Catalogue - Bauman Rare Books

New Acquisitions in all Fields 

AUTUMN 2012

Catalogue autumn 2012 

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Front cover image: William Walton, World’s Fair of 1893, Item 132. 

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Table of Contents 

An Opening Selection 

Literature 

History, Economics, Philosophy, 

Religion and Science 

Americana 

Travel and Exploration 

Children’s Literature 

Art, Architecture and Music 

Index 

2 

46 

56 

68 

80 

86 

92 

105

2 

new acquisitions in a ll Fields | autumn 2012 | a n opening selection 

thomas jefferson 

One Of Only Two Known Copies Annotated And Presented By Jefferson: 

Extraordinarily Rare Presentation/Association Copy Of Jefferson’s 1801 Manual Of Parliamentary 

Practice, With His Handwritten Annotations And Signed Autograph Note Presenting The Book To His 

Friend Francis T. Brooke: “Th. Jefferson Presents His Salutations To Mr. Brooke Speaker Of 

The Senate Of Virginia… As Testimony Of The Giver” 

1. JEFFERSON, Thomas. A Manual of Parliamentary Practice. WITH: Autograph note signed. Washington City, 1801. 

12mo, contemporary full brown calf gilt; pp. [199]. Autograph note signed (4-3/4 by 7-1/4 inches), dated December 20, 1802, tipped 

to rear pastedown. Housed in a custom full morocco solander case. $268,000. 

A truly extraordinary Jefferson rarity: one of only two known copies annotated by Jefferson of the first edition of his 1801 Manual 

of Parliamentary Practice, and one of the few presentation copies of the work. This remarkable presentation/association copy has 

Jefferson’s handwritten annotations and corrections to two leaves of text and a signed autograph note presenting the book to his 

friend and fellow Virginian, Francis Taliaferro Brooke: “Th. Jefferson presents his salutations to Mr. Brooke Speaker of the 

Senate of Virginia, and availing himself of the moment when the confidence of his country has placed him where the little volume 

accompanying this may be a convenience, he asks his acceptance of it as a testimony of the respect of the giver. Washington Dec. 

20, 1802.” Brooke later wrote about receiving this book from Jefferson: “When I was elected Speaker of the State of Virginia, he 

sent me his parliamentary manual, with a very flattering note wafered in it.”

This exceptional copy of the first edition of Jefferson’s Manual is of the utmost rarity and importance, as it is not only one of the few 

known presentation copies, but it is also one of only two known copies that are annotated and corrected by Jefferson. Jefferson’s 

personal copy, with many annotations and corrections in his hand (as well as his customary ownership marks) is at the Library of 

Congress and is “one of two known copies of the first edition annotated by the author; a second annotated copy was provided to 

The Papers of Thomas Jefferson Project by a private collector” (Wendell Ford). Wilbur Samuel Howell, the editor of Jefferson’s 

Parliamentary Writings, identified the owner of that private copy as Dr. Alfred J. Liebmann and noted that Liebmann supplied 

Julian Boyd (the editor of the Papers of Thomas Jefferson) with a photocopy of Jefferson’s annotations “for use in the present edition,” 

and he describes Jefferson’s annotations to two leaves (Howell, Jefferson’s Parliamentary Writings, 339). This copy being offered 

is the Liebmann copy; it was part of his collection of signed and inscribed presidential books in the mid-1950s and has been 

privately held since Liebmann’s death in 1957. 

Jefferson’s first annotation is in Section XXII (Bills, K2 recto) where he has faintly underlined three lines, drawn a bracket in 

the margin and noted: “these words should have been in Italics.” Jefferson’s second annotation is in Section LII (Treaties, Z1 

verso), where he has added a long footnote. At the end of line seven, Jefferson has neatly inked “+” and in five lines on the lower 

margin, he has written: “+ The treaty of the Pardo between Spain & G. B. in 1739, being disapproved by parliament, was not 

ratified. In consequence whereof the war it was intended to prevent took place. Observns. of France on Memorial of England, 

pa 107.” (Jefferson’s personal copy at the Library of Congress does not contain this annotation.) Howell notes that Jefferson’s 

“reference in the footnote is to Gerard de Rayneval’s Observations on the Justificative Memorial of the Court of London (Paris 

and Philadelphia, 1781)” (339). 

“Thomas Jefferson’s Manual of Parliamentary Practice is, without question, the distinguishing feature of his vice-presidency. 

The single greatest contribution to the Senate by any person to serve as a vice president, it is as relevant to the Senate of today 

as it was to the Senate of the late 18th century” (U.S. Senate). “Jefferson compiled his Manual for a narrow constituency, and 

Samuel Harrison Smith printed a limited number of copies” (Ford, xii). Jefferson presented this copy to his friend Francis 

Taliaferro Brooke, the Speaker of the Senate of Virginia. Brooke was also a friend and close neighbor of George Washington, and 

in 1791 he married Washington’s niece, Mary Randolph Spotswood. Initial blank excised. Shaw & Shoemaker 719. In addition 

to Jefferson’s annotations on two leaves, this copy also shows a small inked “a” in the margin at line 13 (L1 recto); a small inked 

“B” in the margin at line 1 (L†1 recto); and a small underlined “C” at lines 16 and 17 (L†2 verso). Early owner signature dated 

June 10, 1852. Faint penciled bibliographic notations to front pastedown. Text with light scattered foxing, faint occasional 

marginal dampstaining. Joints and spine ends expertly repaired. 

3 

new acquisitions in a ll Fields | autumn 2012 | a n opening selection

4 


the federalist 

Very Rare And Important First Edition Of The Federalist: 

“The Most Famous And Influential American Political Work,” 

An Exceptional Copy In Full Contemporary Sheep 

2. (HAMILTON, Alexander; MADISON, James; JAY, John). The Federalist: A Collection of Essays, Written in Favour 

of the New Constitution, Agreed Upon By the Federal Convention, September 17, 1787. New York: Printed and Sold by J. 

and A. McLean, 1788. Two volumes bound in one. 12mo, contemporary full sheep, custom chemise and full morocco 

clamshell box. $260,000. 

First edition of The Federalist, one of the rarest and most significant books in American political history, which “exerted a 

powerful influence in procuring the adoption of the Federal Constitution.” An exceptional copy in full contemporary sheep. 

“When Alexander Hamilton invited his fellow New Yorker John Jay and James Madison, a Virginian, to join him in writing the 

series of essays published as The Federalist, it was to meet the immediate need of convincing the reluctant New York State electorate 

of the necessity of ratifying the newly proposed Constitution of the United States. The 85 essays, under the pseudonym ‘Publius,’ 

were designed as political propaganda, not as a treatise of political philosophy. In spite of this, The Federalist survives as one of the 

new nation’s most important contributions to the theory of government” (PMM, 234). The Federalist “exerted a powerful influence 

in procuring the adoption of the Federal Constitution, not only in New York but in the other states. There is probably no work in 

so small a compass that contains so much valuable political information. The true principles of a republican form of government 

are here unfolded with great clearness and simplicity” (Church 1230). “A generation passed before it was recognized that these 

essays by the principal author of the Constitution and its brilliant advocate were the most authoritative interpretation of the 

Constitution as drafted by the Convention of 1787. As a commentary and exposition of the Constitution, the influence of the 

Federalist has been profound” (Grolier American 100, 56). Of the only 500 copies published, Hamilton is said to have sent nearly 

50 copies to Virginia for the ratifying convention. The remaining 450 copies sold poorly, and “the publishers complained in 

October 1788, long after New York had ratified the Constitution, that they still had several hundred unsold copies” (Maggs, 815). 

Without initial blanks. Sabin 23979. Howes H114(c). Streeter II: 1049. Ford 17. Grolier American 100, 56. Early owner signature. 

Occasional neat ink and pencil annotations. Text generally quite clean. Closed tear and early repair to Q2 affecting only a few 

letters, blank top edges of title pages with expert paper restoration, a few tiny tears and spots barely affecting text. Headcap and 

joints expertly repaired, just a few minor stains and a bit of wear to contemporary binding. A handsome copy of an exceptionally 

rare and important work, even more scarce in contemporary sheep. 

5 


6 


george leonard staunton 

Staunton’s “Remarkable Account Of Chinese Manners And Customs At The Close Of The 18th 

Century” (Hill): Complete With Scarce Elephant Folio Atlas Volume 

3. (CHINA) STAUNTON, George Leonard. An Authentic Account of an Embassy from the King of Great Britain to the 

Emperor of China. London, 1797. Three volumes altogether. Two volumes quarto plus elephant folio atlas (17-1/2 by 23-1/2 

inches), period-style full (quarto volumes) or three-quarter (atlas) speckled calf gilt. $27,500. 

First edition of this splendidly detailed description of 18thcentury 

China, with engraved frontispiece portraits of the 

Emperor Tchien Lung and Lord Macartney and 27 additional 

in-text engravings, together with the Atlas plate volume containing 

44 finely engraved folio plates, including several large 

folding maps and charts—among the earliest accurate charts 

of the interior of China—and lovely picturesque views and 

cityscapes by William Alexander. 

Staunton’s Account offer a rich “account of the first British embassy 

to China, under Lord Macartney. Great Britain was anxious 

to establish formal diplomatic relations with China and 

thus opened the way for unimpeded trade relations, but centuries 

of Chinese reserve and self-sufficiency presented a formi-

dable obstacle to the embassy, and the Chinese emperor 

effectually resisted Lord Macartney’s arguments and 

gifts. The visit of the British embassy nonetheless resulted 

in this remarkable account of Chinese manners 

and customs at the close of the 18th century… Staunton, 

a friend of Dr. Samuel Johnson and Edmund Burke… 

was the secretary to Lord Macartney in both India and 

China, and undertook diplomatic missions to Warren 

Hastings and to Tipu Sahib at Seringapatem” (Hill 

1628). The work is also “of considerable interest owing 

to the descriptions of the various places en route which 

were visited, including Madeira, Teneriff, Rio de 

Janeiro, St. Helena, Tristan d’Acunha, Amsterdam 

Island, Java, Sumatra, [and] Cochin-China” (Cox I, 

344). This important work contains some of the earliest 

accurate charts of the interior of China and provides 

many invaluable geographical and cultural observations. 

The full-page folio engravings, including two of 

the Great Wall of China, were made after drawings by 

William Alexander, who accompanied the embassy as 

junior draughtsman. “This work was remarkably successful. 

About 15 editions issued in seven European countries and the U.S. from 1797 to 1832” (Lust, 545). 

Wide-margined text volumes generally clean, with some light cleaning to first and last few leaves; atlas 

volume expertly cleaned. Beautifully bound to period style. 

