
Wells: 8/12/79
A friendly and funny letter from Miller’s longtime best friend, with whom he spent his early
years in Paris. Miller wrote much about his love of “Joey” (which they both called each other)
during his life. On having received from Miller a photograph of Miller and the young Brenda
Venus, Perlès writes: “...But Venus is a beauty! Has she perchance a sister called Aphrodite and
if so could she be shipped to me? Greek goddesses are in short supply here. My last one, Ceres
(in charge of agriculture, cornflakes, etc.) died a few weeks ago at the age of 29. Overdose of
some drug. Aphrodite would suit me fine. If she’s as lovely as your Venus I might turn myself
into a male Scheherezade and tell her a thousand and one stories which I’m afraid I could no
longer enact. (I always liked metaphors and don’t mind mixing them). Yes, the address sounds
good, but you know Wells. It’s a narrow-minded town (pop. 8,000) that only prides itself on a
cathedral less than a thousand years old and already in need of being propped up every now
and then. Like us, really....” Air letter is fragile, with top 1/3 nearly detached, lower 1/3 is still
attached to middle 1/3 at margin, else a good letter with interesting content.
(200/300)
The Buyer’s Premium will be 20% for bids up to $100,000
and 15% for that portion over $100,000.
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213. perlès, AlfreD. One-page typed letter signed with 7-line holograph postscript. 1 page TLs with 7-line
holograph postscript from Perlès to Henry Miller. One blue paper that doubled as the mailing
envelope. 12½x6.
Wells: Dec 17, 1979
Lot 213
Page 97
Perlès was one of Miller’s best friends
during his starving Paris years - the two
shared an apartment when Miller first
arrived. Perlès writes to wish Miller a happy
birthday, saying, “Old friends keep dying
right and left and I don’t want to be the
sole survivor like Robinson Crusoe on a
desert island without even a Man Friday.
So hold on, Joey, will you please? It’s a
small favour I’m asking you. Although
you never sent me your JOEY book (can’t
think why not), I ordered some copies from
Capra Press. It’s a beautiful production
and I take your `loving portrait’ of me as a
handsome tribute. Many thanks, Joey, but
does your portrait truly portray me? That’s
the question. Of course, I realize that you
talk of me as of someone fifty years ago,
i.e. a different person from what I am now.
People are subject to metamorphosis in less
than fifty years, as you must know. And in
your loving portrait I see myself like a faded
photograph in an ancient family album.
I don’t mind being called a clown and a
scoundrel (I often call myself worse names),
especially since I know I attracted you and
you love me as such. As for myself, I both
loved you as you were then and still love you
as you are now, a different person....” About
fine.
(700/1000)
214. sinGer, isAAc BAshevis. 1 page autograph letter signed on personal stationery to Henry Miller. 1 page ALs
from Singer to Henry Miller agreeing to back his nomination for the Nobel Prize for literature in
1978/79. 10½x7¼.
New York: September 7, 1978
In his letter, Singer writes that “I think that no writer alive has earned as much recognition,
praise and high prizes as you both for your literary work and for your selfless fight for literary
freedom. Of course I will write to the Academy. Just the same I feel that you are too great a
man to ask for any prize. Whatever recognition you should get must come from the givers, not
from you...Whatever the results, you will remain a pillar of literature and a most couragous
fighter against any kind of censorship in literature. Yours with love and admiration, Isaac B.
Singer.” Ironically, Singer himself was awarded the Nobel Prize for Literature that year. Fine, in
original hand-addressed envelope with Miller’s holograph note to front.
(300/500)

Notes
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Notes
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Notes
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Notes
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CONDITIONS OF SALE
The property listed in this catalogue will be sold by PBA Galleries, Inc. (hereinafter Galleries) as
agent for others upon the following terms and conditions as may be amended by notice or oral
announcement at the sale:
1. All bids are to be per lot as numbered in the catalogue.
2. As used herein the term “bid price” means the price at which a lot is knocked down to the
purchaser and the term “purchase price” means the aggregate of (a) the bid price (b) a premium
of twenty percent (20%) of the bid price payable by the purchaser, and (c) unless the purchaser is
exempt by law from the payment thereof, any California state or local sales tax except where sold to
a purchaser outside of California and shipped to the purchaser.The Galleries have been authorized
by the consignor to retain, as part of remuneration, the 20% premium payable by the purchaser.