7 


8 


Follies and disasters 

the Four books oF Francisco goya 

goya produced four major series of etchings in his lifetime. The first, Los Caprichos (Caprices), the artist 

finished and published as a rather ambitious book of 80 captioned allegories in 1799. He withdrew the prints from 

sale after only two days, however, perhaps after being threatened by the Inquisition—priests and other 

representatives of the Catholic Church are not portrayed very sympathetically in this series. Undeterred, Goya 

continued to experiment with etching and aquatinting techniques, and for his next sequence he turned to a more 

popular topic, one that surely would find an audience in Spain: a series on bullfighting, La Tauromaquia, 33 prints 

which he finished and put on sale in his shop in 1816. However, very few in war-weary Madrid found Goya’s 

unromantic depictions of the darker aspects of the bullfight appealing. Only a few sets sold. The horrors of the 

Napoleonic wars in Spain (1808-1813) compelled him to create his most disturbing and forceful series of prints, 

Los Desastres de la Guerra. He finished this extensive sequence of 80 plates, but given the current state of political 

and religious repression—and perhaps discouraged by the failure of La Tauromaquia—Goya did not even attempt 

to sell these violent and macabre prints. Instead he went on to work on a similarly dark and even more enigmatic 

series, the unfinished group of 18 etchings known variously as Los Disparates (Follies) or Los Proverbios (Proverbs), 

which he produced in his seventies while recovering from serious illness. 

After his death in 1828, Goya’s reputation languished. Fortunately his son boxed up all of his copper plates. It 

wasn’t until the 1850s and 1860s that La Real Academia de Nobles Artes de San Fernando published all of the 

series using Goya’s original plates: Desastres de la Guerra and Los Disparates for the first time ever (aside from 

scattered artist proofs). Care was taken in producing these editions, and only a few hundred copies of each were 

run off so as not to damage the copperplates. The delicately shaded background areas Goya achieved through his 

mastery of aquatint (etching the plates with acid) and lavis (painting acid directly onto the plate) are particularly 

susceptible to degradation with subsequent printings. Thus it is especially important with these four books to 

obtain first edition copies—and even copies from early in the print run rather than later—whenever possible. The 

shading and ‘coloring’ Goya managed to obtain is indescribable, and must be seen in person to be fully appreciated, 

as even today’s refined photographic and digital printing technology cannot faithfully capture the subtle varieties 

of tone that contribute to the drama of these images. 

Each of these books is incredibly hard to find in first edition. The Royal Academy of San Fernando only printed 

300 copies of Los Disparates (Proverbios), and only 500 copies of Los Desastres de la Guerra; presumably the 

Academy printed an equally limited quantity of La Tauromaquia, which is virtually unobtainable in first edition. 

Of the first book published by Goya, Los Caprichos, only about 300 copies were printed, and it appears that the 

artist sold no more than 27 copies in the first four years of its publication. The opportunity to obtain all four works 

at once is truly a once-in-a-lifetime opportunity.

10 


One Of Probably Fewer Than 30 Bound For Goya Himself: 

Extraordinary First Edition Of Los Caprichos, Complete With 80 Etchings— 

One Of The Earliest Copies, Without The Scratch On Plate 45 

4. GOYA Y LUCIENTES, Francisco José de. Los Caprichos. [Madrid, 1799]. Small folio (12 by 8 inches), contemporary 

full mottled brown calf gilt, red morocco spine label. Custom clamshell box. $525,000. 

First edition, superb copy, of Goya’s rarest book, Los Caprichos, one of only a few copies sold in Madrid by Goya himself, 

and in its most desirable first state, without the scratch on plate 45, indicating it was one of the first copies printed. 

Los Caprichos is Goya’s “satire on human folly and wickedness with particular reference to the customs and manners of 

his time” (Harris I, 102). He named the work after his desire to be able to indulge in his “caprices,” or wild imaginings, in 

a format different from that of the commissioned paintings he usually created. After Los Caprichos, the artist returned to 

this format repeatedly, as seen in his other great collections of etchings, Los Desastres de la Guerra and Tauromaquia. But 

it is in Los Caprichos, the only one of his great books of plates published during his lifetime, and supervised by himself from 

beginning to end, that one sees the most revolutionary aspects of Goya’s work. And it is only in this first edition that one 

can see the finest examples of his artistry, as later printings (the second edition was not published until 1855) are inferior 

in clarity and sharpness. 

“Goya published his set of eighty satirical prints himself, and put them on sale in a shop below his apartment in 1799. He 

knew perfectly well that he was taking a risk in issuing these prints, since they mirrored the advanced opinions of his 

liberal friends… We know that he was threatened by the Inquisition” (Juliet Wilson Bareau). All told, Goya appears to 

have sold no more than 27 copies of the work in the four years following its release, out of about 300 copies printed. One 

imperfection mars the beauty of Los Caprichos: early in the printing process, a scratch appeared on the face of a figure on 

plate 45. Only the very earliest, and therefore finest, copies printed (probably 

fewer than 30) lack the scratch. The scratch is absent in this copy. The first 

edition “is easily identified by the brilliance of the impressions and by the 

paper and ink used… A number of copies were bound for Goya in Spanish 

mottled calf with the title and the author’s name on the spine in gold letters 

on red or green. They are often before the scratch on Pl. 45 and are invariably 

particularly fine.” (Harris II, 63). The binding of this copy is consistent in 

appearance with the binding employed by Goya. 

Of particular note in this copy is that bound in the back of it is a large 

manuscript leaf that explains the plates. Entitled “Satiras de Goya,” it has 

been copied from the painter’s own notes. Goya appears to have written 

these notes with the intention of publishing them, but, perhaps due to their 

controversial content, they were never published and exist only in manuscript 

form in a very few copies. Because Goya deliberately obscured the 

subversive meanings behind many of the plates, manuscript commentaries 

such as this are highly desirable as a means to understand Goya’s intentions, 

and rarely present. 

This lovely volume of Los Caprichos is clearly one of the earliest copies 

printed, as demonstrated by the brilliant, vivid quality of the plates. This first 

edition was printed on beautiful laid paper, without watermark, and without 

a title page. Contemporary owner signature on margin of Plate I (a selfportrait 

of Goya), not affecting image. Some light wear and chipping to head 

and tail of spine; a small loss of paper to the margin of plate 22, not affecting 

image; a tear without loss to the manuscript table. A fine, lovely, first edition 

of Goya’s watershed book, of extraordinary rarity. 

11 


Extraordinary Rare 1855 Second Edition Of Goya’s Tauromaquia, 

Finely Printed From The Original Plates, With Original Paper Wrappers Bound In 

5. GOYA Y LUCIENTES, Francisco José de. Colección de las diferentes suertes y actitudes del arte de lidiar los toros, 

inventadas y grabadas al agua fuerte por Goya [Tauromaquia]. Madrid, 1855. Thirty-three etched and aquatinted plates 

on heavy wove paper; original printed paper front wrapper with etched portrait of Goya and original printed paper rear 

wrapper with table of contents bound in appropriately. BOUND WITH: Eight etched and aquatinted plates (portrait of 

Goya and seven additional bullfighting scenes) on heavy laid paper with Arches watermark. [Paris, 1876]. Oblong folio, 

contemporary brown cloth boards with gilt lettering, expertly rebacked and recornered in calf, retaining the original 

stitching. Housed in custom half morocco clamshell box. $140,000. 

Rare second edition of Goya’s magisterial survey of the “fiesta nacional”—33 dramatic etched and aquatinted plates of 

bullfighting scenes in early impressions from the original plates etched by Goya. This copy bound with the seven additional 

plates published for the first time in the 1876 third edition. 

While most of Goya’s prints were conceived as series, only two such series were released during his lifetime: Caprichos and 

this, Tauromaquia, and consequently these works best reflect Goya’s own organization. These are “Goya’s most technically 

finished etchings and show the mastery of subtle effects he had gained through his experiments in The Disasters of War” 

(Tomlinson, 222). Only 33 plates were included in the initial issue of the series in 1816, released with the title Treinta y tres 

estampas que representan diferentes suertes y actitudes del arte de lidiar los Toros. The very limited print run and the lack of 

commercial success make this first edition virtually impossible to find on the market today. A second edition—the present 

copy—was published in 1855 using the original copper plates, and a third was issued in Paris in 1876, with seven additional 

plates, under the title La Tauromachie.

At some point after the second edition the French 

engraver Loizelet bought the original Tauromaquia 

copperplates. Seven of the 33 plates had finished 

etchings on the reverse that Goya had made in 

preparation for the Tauromaquia but decided not to 

include as part of the final series. Loizelet was the 

first to publish these earlier designs, adding them to 

the original 33 in his edition printed in Paris in 

1876, bringing the total number of images to 40. 

According to Harris, Loizelet lettered the seven 

“new” plates A-G, and he issued these seven plates 

both with new impressions of the original 33 and 

separately, presumably for those who already owned 

a copy of the first or second edition. The seven “new” 

plates included in this copy are unlettered, possibly 

indicating early impressions. Loizelet printed his 

edition in dark sepia ink on laid paper with the 

Arches watermark. 

The title Goya gave to the series reflects an intention to depict different bullfighting maneuvers. However Goya also included 

within the etchings a history of bullfighting, from its origins in hunting by prehistoric Spaniards, until the choreographed 

encounters of the contemporary era. Despite the popular subject, these prints did not sell well during Goya’s 

lifetime. Stylistically they were revolutionary: “Compared with the normal stock of print dealers and bookshops… Goya’s 

etched and aquatinted plates must have appeared unpolished and incomprehensible. Goya’s prints have neither the naïve 

simplicity of Carnicero’s rather wooden scenes, nor the circumstantial detail and high finish expected of realistic, illustrative 

works. Each plate presents a dramatic moment in a particular encounter between a wild and dangerous bull and men 

whose emotions, or their proud control of them, are written on their faces or expressed in the turn and thrust of their 

bodies. The infinitely varied character of the etched line and the subtle or dramatic use of aquatint tones convey the images 

in an impressionistic, even expressionist, form which must have been beyond the comprehension of the ordinary 

public and even of the more enlightened collectors” (Wilson-Bareau, 67-8). 

In the 40-year interval between the appearance of the first edition and the printing of the second, it was inevitable that 

a few of the copperplates would have deteriorated slightly, apparently owing to the oxidization of the copper. For the 

most part, however, the plates are finely 

printed, beautiful impressions, retaining 

all the subtlety of Goya’s original designs 

in which he carefully mixed the techniques 

of aquatint, lavis, drypoint and 

burin. These second edition impressions 

are clearly superior to the heavily inked 

images pulled by Loizelet in the third edition 

some 20 years later (seven of which 

are included in this copy, making for 

convenient comparison between the two 

editions). Harris II, 308. Occasional spotting 

to broad margins of plates. The images 

themselves are fine impressions, 

from the original copper plates, of Goya’s 

breathtaking survey of the dangerous art 

of bullfighting. 

13 


14 


Goya’s Masterpiece Desastres De La Guerra: 

1863 First Edition, One Of Only 500 Copies, Complete With 80 Original Etchings 

6. GOYA Y LUCIENTES, Francisco José de. Los Desastres de la Guerra: Colección de ochenta láminas inventadas y grabadas 

al agua fuerte por Don Francisco Goya. Madrid, 1863. Two volumes. Total of 80 numbered and titled copperplate etchings 

done with drypoint, burin, aquatint and lavis, on wove paper with watermark J.G.O. and palmette. Oblong folio (13-1/2 by 9-3/4 

inches; each image approximately 8 by 6 inches), contemporary half red morocco gilt. $225,000. 

First edition, second issue, of “the most brutally savage protest against cruelty and war which the visual imagination of man 

has conceived”—one of only 500 copies in the first printing. Fine, early impressions, with tonal variations in the lavis that 

disappear in later editions. 

Napoleon’s invasion of Spain in 1807 and 1808 brought about the abdication of the Bourbon rulers and sparked violent protests 

against the French. The Madrid uprising of May 2, 1808, marked the start of the armed Spanish resistance, which dragged on in 

guerilla warfare until 1814. During the war years, Goya vented his horror and outrage at the atrocities committed by soldiers and 

compatriots alike: “In 80 small, compact images, each etched with acid on copper, Goya told the appalling truth. He aimed a 

high-power beam on hideous sights: guerillas shot at close range; the ragged remains of mutilated corpses; and the emaciated 

victims of war’s partner famine. Never before had a story of man’s inhumanity to man been so compellingly told, every episode reported 

with the utmost compassion, the human form described with such keen honesty and pitying respect” (Goya in the 

Metropolitan Museum of Art, 25-26). “Nothing in art reflects with more terrible emphasis the horrors of war than Goya’s Desastres 

de la Guerra… As a satirist he may be misanthropic and bitter… but in the unflinching courage with which he probes right to the

heart of social rottenness he proves himself the true satirist who 

battles with abuses” (Hind, History of Engraving and Etching, 

255-56). “The novelty of Goya’s Desastres lies in its rejection of 

heroism, in its refusal to glorify, idealize or in any way justify 

the situation of its protagonists” (Tomlinson, Goya, 202). 

Perhaps because Goya did not intend to see Desastres through 

publication, the series as a whole is somewhat less coherent 

than the two series of prints Goya issued while alive, Los 

Caprichos and Tauromaquia. Plates 2-47 depict scenes of war, 

possibly as witnessed by Goya during his travels to and from 

Zaragoza in 1808, but most likely from newspaper and other 

accounts; plates 48-64 record the famine that ravaged Madrid 

from 1811-12, done shortly thereafter; the remaining 16 images 

are more fantastic, politically satirical images, most likely 

from circa 1815-17. As the subjects and themes evolved 

throughout the creation of Desastres, so did the artist’s 

approach, moving from a highly detailed style to a much less 

finished technique. “He developed a most striking 

independence of style, and with it attained to a more typical 

expression of the sentiment of his country than any other artist, before or since, not excluding Velázquez… Goya’s plates are 

almost entirely bitten, dry-point occasionally being used to strengthen the etched lines. He constantly uses the combination of 

an aquatint grain with his line, and he still stands as one of the greatest virtuosi of an art which had only been introduced a few 

years before his work commenced” (Hind, 252). 

This work is most scarce and extremely difficult to obtain, as over the years copies have found their way to museums or to print 

dealers. This is a second-issue copy of the first printing, with corrections to the captions of plates 9, 32-36, 39 and 47. Harris Ib. 

A beautiful copy in fine condition with clean, sharp impressions. 

15 


16 


Goya’s Famed Proverbios: 1864 First Edition, 

One Of Only 300 Copies, Complete With 18 Original Etchings 

7. GOYA Y LUCIENTES, Francisco José de. Los Proverbios. Madrid, 1864. Oblong folio (19 by 13 inches), 19th-century threequarter 

straight-grain morocco, marbled boards and endpapers, top edge gilt. Housed in a custom clamshell box. $130,000. 

First edition of Goya’s allegorical series of 18 etchings with aquatint—one of only 300 copies in the first printing. “This edition 

is very well printed; the impressions are richly inked and tone is usually left on the highlights” (Harris). 

Although none of the plates in the Proverbios have titles, it seems logical to suppose that Goya intended to title them as he had 

with the Caprichos and other sets of his engravings. “Research into the proverbs of his time has in fact revealed sayings which 

seem appropriate as titles for many of the Proverbios compositions, though it should be borne in mind that Goya very probably 

twisted the sayings by giving them some particular social, religious or political significance, which might well make them 

difficult to recognize” (Harris). 

The 18 plates were not published during Goya’s lifetime, having been stored by his son after the artist’s death. The date of 

composition is debated but is generally accepted to be concurrent to, and after the completion of, the Tauromaquia series. Trial 

proofs were made by Roman Sarreta in 1854, although the images were exceptionally poor. The set presented here is from the 

first edition by Laurenciano Potenciano who had printed previously Goya’s masterpiece Desastres de la Guerra in 1863. 

“Impressions from the posthumous first edition of 1864 are very fine and are often superior to the weakly inked trial proofs of 

1854” (Harris II, 434). There is no complete record of the plates in any of the working proof states, and no contemporary edition 

was made from the finished plates during Goya’s lifetime. Plates 8, 12, 16, 17 and 18 are not known in any contemporary 

impressions prior to this 1864 first edition. Lithograph title by J. Aragon and the complete set of 18 unnumbered etchings with 

aquatint on thick wove paper with the watermark ‘J.G.O.’ and a palmette device (partial palmette watermark visible on sheets 1, 

3, 11, 17 and 18). Sheet size 326mm by 477mm. Harris II: 248-65. A fine copy of the scarce first edition.

alvin langdon coburn 

“Triggered The Final Push Towards Photographic Modernism”: 

Coburn’s 1909 Landmark First Book Of Photography, London, 

With 20 Hand-Pulled Gravure Plates Created By Coburn Himself 

8. COBURN, Alvin Langdon. London. London and New York, 1909. Folio (12-1/2 by 16 inches), original paper-covered 

boards rebacked, custom chemise and clamshell box. $35,000. 

First edition of Coburn’s groundbreaking first photobook, an elegant folio production of 20 hand-pulled platinum-toned 

gravure plates tipped onto rich gray paper, each prepared by Coburn himself, representing a revolutionary “transition 

from pictorialism to modernism… a shift in attitude that triggered the final push towards photographic modernism” (Parr 

& Badger). 

Poised at a crucial turning point in the history of photography, representing the “transition from pictorialism to modernism, 

from 19th- to 20th-century photography,” the work of Alvin Langdon Coburn illuminates “the concern of the more advanced 

pictorialist with ‘modern’ subjects, namely the 20th-century city--a shift in attitude that triggered the final push towards 

photographic modernism” (Parr & Badger I:74). Having learned how to print photogravures at London’s School of Photo- 

Engraving, Alvin Coburn sought to perfect the process by setting up his own copperplate printing presses. London, his 

magnificent first book of photography, features “20 luscious hand-pulled photogravures with black edges, tipped in on heavy 

gray marbled paper. Coburn made all of the gravures himself: etching on various papers until he got the print he wanted, and 

then supervising the entire print run” (Roth, 38). In Coburn’s luminous photogravures of his own photographs, such as “his 

famous view of St. Paul’s,” we see a “cloud of smoke that… is a characteristic element” in his work (Parr & Badger I:74). 

“Coburn used the transitory medium of photography to displace time, to arrest and thereby eternalize the current moment” 

(Roth, 6, 38). With introduction by Hilaire Belloc. Without extremely scarce original dust jacket. Open Book, 50. Plates and 

text fine. Light expert restoration to boards. A beautiful copy of an impressive and important production. 

17 


18 


abraham lincoln/gettysburg address 

“One Of The Supreme Utterances Of The Principles Of Democratic Freedom” (PMM): 

First Edition Of Lincoln’s Gettysburg Address, Exceptional In Original Wrappers 

9. (LINCOLN, Abraham) EVERETT, Edward. 

An Oration Delivered on the Battlefield of 

Gettysburg. New York, 1863. Octavo, original 

tan printed wrappers, custom chemise and 

clamshell box; pp.48. $60,000. 

Rare first edition of Lincoln’s magnificent 

Gettysburg Address, scrawled, according to legend, 

on scratch-paper and envelopes, corresponding 

almost exactly to the spoken version 

transcribed by Associated Press reporter Joseph 

L. Gilbert. An especially fine copy in scarce 

original wrappers. 

The Gettysburg Address, a few short lines 

scrawled, according to legend, on scratch-paper 

and the backs of envelopes, is one of America’s 

most cherished documents. “Though Lincoln 

had had but a brief time to prepare the address, 

he had devoted intense thought to his chosen 

theme for nearly a decade… giving truth to the 

phrase ‘all men are created equal’” (Goodwin, 

Team of Rivals, 585-6). The Washington 

Chronicle of 18-21 November reported extensively 

on this ceremony and included the text of 

‘Edward Everett’s Great Oration,’ noting only in 

passing that the President had also made a 

speech. When it came to the separate publication 

on November 22, Lincoln’s speech was 

tucked away on page 40 of the 48-page booklet 

published by Baker and Godwin of New York. 

This is that New York printing, with Lincoln’s 

Address on page 40. This edition was preceded 

only by the exceptionally rare 16-page pamphlet, 

The Gettysburg Solemnities, known in only three 

copies. A most desirable copy in fine condition. 

“Now we are engaged in a great Civil War…”

obert e. lee/mathew brady 

Signed By General Robert E. Lee, Rare Vintage Albumen Print 

Of Lee, Circa 1865, From A Photograph By Mathew Brady, 

Accompanied By Two Exceptional Letters Of Provenance: 

An Autograph Letter Signed By Lee’s Daughter And 

An Autograph Letter Signed By The Confederate Captain 

Who Witnessed Lee Signing This Photograph 

10. [LEE, Robert E.] BRADY, Mathew Photograph signed. 

Richmond, circa 1865. Vintage oval albumen print (measures 5-1/4 by 

7-1/4 inches) mounted on ivory card stock (total measures 8 by 10 

inches), signed in inked manuscript hand on print recto at the lower 

edge of image. Framed with two autograph letters signed (by Mary 

Custis Lee and Renaud Jacques Prosper Landry, entire piece measures 34 

by 18 inches. $19,500. 