3. Property auctioned by the Galleries is often of some age.Prospective bidders should
personally inspect such property to determine its condition and whether it has been repaired
or restored.Any information provided by the Galleries or its employees is for the convenience
of bidders only and should not be relied upon. ALL PROPERTY IS SOLD “AS IS” AND
NEITHER THE GALLERIES NOR THE CONSIGNOR MAKES ANY WARRANTIES OR
REPRESENTATIONS OF ANY KIND OR NATURE WITH RESPECT TO THE PROPERTY
OR ITS VALUE, MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, OR
WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS.IN NO EVENT SHALL
THE GALLERIES OR THE CONSIGNOR BE RESPONSIBLE FOR CORRECTNESS OF
DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE, AUTHENTICITY,
AUTHORSHIP, COMPLETENESS, CONDITION OF THE PROPERTY OR ESTIMATE OF
VALUE.NO STATEMENT (ORAL OR WRITTEN) IN THE CATALOGUE, AT THE SALE,
OR ELSEWHERE SHALL BE DEEMED SUCH A WARRANTY OR REPRESENTATION,
OR ANY ASSUMPTION OF RESPONSIBILITY.HOWEVER, notwithstanding this condition
and subject to the further provisions of this paragraph as set forth below, property may be
returned by the purchaser, the sale rescinded and the purchase price refunded under the following
conditions: (1) printed books which prove upon collation to be defective in text or illustration
(provided such defects are not indicated within the catalogue or at the sale), and (2) autographs
which prove not to be genuine (if this can be demonstrated and if not indicated in the catalogue
or at the sale).Printed books are not returnable for defects not affecting text and illustration,
including, but not limited to, lack of half-titles, lists of plates, binder’s instructions, errata,
blanks, or advertisements.No returns will be accepted unless written notice, by registered mail or
receipted courier, is received by the Galleries within fourteen (14) days of the sale of the property
and the property is returned in the same condition as it was at the time of sale.NO LOT IS
RETURNABLE ON ACCOUNT OF PROPERTY INCLUDED BUT NOT SPECIFICALLY
NAMED AND DESCRIBED IN SUCH LOT.LOTS CONTAINING THREE OR MORE
TITLES, WHETHER NAMED OR UNNAMED, AND SELLING FOR ONE HUNDRED
FIFTY ($150) OR LESS, EXCLUSIVE OF BUYER’S PREMIUM, ARE SOLD NOT SUBJECT
TO RETURN FOR ANY REASON.
4.Photographs, prints and other fine art multiples are sold in compliance with California law, and
the Galleries’ catalogue descriptions of such multiples conform to the applicable provisions of that
law.
5. Any right of the purchaser under this agreement or under the law shall not be assignable and
shall be enforceable only by the original purchaser and not by any subsequent owner or any person
who shall subsequently acquire any interest. No purchaser shall be entitled to any remedy, relief or
damages beyond return of the property, recision of the sale and refund of the purchase price; and,
without limitation, no purchaser shall be entitled to damages of any kind.
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6. If we are prevented by fire, theft or any other reason whatsoever from delivering any property to
the purchaser, our liability shall be limited to the sum actually paid by the purchaser.
7. Books and other property purchased are to be removed at the close of each Sale unless shipping
instructions are received by the Galleries before such sale.If not removed, property will be held
at the sole risk of the purchaser and no responsibility is assumed if such goods are lost, stolen,
damaged, or destroyed.The Galleries will facilitate shipment of property to out-of-town purchasers
at an additional packing charge plus carriage and insurance, but will not be responsible for any loss
or damage resulting from the shipping thereof in excess of the amount of the insurance.
8. Payment terms:All items are to be paid for by (a) cash, (b) cashier’s check, (c)credit card,
or (d) personal check with approved credit, and all accounts are due when bills are rendered.
MERCHANDISE WILL BE SHIPPED AFTER PAYMENT HAS BEEN RECEIVED.
9. We reserve the right to reject a bid from any bidder.The highest bidder acknowledged by the
auctioneer shall be the purchaser.In the event of any dispute between bidders, or in the event the
auctioneer doubts the validity of any bid, the auctioneer shall have the sole and final discretion
either to determine the successful bidder or to re-offer and resell the article in dispute. If any
dispute arises after the sale, our sales records shall be conclusive in every respect.