Rare vintage albumen print, circa 1865, of General Robert E. Lee, boldly 

signed by him in the lower portion of the image, from a photograph by Mathew 

Brady on Lee’s porch in Richmond only days after Appomattox and the death of 

Lincoln. With extraordinary accompanying letters of provenance: the first an autograph 

letter signed by Lee’s daughter, Mary Custis Lee, recalling her father and her grandfather, and in response an autograph 

letter signed by Confederate Captain Landry, writing of witnessing Lee signing this portrait. 

This handsome signed vintage albumen print is accompanied by two exceptional letters of provenance. The first is a signed 

autograph letter from Mary Custis Lee, the eldest daughter of General Lee, to Captain Renaud Jacques Prosper Landry, 

who was present at Second Manassas, Anitetam, Gettysburg and Lee’s Surrender at Appomattox Court House. Captain 

Landry witnessed Lee signing this portrait, and speaks of it in the accompanying autograph letter written in response to 

Mary Custis Lee’s letter. The autograph letter signed by Mary Custis Lee reads in part: “Roanoke Virginia May 11th 1902. 

My Dear Sir… though I have not the pleasure of your acquaintance, I determined to write to you, & tell you how deeply I 

was touched by your kind expressions… It is no news to me that all who followed him, adored & idolized him, but the reiteration 

of their devotion is always most grateful, & I cannot hear it too often… to my Father’s old soldier, very truly yours. 

Mary Custis Lee.” Captain Landy’s autograph letter in response to her reads in part: “My Dear Mrs. Lee, Your beautiful 

letter pleased me so much that I can find no words good enough to thank you for it... I shall certainly keep it wish as much 

care as I have kept your illustrious father’s photograph, which bears his name written before my eyes with his own dear hand 

[emphasis added]…” Facsimiles of both sides of the letters are included with unaddressed envelope on verso of frame. 

Signed vintage print, rarely seen this 

large, lightly toned along with card 

mount, signature bold and crisp, corners 

of card stock lightly trimmed 

without affecting image or print mount, 

indiscernible light expert restoration to 

print background only. Lee ALS with 

vertical closed tear at center foldline 

archivally repaired, tiny closed tear to a 

foldline on rear leaf, envelope with 

small tape repairs; Landry ALS with 

minor wear at faint foldlines. A most 

desirable signed albumen print with an 

especially memorable provenance. 

19 


20 


john james audubon 

“The Most Beautiful And Perfect Specimens Of The Art”: Audubon’s Quadrupeds 

11. AUDUBON, John James and BACHMAN, John. The Quadrupeds of North America. New York, 1860. Three volumes. 

Royal octavo, contemporary three-quarter green morocco gilt. $19,000. 

Handsome Lockwood octavo edition, illustrated with 155 magnificent hand-colored lithographic plates of American 

mammals from the polar bear to the buffalo. 

Having built his reputation with the legendary Birds of America, 

Audubon began an equally imposing project: to capture on paper 

the astonishing variety of American mammals. Many of the 

beautiful hand-colored plates are justly famous, including the polar 

bear, the American buffalo, and the jaguar. Bachman, Audubon’s 

long-time collaborator, said of the Quadrupeds, “They are the most 

beautiful and perfect specimens of the art. I doubt whether there is 

anything in the world of natural history like them, I do not believe 

that there is any man living that can equal them” (Ford). The octavo 

edition of the Quadrupeds, first published by Victor Audubon in 31 

separate parts between 1849 and 1854 (as well as in book form those 

same years), was reissued in 1860 and 1870 by George Lockwood, 

who had come into possession of the original stones. This present 

edition is the 1860 imprint, retaining the original Introduction in 

Volume I (dated 1846), with “1849” on the copyright pages and 

without Lockwood’s Preface (which appeared in the later edition 

and is dated 1870). Bannon & Clark, 76. Plate impressions fresh and 

colors true, contemporary morocco bindings handsome. A fine set.

enjamin franklin 

“Guilt Will Lie On The Whole Land, Till Justice Is Done On The Murderers” (Franklin): 

Exceedingly Rare First Edition Of Franklin’s Powerful 

Narrative Of The Late Massacres, Of A Number Of Indians, 1764 

12. [FRANKLIN, Benjamin]. A Narrative of the Late Massacres, in Lancaster County, of a Number of Indians…. 

Philadelphia, 1764. Slim octavo, full red crushed morocco, custom chemise and slipcase. $27,500. 

First edition of one of the rarest and most important works by Franklin—“among the most emotional pieces he ever wrote”— 

an immensely moving and bold condemnation of the December 1763 slaughter of innocent Indians on the Pennsylvania 

frontier by the infamous “Paxton Boys.” 

In late 1763, with the Pennsylvania frontier reeling from the French and Indian War, “a mob of more than 50 frontiersmen 

from around the town of Paxton murdered six unarmed Indians, all of them peaceful, converted Christians. Two weeks later, 

an even larger mob slaughtered 14 more Indians… The ‘Paxton Boys,’ as the growing mob of frontiersmen came to be called, 

declared that their next stop was Philadelphia, where more than 140 other peaceful Indians were being sheltered… The uprising 

threatened to become… a full-fledged social and religious war.” In a furious pamphlet war sparked by warring attackers and 

defenders of the “Paxton Boys,” the Pennsylvania Assembly was charged to “allow the frontiersmen the proper representation 

in the Assembly that was decreed in the charter. Franklin responded with his own pamphlet in late January 1764. Entitled A 

Narrative of the Late Massacres in Lancaster County, it was among the most emotional pieces he ever wrote” (Isaacson, 210-11). 

“On the impact of his writing on the people, Franklin wrote, Feb. 11, 1764: ‘It would perhaps be Vanity in me to imagine so 

slight a thing could have any extraordinary Effect. But however that may be, there was a sudden and very remarkable Change; 

and above 1000 Citizens took Arms to support the Government in the Protect of those poor Wretches’” (Miller 807). This rare 

first edition, issued without imprint, is authoritatively attributed to the press of Franklin and David Hall in that “Franklin 

would normally make use of his own printing press in publishing a pamphlet in Philadelphia and would certainly turn to this 

partner David Hall for assistance in such an emergency as the publication of this piece presented.” “Among the rarest of works 

relating to the history of Pennsylvania” (Field 1116). Sabin 25557. With penciled “Benjamin Franklin” on title page. An exceptional 

fine copy of this exceedingly rare Franklin work. 

21 


22 


charles bell 

“Among The Most Beautiful [Plates] In Neuroanatomy”: First Edition Of Bell’s Illustrated 

Anatomy Of The Brain, 1802, With 12 Splendid Aquatint Plates, Eleven Hand-Colored 

13. BELL, Charles. The Anatomy of the Brain. London, 1802. Quarto, contemporary three-quarter mottled tan calf gilt; 

pp. 87. $12,000. 

First edition of Scottish surgeon Sir Charles Bell’s Anatomy of the Brain, featuring 12 aquatint anatomical plates (eleven 

hand-colored)—“engraved by Thomas Medland after Bell’s own drawings… probably Bell’s most beautiful work on 

neuroanatomy and one of the most beautifully illustrated in the entire literature”—most scarce in contemporary calf and 

marbled boards. 

In this scarce first edition of Anatomy of the Brain, Bell “displays both his descriptive and artistic capabilities. The 12 aquatint 

plates (eleven of them hand-colored) were engraved by Thomas Medland after Bell’s own drawings and constitute what is 

probably Bell’s most beautiful work on neuroanatomy and one of the most beautifully illustrated in the entire literature” (Heirs 

of Hippocrates 1297). Moving to London in 1804, Bell “developed his experimental techniques involving the peripheral nerves 

in order to discover how the brain functions… Bell introduced new methods of determining the functional anatomy of the 

nervous system… His techniques and observations led to Johannes Müller’s generalizations on the sensory functions of the 

nervous system… Bell’s great discovery was that there are two kinds of nerves, sensory and motor,” and his “systems of anatomy, 

dissections and surgery still stand unrivaled for facility of expression, elegance of style and accuracy of description” (DNB; 

Chouland, 343). Bell’s plates in Anatomy of the Brain “are among the most beautiful in neuroanatomy. Plate I is important for 

its accurate portrayal of the cerebral gyri… Plates I-X were engraved in colors as well as colored by hand” (Norman 168). Waller 

860. Small numerical inkstamp to rear pastedown. Text and plates very fresh with lightest scattered foxing, slight edge-wear, 

mild rubbing to boards. A very handsome near-fine copy.

charles darwin 

“The Most Important Single Work In Science”: 

Second Edition Of Darwin’s Origin Of Species, Published Only Two Months After The First 

14. DARWIN, Charles. On the Origin of Species By Means of Natural Selection. London, 1860. Octavo, original blind and 

gilt-stamped green cloth expertly recased, custom half morocco clamshell box. $15,000. 

Second edition, second issue, as always (the first issue known in only a few copies), of “certainly the most important biological book 

ever written” (Freeman), published less than two months after the first edition. 

“This, the most important single work in science, brought man to his true place in nature” (Heralds of Science 199). Darwin “was 

intent upon carrying Lyell’s demonstration of the uniformity of natural causes over into the organic world… In accomplishing this 

Darwin not only drew an entirely new picture of the workings of organic nature; he revolutionized our methods of thinking and our 

outlook on the natural order of things. The recognition that constant change is the order of the universe had been finally established 

and a vast step forward in the uniformity of nature had been taken” (PMM 344). The Origin was recognized immediately as 

important, revolutionary and highly controversial; the small first edition of only 1250 copies sold out very quickly and is extremely 

rare today. By the late autumn of 1859 the publisher Murray was asking Darwin to begin revising at once for a new edition. This 

copy is the second edition, published in January of 1860, with “fifth thousand” on the title page and three quotations opposite the 

title page, rather than two as in the first edition. Second issue, as usual, with 1860 on the title page; the first issue, with 1859 on the 

title page, is known in only a few copies. Alterations between the first and second editions are minor, though it is notable that 

Darwin shortens the “whale-bear” story. Freeman’s binding variant a, no priority established. Freeman 376. PMM 344b. Title page 

owner signature of Lord Ruthven. Binder ticket. A few tiny pencil annotations. Text generally fine, cloth fresh with only slightest 

rubbing to extremities, gilt bright. A near-fine copy, scarce in this condition. 

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24 


bernard picart 

“No Other Work Before Had Ever Attempted… Such A Grand Sweep Of Human Religions”: 

Large Folio Edition In English Of Picart’s Masterpiece, One Of The Monumental 

Illustrated Works Of The 18th Century 

15. PICART, Bernard. The Ceremonies and Religious Customs of the Various Nations of the Known World. London, 

1733-39. Seven volumes in six. Folio (11-1/2 by 18-1/2 inches), contemporary full mottled calf gilt sympathetically 

rebacked. $26,000. 

Mixed first and second edition in English of one of the most spectacular illustrated works of the 18th-century, with 223 

engraved copper plates after Picart depicting the religious ceremonies of numerous nations, including Jewish and North 

American Indian rites. A very handsome and desirable large folio set in contemporary mottled calf bindings. 

Picart is famed largely for this monumental work, here complete in six large folio volumes. The superb copper-engraved 

plates, many double-page, illustrate in fine detail scenes of religious ceremonies, views of temples and churches and religious 

costume. Of particular interest are the engravings and related text describing the North American Indians and 

those sections regarding Judaism. “Picart earned a place in the history of Jewish art by his realistic portrayal of Jewish 

religious rites. These constitute an invaluable record of Dutch Jewry in the early 18th-century… Picart sought out Jews in 

the synagogue and in their homes in order to acquaint himself with their ceremonies. In his picture of a Passover celebration 

the artist himself can be seen, hatless, participating in the meal” (Encyclopedia Judaica). “Picart was the outstanding 

professional illustrator of the first third of the 18th-century… When his diverse accomplishments are finally catalogued 

and analyzed, his standing as a book artist will be greatly enhanced” (Ray, Art of the French Illustrated Book, 7). Bound 

with all half titles. First published in Amsterdam, in French, beginning 1723. The first three volumes of the English edition 

were first published in 1731 by Nicholas Prevost; when Claude Du Bosc took over publication in 1733, he reissued the 

first three volumes in a slightly larger format consistent with his ambitions for the remaining volumes in the set, which he 

published for the first time over the next several years. Engraved armorial bookplate. Text and plates generally clean and 

fine, very minor marginal wormholing to first few leaves of Volume VI, not affecting text. A splendid set of this landmark 

work, beautifully rebacked and desirable in contemporary calf boards.

alexander pope/homer 

“He Made The Father Of All Poetry Live…”: 

First Editions Of Pope’s Famous Translations Of Homer’s Iliad And Odyssey, 1715-26 

16. (POPE, Alexander) HOMER. Iliad of Homer. WITH: The Odyssey of Homer. London, 1715-26. Eleven volumes bound 

as five. Small folio (7-1/2 by 12 inches), contemporary full paneled calf gilt sympathetically rebacked. $32,000. 

Rare first editions, folio issues, of Pope’s famous illustrated translations, esteemed by Samuel Johnson as “certainly the noblest 

version of poetry which the world has ever seen,” with frontispiece bust portraits of Homer by Vertue and five plates (including 

a double-page map of Phyrgia and the often absent “Shield of Achilles”), handsomely bound. 

Encouraged by Swift, Addison and Steele, among others, Pope began translating Homer in 1713. The arduous undertaking would 

prove to be the most laborious literary enterprise of his life, but one to which he was well-suited. “Idolatry of classical models was 

an essential part of the religion of men of letters of the day… But a Homer in modern English was still wanting. Pope’s rising fame 

and his familiarity with the literary and social leaders made him the man for the opportunity… The ‘Homer’ was long regarded as 

a masterpiece, and for a century was the source from which clever schoolboys like Byron learnt that Homer was not a mere 

instrument of torture invented by their masters. No translation of profane literature has ever occupied such a position” (DNB). 

Samuel Johnson, in his Life of Pope, calls it “certainly the noblest version of poetry which the world has ever seen; and its publication 

must therefore be considered as one of the great events in the annals of learning.” Certainly, Pope’s long-lasting literary fame rests 

to a large degree on the great success and extensive influence of these translations. The six volumes of the Iliad were issued 

between 1715-20. “Contemporaneously with the quarto [for subscribers] [Lintot] issued the work in two forms, a Large Paper 

folio and a Small (or ‘ordinary’) folio” (Griffith 39). These volumes belong to the ordinary folio issue. The five volumes of the 

Odyssey were published between 1725-26, in quarto and large-paper folio. These volumes belong to the folio issue, here trimmed 

to match the Iliad’s ordinary folio in size. Armorial bookplates. Scattered light foxing, occasional light embrowning. Minor 

marginal worming to first few leaves of Iliad, Volume I. Odyssey frontispiece portrait with marginal repair. Contemporary 

paneled calf boards with light expert restoration. 

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albert einstein 

An Exceptional Association Copy, Wonderfully Inscribed By Einstein With His Original Full-Page 

Autograph Poem In German, Signed And Dated By Him In The Year Of Publication 

17. (EINSTEIN, Albert) FRANK, Philipp. Einstein: His Life and Times. New York, 1947. Octavo, original red cloth, dust 

jacket, custom clamshell box. $15,000. 

First edition, second printing, an exceedingly rare association copy inscribed with a unique original autograph poem in 

German: “Was mein Freund poetisch hier erzählt / Ist fröh— [unclear] mit Verständnis auserwählt / Er müsste noch manche 

andere Sachen / Die mir wohl weniger Ehre machen. A. Einstein 1947.” (English translation similarly rhymed: That which my 

friend recounts here poetically / Was truly chosen sympathetically / There are some other things he would know about / That 

would not reflect as well upon me, no doubt.). 

Opposite Einstein’s poem, penned in German by an unknown hand and dated October 5, 1947, is a poem whose English translation 

is roughly: “Addendum: Yes it was a lovely time / When we strolled, the two of us / Through the leafy Berlin Zoo. / One day there 

was a great Hello: / The Orangutan grabbed his hat / And thought it looked good on him as well / Ever since this terrible larcenous 

affair / Einstein walks around without a hat. / Isn’t that true?” Einstein’s original autograph poem offers his own witty reply. The 

unknown writer then answers with a closing German poem, addressed to Einstein as “Liebe Elly” and dated “Greenwich, Oct. 6th 

1947”. Einstein must have penned his poem on October 5th or 6th in Greenwich, Connecticut. Frank’s biography, issued the same 

year, presents Einstein’s life from youth through his tenure at the Institute for Advanced Study in Princeton. Second printing, 

issued same year as the first. Light occasional marginalia. Book generally fresh with faint trace of tape residue to front pastedown 

and free endpaper, mild soiling, edge-wear to cloth; slight edge-wear, faint dampstaining to extremely good dust jacket.

albert einstein 

Inscribed And Signed By Einstein In 1935, Scarce Large Gelatin Silver Print, 

A Splendid Photographic Portrait Taken Circa 1921, When He Won The Nobel Prize In Physics 

18. EINSTEIN, Albert. Photograph inscribed. No place, 1935. Gelatin silver 

print (measures 8 by 10 inches), matted and framed (total measures 16 by 18 inches), 

manuscript hand on print recto. $15,000. 

Scarce gelatin silver print of a handsome portrait of Einstein by an unknown 

photographer, taken near the time Einstein was awarded the 1921 Nobel Prize in 

Physics, a splendid portrait capturing Einstein in a pensive moment with his chin 

resting on his left hand as he gazes into the distance, inscribed by him in the lower 

third of the image, “To Dr. Franklin Albert Einstein 1935.” 

With Hitler’s rise to power, Einstein emigrated to the United States in 1933 and settled in Princeton, New Jersey. In 1935, the year 

Einstein dated this inscription, he began the process of becoming a U.S. citizen and that May published his paper, Can the 

Quantum-Mechanical Description of Physical Reality be Regarded as Complete? Known as the EPR paper, it is “the most important 

paper Einstein would write after moving to America… Nathan Rosen did a lot of the math, and Boris Podolsky wrote the 

published English version” (Isaacson, 450). That same year Einstein’s quarrel with quantum mechanics also led him to devise a 

thought experiment involving gunpowder and to work with Erwin Schrödinger, who in November was inspired by Einstein’s 

EPR paper to publish the work introducing his famed feline—known as Schrödinger’s cat. A fine inscribed gelatin silver print, 

finely detailed and richly toned, handsomely matted and framed. 

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28 


haggadah 

Beautifully Illustrated And Bound 1695 Venice Haggadah, Scarce Issue With Italian Translation 

19. HAGGADAH. Seder Haggadah shel Pesah. Venice, 1695. Folio (9 by 

12-3/4 inches), period-style full speckled calf gilt, original pastedowns 

preserved; ff. 26. $16,000. 

Beautifully illustrated 1695 Venice Haggadah, scarce issue with Italian 

translation. Includes Leone Modena’s commentary (Tzli Esh), based on 

Isaac Abrabanel’s earlier commentary, Zevah Pesah. Beautifully bound. 

This early 18th-century Venice Haggadah was printed in the esteemed 

tradition established in the same city earlier in the century. “Among its 

visual highlights were a magnificent architectural border surrounding every 

page of text, woodcut initials enclosing miniature figures and scenes, and 

large woodcut illustrations placed at the top or bottom of almost every 

page… arranged into a meaningful biblical cycle that begins with Abraham 

and later focuses on the narratives actually recalled in the text of the 

Haggadah” (Yerushalmi). Includes the famous 13-panel illustration of the 

stages of the Seder, and the ten-panel depiction of the ten plagues, which 

became fixtures of illustrated Haggadahs after their first introduction in the 

1609 Venice edition. This edition also includes on the verso of the title page 

a woodcut plan of the Temple of the Messianic as envisioned by the Prophet 

Ezekiel. Title page and each page throughout with decorative architectural 

woodcut border. Modena’s commentary first appeared in the 1629 Venetian 

edition; here, as in the 1629 edition, his commentary is printed within the 

architectural columns (alternating at times with the translation of the text). The House of Bragadin simultaneously printed 

three issues of this Passover Haggadah, all identical with the same layout and illustration cycle, differing only in choice of 

vernacular translation: Yiddish, Ladino, or Judeo-Italian (as in the present copy). Yaari 61. Yudlov 94. Extensive annotations 

in Hebrew on front and rear pastedowns preserved. The notations on the front pastedown are kabbalistic; on the rear pastedown 

are two liturgical poems frequently recited by some groups of Jews on the Seder night. On the front flyleaf, at top is a note 

regarding precedence of prayers and at the center, scribal pen trials comprising the word “Torah” and the letters “A, B, C.” 

Expert paper repairs, chiefly marginal, generally not affecting text or border. Usual spotting and staining, signs of ceremonial use. 

A very good copy of a Haggadah from the Venetian tradition begun in 1609. Scarce.

ible 

First And Second Edition Set Of The First Roman Catholic English Translation 

Of The Old Testament, Beautifully Bound 

20. BIBLE. The Holy Bible Faithfully Translated into English… WITH: The Second Tome of the Holie Bible… Doway, 

1635; 1610. Two volumes. Thick octavo, period-style full black morocco gilt. $16,000. 

Mixed first and second edition of the first Roman Catholic translation of the Old Testament into English from the Latin Vulgate, 

beautifully bound in elaborate period-style morocco gilt. 