10. Unless the Sale is advertised as a sale without reserve, each lot is offered subject to a reserve.
MOST LOTS OFFERED BY THE GALLERIES HAVE A MINIMUM RESERVE OF ONE-
HALF THE PRESALE LOW ESTIMATE .The Galleries do not accept reserves of more than the
low estimate nor allow consignors to bid on their own items.
11. To prevent inaccuracy in delivery or inconvenience in the settlement of a purchase, no lot can be
transferred.Each buyer must pay for the whole of his purchases before any lot can be removed.
12. As a service to clients unable to attend the Sale, we will accept absentee bids without charge in
advance of the sale by telephone, mail, fax, email or in person.All bids must state the highest bid
price the bidder is willing to pay.“Buy” bids are not accepted.Please check bid sheets carefully to
make sure you have the correct lot numbers and that the sheet is legible.The Galleries reserve the
right to refuse to undertake absentee bids, and shall in no event be responsible for failure to execute
such bids or for any error that may occur when executing them.Unsuccessful absentee bids will not
be acknowledged.
ALL SALES HELD BY PBA GALLERIES ARE CONDUCTED PURSUANT TO SECTION
2328 OF THE COMMERCIAL CODE AND SECTION 535 OF THE PENAL CODE OF THE
STATE OF CALIFORNIA
CONSIGNING BOOKS TO PBA GALLERIES
The first step in consigning to PBA is to contact the Galleries, either by phone, fax, email or letter.
It can then be determined whether the item or items under consideration would do well at auction.
Following this, arrangements can be made for the delivery of the material to PBA. In the case of
large consignments or libraries, a member of the staff may be able to view the books on location,
and make arrangements for its transportation to PBA Galleries. Because of the costs involved, PBA
discourages consignments with a total value of less than $1500.
The frequency of auctions, and variety of subject matter, allows PBA Galleries to ensure quick
turn-around time for items consigned. Books can appear at auction as quickly as 30 days and
generally not more than 90 days following consignment. Commissions vary between 10% and 15%,
depending on the selling price of an item.These commissions encompass all related costs including
insurance, storage, cataloguing, illustrations, etc., except shipping. Payment is sent within 20 banking
days of an auction.
Page 106

133 Kearny Street, 4th Floor
San Francisco, CA 94108
Phone: (415) 989-2665 Fax: (415) 989-1664
www.pbagalleries.com
Name:_______________________________ Bidder#:______________ Cust Id#___________
Company:____________________________ Shipping address (if different from mailing address)
Address:______________________________ Address:__________________________________
City:________________State:______Zip:______ City:__________________State:______Zip:_____
Is either a new address? Yes No
Day Phone:___________________Home Phone:____________________Cell:____________________
Email:___________________________________________ Fax:_________________________
Are you a dealer purchasing for resale? Yes No (if yes) I hereby certify that all tangible personal
property purchased by me will be for resale and is not subject to California Sales Tax, and that I hold
Sellers Permit #________________
1. PBA Galleries is hereby authorized to bid on the following lots up to the price stated.
2. All bids shall be treated as offers made subject to the Conditions of Sale.
3. These bids will not be executed unless this form is signed.
4. A 20% Buyer’s Premium will be charged on all lots sold.
PLEASE EXECUTE THESE BIDS ON MY BEHALF. _______________________________________
SIGNATURE
CHECK HERE TO INCREASE BIDS BY ONE INCREMENT IN CASE OF TIE_______________
LOT NUMBER
In numerical order BID AMOUNT
LOT NUMBER
In numerical order BID AMOUNT
$00 to $200. . . . . . . . $10
$200 to $500. . . . . . . . $25
$500 to $1000. . . . . . $50
$1000 to $2000. . . . $100
Bid Increments
$2000 to $5000. . . . . . . $250
$5000 to $10,000. . . . . $500
$10,000 to $20,000. . . $1000
$20,000 to $50,000. . . $2500
Page 107
BId Sheet
Sale #:_________________
Sale Date:______________________
Please charge my credit card for my purchase: Visa Mastercard Discover
Credit Card #:____________________________________ Exp. Date:______________________
Signature___________________________________ Please use this card for all future purchases
LOT NUMBER
In numerical order BID AMOUNT
Note: Bids not matching the above increments will be rounded down to the nearest increment.

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