“The Douai Bible is, as it professes to be, a literal translation of the Vulgate, and in some places more accurately hands down 

the very words of the [biblical] writers than any English translation then existing” (Dore, 316-17). “This version of the Old 

Testament… came from the same hands as the Rheims New Testament of 1582” (Darlow & Moule, 129), translated by “religious 

refugees who carried their faith and work abroad. Since the English Protestants used their vernacular translations, not only as 

the foundation of their own faith but as siege artillery in the assault on Rome, a Catholic translation became more and more 

necessary in order that the faithful could answer, text for text, against the ‘intolerable ignorance and importunity of the 

heretics of this time.’ The chief translator was Gregory Martin…. Technical words were transliterated rather than translated. 

Thus many new words came to birth…. Not only was [Martin] steeped in the Vulgate, he was, every day, involved in the 

immortal liturgical Latin of his church. The resulting Latinisms added a majesty to his English prose, and many a dignified or 

felicitous phrase was silently lifted by the editors of the King James Version, and thus passed into the language” (Great Books 

and Book Collectors, 108). Lack of funds and “our poore estate in banishment” prevented the publication of the two-volume 

Old Testament until 1609-1610. The second volume in this pair is from the first edition. The first volume is from the second 

edition. “The general arrangement of the matter in [the second edition] follows that of the earlier edition… For a period of 115 

years after this date (1685-1750), according to Cotton, not a single edition of the Douai-Rheims version of the Bible was 

published” (Darlow & Moule 387). Old, small owner signature to title page, Volume I. Occasional light foxing, faint marginal 

dampstaining. Small paper restoration to title page, Volume I. Beautifully bound in elaborate gilt period-style binding. 

29 


30 


richard francis burton 

“A Remarkable Work” (T.E. Lawrence): First Edition Of Burton’s Classic 

A Pilgrimage To El-Medinah And Meccah, In Scarce Original Blue Cloth 

21. BURTON, Richard Francis. Personal Narrative of a Pilgrimage to El-Medinah and Meccah. London, 1855-56. Three 

volumes. Octavo, original blue cloth. $18,500. 

First edition of “a most remarkable work of the highest value” (T.E. Lawrence), Burton’s scarce and important illustrated 

narrative of his journey to Mecca, with five full-page color chromolithographs, eight tinted plates, one black-and-white plate, 

three plans (two folding), and a folding map. In rare original cloth. 

After years of studying Oriental customs and manners, Burton offered his services to the Royal Geographical Society “for the 

purpose of removing that opprobrium to modern adventure, the huge white blot which in our maps still notes the Eastern and 

Central Regions of Arabia” (Penzer, 44). Burton resolved to wend his way to Mecca to observe Muslim rites witnessed by few 

westerners. Donning a variety of disguises and learning the mannerisms common to Islam—how to dress, eat, sit, sleep, pray, 

etc.—Burton was accepted as a native. Over the course of his journey he visited the prophet Mohammed’s tomb (which was located 

not, as many Christians had hitherto believed, in Mecca, but in Medina); commented extensively on the practice of female 

circumcision; and brought back the first accurate observations by a Westerner on the holiest of Muslim holy cities, Mecca. In his 

bibliography of Burton’s works, Norman Penzer remarks, “I questioned Colonel Lawrence [i.e., “Lawrence of Arabia”] about the 

accuracy of Burton’s description of the journey to Mecca and Medina, and he said that it was absolutely correct in every detail” 

(Penzer, 7). In 1923, Penzer noted that copies in original publisher’s cloth were “very rare and increasing in value” (Penzer, 50). 

With 24-page publisher’s catalogue dated September 1854 bound at rear of Volume I. Penzer, 44-50. Small owner blind embossing 

to title pages of Volumes I and II; bookbinder tickets. Interiors fine; expert paper repair to pages 135/136 of Volume I, not affecting 

readability. Front inner hinge of Volume II expertly reinforced. Light rubbing to extremities of original cloth and light soiling to 

boards. An attractive set of Burton’s scarcest and most desirable title, rare in original cloth.

angoon/joseph moore 

With 18 Stunning Folio Hand-Colored Aquatints Of Views In Burma And Rangoon 

22. (BURMA) MOORE, Joseph. Eighteen Views Taken at & near Rangoon. London, 1825-26. Large, slim folio (14-1/2 by 

17-1/2 inches), late 19th-century three quarter navy morocco gilt, original front wrapper bound in. $18,000. 

First edition of this lovely color plate book of picturesque views and dramatic battle scenes drawn by a British officer during the 

First Anglo-Burmese War, 18 stunning large folio plates printed in aquatint and vividly hand-colored. Nearly half of the images 

feature views of the renowned Great Dagon Pagoda, the most sacred Burmese Buddhist pagoda, which the British seized and 

used as a fortress for two years during the war, allowing Lieutenant Moore ample time to paint his remarkable images— 

including an image of the 23-ton Great Bell. Handsomely bound by Riviere & Son. 

The British captured Rangoon in 1824, near the outset of the First Anglo-Burmese War of 1824-26. Lieutenant Moore’s dramatic 

images from the campaign depict pitched battles alongside idyllic views of the pagoda-dotted countryside the soldiers traveled 

through and occupied. This first of three Anglo-Burmese Wars in the 19th century was the longest and most expensive war in 

British Indian history. The British victory in 1826, though extremely costly in terms of money, materiel, and men—some 15,000 

British and Indian troops perished—proved decisive, as the harsh indemnity the Burmese were forced to pay crippled their 

economy. Plates 7, 8, 14 marked “Proof” (various combinations of plates so marked have been noted). The word “adjacent” in the 

caption of Plate 16 has been corrected, described by Tooley as the second issue. Abbey, however, states “that all the plate differences 

must be described as states, not issues.” A few plates watermarked “J. Whatman,” with the year 1825 partially visible on two. 

Bound with four leaves of subscribers, as usual, before the engraved title page, and with single printed leaf “To the Subscribers 

in India” mounted on a stub. Abbey, Travel 404. Tooley 334. Closed marginal tear to Plate 12, not touching image. A few minor 

marginal smudges; images clean, original hand-coloring vibrant. Handsome Riviere & Son morocco-gilt binding in excellent 

condition. A most desirable copy. 

31 


32 


james joyce 

“The Most Influential Work Of Modern Times”: 

First Edition Of Ulysses, With Original Wrappers Tipped In 

23. JOYCE, James. Ulysses. Paris, 1922. Quarto, contemporary half brown marbled sheep, original blue paper wrappers 

tipped in. $28,000. 

First edition of the novel that changed the path of modern literature, number 540 of only 750 numbered copies on 

handmade paper, with the now-iconic original paper wrappers tipped in at front and rear. 

“The novel is universally hailed as the most influential work of modern times” (Grolier Joyce 69). After working seven years 

on Ulysses, Joyce, desperate to find a publisher, turned to Sylvia Beach of Shakespeare and Company in Paris. “Within a 

month of the publication, the first printing of Ulysses was practically sold out, and within a year Joyce had become a 

well-known literary figure. Ulysses was explosive in its impact on the literary world of 1922… Then began the great game 

of smuggling the edition into countries where it was forbidden, especially England and the United States. The contraband 

article was transported across the seas and national borders in all sorts of cunning ways” (de Grazia, 27). Of the 1000 

copies of the first edition, 100 copies were printed on Holland paper and were signed by Joyce, 150 copies were printed on 

vergé d’Arches paper, and the other 750 copies, as here, were printed on slightly less costly handmade paper. Slocum A17. 

Owner signature. Text fine. Notoriously fragile original paper wrappers bright and lovely, expertly tipped in with archival 

tape, with only marginal dampstaining to rear wrapper. Contemporary binding attractive. An extremely good copy.

david hume 

“Bowyer’s 1806 Edition Is A Sumptuous One, Finely Printed And Expensively Illustrated”: 

Hume’s Monumental History Of England, Magnificent Ten-Volume Atlas Folio Set, Beautifully Bound 

24. HUME, David. The History of England. London, 1806. Five volumes in ten. Large thick atlas folio (14 by 19 inches), 

contemporary full brown polished calf gilt. $20,000. 

Magnificent atlas folio “Bowyer” edition of Hume’s renowned history, originally sold only to subscribers, with 196 (of 197) 

lovely and finely engraved illustrations, in full contemporary polished calf gilt in ten massive volumes. 

“This work has enjoyed the rank of a classic in historical literature from the day of its completion to the present time. In point of 

clearness, elegance, and simplicity of style it has never been surpassed” (Adams). First published between 1754 and 1761, Hume’s 

History of England was “the first significant study to embrace all of English history and the first broad historical survey in 

English that properly rates as a work of literature… Hume was the first historian to consider such things as manners, commerce, 

finance, and arts and sciences at length and the first to give them in some cases greater importance than kings and battles” (Day). 

The Bowyer edition of Hume “is one of the most splendid works ever published… It promises ever to hold a prominent place in 

the front rank of English literature” (Allibone, 914-16). Robert Bowyer had announced his intention to publish a sumptuous 

edition of Hume’s History as early as January 1792. In his prospectus for this “finely printed and lavishly illustrated set,” Bowyer 

estimates a cost of 60 guineas for the five folio volumes, with additional title pages for those who preferred it bound in ten 

volumes (as here). “Bowyer’s 1806 edition is a sumptuous one, finely printed and expensively illustrated; it was sold only to 

subscribers” (Jessop, 31). Copies have been found with varying numbers of plates: this set has 196. Brunet III:377 (“Magnifique 

édition”). Lowndes, 1139. Bookplates. Traces of bookplate removal (Vol. II). Light scattered foxing. Vol II with repaired closed 

tear to front free endpaper and light dampstaining mildly affecting corners of a few plates.

34 


world war ii 

The Invasion Of Iwo Jima, February 19, 1945—Extraordinary Hand-Colored Finely 

Detailed Manuscript Map Drawn By A Participant, Framed With 1945 First Day 

Cover Envelope Signed By Three Iwo Jima Medal Of Honor Recipients 

25. (WORLD WAR II). Manuscript Iwo Jima Invasion Map. FRAMED WITH: First Day Cover Iwo 

Jima envelope, signed. FRAMED WITH: Later reproduction of Joe Rosenthal’s photograph “Raising 

the Flag.” Vicinity of Iwo Jima, February, 1945. Single sheet of linen, 19 by 30-1/2 inches, accomplished 

by hand in black, green, red, blue, and orange inks; handsomely matted and framed. Entire piece measures 

43 by 25 inches. $18,500. 

Large hand-drawn naval invasion map preparing the amphibious assault on the island of Iwo Jima—the 

first American attack on one of the Japanese “Home Islands”—from D-Day, February 19, 1945, through 

D+6, February 25, 1945. Drawn at a scale of 2000 yards per inch in black, red, green, blue and orange 

inks, this map clearly delineates naval assembly areas, radar picket areas, assault beaches, the allimportant 

air fields, and the “Hot Rocks,” Mount Suribachi and Tobiishi, where the Japanese had major 

artillery emplacements. A fiercely contested battle, Iwo Jima would come to represent for many the entire 

war in the Pacific when Joe Rosenthal took his famous photograph “Raising the Flag on Iwo Jima.” Framed 

with a 1945 First Day Cover envelope bearing four 3-cent Iwo Jima postage stamps reproducing Rosenthal’s 

iconic image, signed by three Medal of Honor recipients. 

The tiny island of Iwo Jima (Sulphur Island), 600 nautical miles from Japan, became another step in the 

Allies’ march toward victory in the Pacific. The capture of Iwo Jima was a critical step along the way since it 

would provide air fields from which long-range 

bombers could attack the Japanese mainland. Due 

to the proximity of Japanese airfields on nearby 

islands, enemy planes were expected to attack the 

transport ships carrying the landing force of U.S. 

Marines. Radar equipment aboard the destroyers 

heading toward Iwo Jima would provide advance 

warning of any incoming enemy planes. Placement 

of these destroyers was referred to as a “picket line” 

and is shown on this map as Picket Lines 2-6. Placed 

in key positions to cover the areas approaching the 

island, these picket lines would be able to alert the troops to attacks in time to set up defenses and man 

anti-aircraft guns. Since these destroyers were placed in isolated positions, they were often the first to be 

spotted by Japanese scouts, making the picket ships most vulnerable to attack. Each radar picket line drawing 

was unique, and would be prepared by the responsible Combat Information Center (CIC) Battle Group team 

assigned to a specific area. This picket line map reveals not only the location of Picket Lines 2-6 but also the 

location of the various troop transports and the Line of Departure for the Marines and their equipment on 

D-Day. By the time of the land invasion, which would involve around 60,000 Marines, more than 450 

American ships were located off Iwo Jima. This map clearly illustrates the logistical complexities of such a 

large-scale invasion. 

On October 5, 1945, President Harry S. Truman awarded the Congressional Medal of Honor, the nation’s 

highest military award, to 22 Marines and 5 Navy heroes for their extraordinary contributions in 

winning the Battle of Iwo Jima. (Fourteen of the 27 recipients were awarded their Medals of Honor 

posthumously.) Three of the surviving Medal of Honor recipients have signed this first day cover. Map 

possibly drawn by Combat Information Center (CIC) Lieutenant M.J. Garber, U.S.N. The CIC’s, usually 

housed among the radar pickets, were developed after losses at Guadalcanal led to the need for greater 

operational procedure. Lightly foxed and spotted, a few tape remnants on map, but all ink lines are clear 

and colors bright. Postcard fine. Unique and most desirable, handsomely framed.

itish sports and sportsmen 

Tennis, Polo, Cricket, Racing…: 

Handsomely Bound, Richly Illustrated 13-Volume Folio Set 

26. HUTCHINSON, Horace G., editor. British Sports and Sportsmen. London, circa 1908-1935. Together, thirteen 

volumes. Folio (12 by 15-1/2 inches), contemporary full maroon morocco gilt. $13,500. 

Limited edition set of this profusely illustrated compendium of British sports and sportsmen, each one of 1000 copies, in 13 

handsomely bound folio volumes. 

“This retrospect does not extend quite to the days of 

Nimrod and the mighty hunters of whom we know only 

by legendary record, but it does go back about as far as 

oral tradition can carry. There is hardly a sportsman of 

note, of whom our fathers have told us, whose lineaments 

are not shown and his biography sketched.” 

Illustrated with numerous full-page tissue-guarded 

photogravures and a vast number of photographic illustrations, 

with personal narratives from the experiences 

of various sportsmen from throughout the British 

Empire, biographies, and articles by leading sportswriters 

of the day. With hundreds of portraits, plates, and 

in-text illustrations of sportsmen and sports scenes. 

Past Sportsmen number 327 of 1000 copies; all other 

volumes number 989 of 1000 copies. Light scattered 

foxing to interiors, only slight rubbing to full leather 

bindings. A near-fine set, handsomely bound. 

35 


36 


illuminated leaf 

Splendid, Unusually Large, 17th-Century Illuminated Miniature Of God The Father 

27. ILLUMINATED MANUSCRIPT. Illuminated leaf from Medieval choir book. Italy, circa 1650. Single vellum leaf 

(12-1/2 by 13-1/2 inches), gilt-framed in antique architectural style (entire piece measures 17 by 18-1/2 inches). $11,000. 

Impressive, exceptionally large and vibrant illuminated miniature, depicting God the Father in heavenly majesty—a 17thcentury 

enhancement to a 15th-century Italian choir book. 

“Books are the everlasting food of our souls; we wish them to be most zealously made” (Guigues du Pin). Secluded in the 

cells of cold monasteries, mittened against the biting chill, some of the most accomplished book designers of all time 

created some of the most beautiful books the world has ever seen. Around 1462 competition in the form of the printing 

press reached Italy, severely curtailing the demand for illuminated manuscripts. In 1492, Abbot Trithemius described for 

monks the merits of continuing to copy manuscripts by hand: “The printed book is made of paper and, like paper, will 

quickly disappear. But the scribe working with parchment ensures lasting remembrance for himself and for his text.” 

Nevertheless, by the end of the century the practice was all but limited to “prestige” items for the wealthy class, even to 

the extent of enhancing earlier manuscripts with “modern” embellishments. This splendid miniature was painted in the 

17th century on a leaf from a 15th-century choir book. Its central cartouche, depicting God the Father dressed in a 

monk’s robe, appears within an elaborate architectural border topped by two angels bearing armorial shields. The whole 

is set against a wonderfully decorative blue-green background. An unusually large and accomplished production, with 

only the lightest, barely visible surface wear, beautifully framed.

chaucer 

“O Venerable Chaucer Principall Poet And Peare”: 

Extremely Rare 1550 Thynne Edition Of Chaucer 

28. CHAUCER. The Workes of Geffray Chaucer Newly Printed, with Dyvers Workes which Were Never in Print Before. 

London, circa 1550. Tall quarto (8 by 12 inches), period-style full brown paneled calf gilt. $45,000. 

Rare 16th-century edition of the works of the “Father of English Literature.” The fourth collected edition, edited by William 

Thynne. Beautifully bound. 

The immortal opening lines of Chaucer’s Prologue to the Canterbury Tales have few equals in all of literature. “He was a great 

narrative artist, incomparably the greatest of an age that loved story-telling” (Sir Walter Raleigh). This “was published jointly 

by four booksellers: William Bonham, Richard Kele [as here], Thomas Petyt, and Robert Toy. It is not now possible to ascertain 

whether or not they shared equally in the edition, but it is probable that they did, if one may judge by the copies which have 

survived, for we have traced not less than six nor more than nine copies of any state. Various dates from 1545 to 1555 have been 

suggested for this edition and it has even been said to antedate the 1542 edition. From the state of the blocks, however, it 

appears to have been printed about 1550… Roughly this is a reprint of the 1542 edition” (Pforzheimer 174-75). The woodblock 

at the beginning of the “Knight’s Tale” is entirely different in design from the one used by Godfray in 1532, and the cut at the 

“Squire’s Tale” is also unlike Godfray’s block—perhaps even older. The title page is within a woodcut border (McKerrow & 

Ferguson 38). Without leaf 354 at rear of volume (which concludes the “Balade of the Vyllage without Payntyng”) and the final 

blank leaf only. STC 5072. Annotated in near-contemporary hands on final text leaf and the title page, which includes six lines of 

verse beginning “O venerable Chaucer principall poet and peare.” Light occasional early marginalia. Interior generally fresh with 

extensive expert archival paper repair, mild occasional marginal dampstaining. Very handsomely bound. 

37 

new acquisitions in a ll Fields | autumn 2012 | literature

38 


jane austen 

“For What Do We Live, But To Make Sport For Our Neighbors, 

And Laugh At Them In Our Turn?”: First Edition Of Austen’s Pride And Prejudice, 

One Of The Most Sought-After Of All English Novels, In Contemporary Binding 

29. AUSTEN, Jane. Pride and Prejudice. A Novel. In Three Volumes. By the Author of “Sense and Sensibility.” 

London, 1813. Three volumes. 12mo, contemporary three-quarter mottled calf rebacked with original spines laid down, 

custom clamshell box. $79,000. 

First edition of Jane Austen’s second and most popular novel, one of the most sought-after titles in English literature, 

in contemporary binding. 

“Elizabeth’s own energy and defiance of character respond to Rousseau’s and the popular notion of the pliant, 

submissive female… None of her novels delighted Jane Austen more than Pride and Prejudice… She had given a rare 

example of fiction as a highly intelligent form… This remains her most popular and widely translated novel” (Honan, 

313-20). “The size of the edition is not known… perhaps 1500 copies… The first edition was sold off very rapidly and 

a second one was printed in the same year” (Keynes, 8). “The print run of the first edition isn’t known but is likely to 

have been around seven hundred copies. It sold fast enough for a second edition to appear later the same year, which 

was still available in 1815; a third edition came out in 1817. A conservative estimate of those sales (based on the print 

runs of other Austen novels) would be 1,500 copies” (Harman, Jane’s Fame, 42). Without scarce half titles to Volumes 

I and II; Volume III with half title. Keynes 3. Gilson A3. Bookseller ticket to Volume I. “Miss Austen” written in a 

contemporary hand above “By the Author of ‘Sense and Sensibility’” on the title page of Volume I. Light scattered 

foxing to interiors; loss to lower corner of B1, minor tear to lower right corner of K7 in Volume I, and upper corner of C6 

in Volume II torn, none affecting text. Light wear to boards; minor loss to spine labels. An exceptional copy, most rare 

in contemporary binding.

mark twain 

“All Modern Literature Comes From One Book By Mark Twain. It’s The Best Book We’ve Had”: 

First Issue Of Huckleberry Finn, In The Exceptionally Rare Blue Cloth Binding 

30. TWAIN, Mark. Adventures of Huckleberry Finn (Tom Sawyer’s Comrade). New York, 1885. Octavo, original gilt- and 

black-stamped blue pictorial cloth, custom clamshell box. $29,000. 

Rare first edition, first issue, of “the most praised and most condemned 19th-century American work of fiction,” one of an 

unspecified but small number of early copies bound in blue cloth to match Tom Sawyer rather than the usual green cloth, with 

174 illustrations by Edward Kemble. A bright and beautiful unrestored copy. 

This is a rare, blue cloth copy of The Adventures of Huckleberry Finn. Twain once described Huck Finn as “a book of mine where a 

sound heart and a deformed conscience come into collision and conscience suffers defeat.” Written over an eight-year period, 

Huckleberry Finn endured critical attacks from the moment of publication, standing accused of “blood-curdling humor,” 

immorality, coarseness and profanity. The book nevertheless emerged as one of the defining novels of American literature, 

prompting Hemingway to declare: “All modern literature comes from one book by Mark Twain. It’s the best book we’ve had. All 

American writing comes from that. There was nothing before. There has been nothing since.” Huck has been called “the most 

praised and most condemned 19th-century American work of fiction” (Legacies of Genius, 47). Subscribers who had already 

purchased Tom Sawyer, and wanted a binding to match, were invited to request a blue cloth binding on Huck instead of the 

publisher’s green. This is one of those blue bindings—20 times rarer than the green. This copy has all of the commonly identified first 

issue points (the printer assembled copies haphazardly; bibliographers do not yet agree as to the priority of many points). BAL 3415. 

Johnson, 43-50. Owner signature. Very occasional mild soiling to interior, completely unrestored cloth bright and lovely with 

only light wear, mild toning to spine, cover gilt bright. A lovely copy in exceptional condition. 

39 


40 


charles dickens 

“The One Great Christmas Myth Of Modern Literature”: 

First Editions Of Dickens’ Illustrated Christmas Books, 

Including A Lovely First Issue Of A Christmas Carol 

31. DICKENS, Charles. The Christmas Books. London, 1843-48. Together, five volumes. Small octavo, early 20th-century 

full blue morocco gilt, original cloth covers (and Christmas Carol green endpapers) bound in. $19,000. 

First editions of all five of Charles Dickens’ Christmas Books—chief among them a first issue of his immortal Christmas Carol, 

the veritable “Bible of Christmas”—illustrated with 63 engravings altogether, four in color, by Leech, Maclise, Stanfield, Doyle 

and Landseer. A lovely set, beautifully bound by Wood. 

A Christmas Carol “may readily be called the Bible of Christmas… It was issued about ten days before Christmas, 1843, and 

6000 copies were sold on the first day… the number of reprintings have been so many that all attempts at the figures have been 

futile” (Eckel, 110). “It was a work written at the height of Dickens’ great powers, which would add to his considerable fame, 

bring a new work to the English language, increase the festivities at Christmastime, and contain his most eloquent protest at 

the condition of the poor” (John Mortimer). “It was an extraordinary achievement—the one great Christmas myth of modern 

literature.” Christmas Carol is from the first issue, with green endpapers, uncorrected text (“Stave I” as the first chapter heading), 

the red-and-blue title page dated 1843, and the half title printed in blue. Dickens followed its success with four more Christmas 

books. In each book, he deftly develops the themes of the first, ideals that have consequently become inseparable from the holiday 

itself: love and redemption, charity and mercy. First edition of The Chimes, with the first state of the engraved title page. First 

edition of The Cricket on the Hearth, with second state of advertising leaf at rear. First edition of The Battle of Life, with vignette 

title page in the fourth state. All advertisements present, as issued. With centenary “Tribute to Genius” stamps on front free 

pastedowns. Bookplate to free endpaper of The Haunted Man. A beautiful set in fine condition.

dr. seuss 

“Maybe Christmas… Perhaps… Means A Little Bit More!”: 

First Edition Of How The Grinch Stole Christmas!, Inscribed By Seuss 

32. SEUSS, Dr. How the Grinch Stole Christmas! New York, 1957. Quarto, original pictorial paper 

boards, pictorial endpapers, original dust jacket. Housed in a custom clamshell box. $12,000. 

First edition of Seuss’ heartwarming celebration of true holiday spirit, inscribed: “For Anita and 

Craig with best Wishes—Dr. Seuss.” 

“In 1954 the Whos won popularity when Horton saved them from destruction… So Ted 

returned to Who-ville and paired the Whos with a character who was every bit as dastardly 

as Horton was faithful… Clearly the Grinch has been the most memorable Christmas 

villain to undergo redemption since Ebenezer Scrooge. To some degree, Ted identified with 

the Grinch… It was no coincidence that, when the book appeared in 1957, the Grinch complained, 

‘For fifty-three years I’ve put up with it now…’ Ted, of course, was born in 1904” (Cohen, 329-30). 

Geisel’s tribute to true holiday cheer “added an unforgettable character to American literary mythology 

and a highly descriptive noun/verb to our language” (Dr. Seuss From Then to Now, 51) First 

edition, with 14 titles advertised on rear flap of dust jacket. Younger & Hirsch 33. Pencil owner signature 

on inscription page. Book with minor 

crease to corner of rear board, a bit of rubbing 

mainly to extremities. Dust jacket with only slight 

soiling and light wear. A near-fine copy, most desirable 

inscribed. 

41 


42 


j.r.r. tolkien 

“In A Hole In The Ground There Lived A Hobbit”: Unrestored First Edition Of Tolkien’s Classic Fantasy 

33. TOLKIEN, J.R.R. The Hobbit, or There and Back Again. London, 1937. Octavo, original light green cloth, dust 

jacket. $35,000. 

First edition, first printing, in original unrestored dust jacket, of the fantasy classic—”among the very highest achievements of 

children’s authors during the 20th century” (Carpenter & Pritchard, 530)—one of only 1500 copies printed. 

The Hobbit, now widely hailed as a landmark work not only of children’s literature but also of world fantasy, had a humble 

origin. “All I can remember about the start of The Hobbit,” Tolkien would later recall in a letter to his friend W.H. Auden, “is 

sitting correcting School Certificate papers in the everlasting weariness of that annual task. On a blank leaf I scrawled: ‘In a 

hole in the ground there lived a hobbit.’ I did not and do not know why. I did nothing about it, for a long time… but it became 

The Hobbit in the early 1930s.” “All historians of children’s literature… agree in placing [The Hobbit] among the very highest 

achievements of children’s authors during the 20th century” (Carpenter & Prichard, 254, 530). One of [the 20th] century’s 

lasting contributions to that borderland of literature between youth and age. There are few such books—Gulliver’s Travels, The 

Pilgrim’s Progress, Robinson Crusoe, Don Quixote, Alice in Wonderland, The Wind in the Willows” (Eyre, 67, 134-5). All of the 

book’s illustrations and decorations are by Tolkien: ten black-and-white pen drawings; two maps printed in red and black 

(appearing as the front and back endpapers); decorations to the cloth binding (mountains, moon, sun and dragon); and the 

dramatic four-color dust jacket illustration. Publisher’s correction by hand to rear flap of dust jacket. Hammond & Anderson A3a. 

Currey 385. Owner ink signature. Book slightly bowed, with minor inkstains and foxing affecting fore-edge only. Unrestored dust 

jacket mildly tanned, as often, and with edge-wear, including a few chips and closed tears. A very good copy of this exceptionally 

rare landmark fantasy, very rare in dust jacket.

tennessee williams 

“Something Unprecedented On The Stage”: 

First Edition Of Streetcar Named Desire, Signed By Williams 

34. WILLIAMS, Tennessee. A Streetcar Named Desire. New York, 1947. Octavo, original pink paper boards, dust 

jacket. $20,000. 

First edition of William’s first Pulitzer Prize-winning drama, signed by him. A beautiful copy. 

Critically praised as “superb,” “fascinating” and “a terrific adventure,” A Streetcar Named Desire brought Williams his 

second New York Drama Critics’ Circle Award—and a Pulitzer Prize. Williams himself considered this his best play 

(Devlin, 50). Elia Kazan directed the original production that opened in New Haven on October 30, 1947 before moving 

to Broadway on December 3 with a cast starring Marlon Brando and Jessica Tandy. Among Streetcar’s major 

achievements was a depiction of the working class that set it apart from standard social commentary or documentary 

drama. “No one dared approach this new thing without caution. They had just witnessed something unprecedented on 

the stage, a high-pitched, jagged, alarming—and comical!—drama 

structure” (Sam Staggs). First issue, printed December 1947. Crandell 

A5.I.a. Bookseller ticket. Text and signature fresh, book lovely with 

only very lightest toning to colorful boards, less than usual; lightest 

edge-wear, usual toning to spine of scarce colorful dust jacket. A 

highly desirable near-fine signed copy. 

43 


44 


ernest hemingway 

First Edition Of Hemingway’s The Old Man And The Sea, Inscribed By Hemingway 

35. HEMINGWAY, Ernest. The Old Man and the Sea. New York, 1952. Octavo, original blue cloth, dust jacket, custom 


First edition of Hemingway’s classic story of Santiago and his epic battle with the marlin and the sharks, inscribed by 

him to a favorite bookseller, “To Wendell Palmer with all good wishes Ernest Hemingway [with his flourish].” An 

exceptionally fine copy in original dust jacket. 

William Faulkner, who reviewed The Old Man and the Sea for the magazine Shenandoah, called the novel Hemingway’s best: 

“Time may show it to be the best single piece of any of us. I mean his and my contemporaries” (Baker, 593-94). “Here is the 

master technician once more at the top of his form, doing superbly what he can do better than anyone else”(New York Times). 

In this short novel Hemingway perfected the minimalist style that he had been honing and refining throughout his career. 

While working on it he wrote to Scribner, “This is the prose that I have been working for all my life that should read easily 

and simply and seem short and yet have all the dimensions of the visible world and the world of a man’s spirit. It is as good 

prose as I can write as of now” (Letters, 738). With Scribner’s “A” beneath copyright notice. First edition dust jacket, with no 

mention of the Nobel Prize. Hanneman A24a. Hemingway often relied on the recipient Wendell Palmer, a New York 

bookseller, as a source in ordering books—including copies of his own works. Text and inscription crisp and clean, lightest 

edge-wear to cloth, dust jacket pristine. A fine copy, rarely found inscribed.

ayn rand 

“Who Is John Galt?”: First Edition Of Atlas Shrugged Inscribed By Ayn Rand 

36. RAND, Ayn. Atlas Shrugged. New York, 1957. Thick octavo, original green cloth, dust jacket. $18,500. 

First edition of one of the most popular and influential novels of the last 50 years, inscribed on the half title in aqua ink, 

“To Rob and Pat Hagen—with my best wishes—Ayn Rand, 7/14/69.” 

“From 1943 until its publication in 1957, [Rand] worked on the book that many say is her masterpiece, Atlas Shrugged. This 

novel describes how a genius named John Galt grows weary of supporting a society of ungrateful parasites and one day 

simply shrugs and walks away. He becomes an inspiration to like-minded 

men and women, all of whom eventually follow his example, until society, 

in its agony, calls them back to responsibility and respect. Again [as with 

Rand’s novel The Fountainhead in 1943] reviews were unsympathetic, and 

again people bought the book” (ANB). By 1984 more than five million 

copies of Atlas Shrugged had been sold, and in a 1991 Library of Congress 

survey Americans named it second only to the Bible as the book that had 

most influenced their lives. First printing, in first-issue dust jacket. Perinn 

A4a. Book fine in a bright, beautiful dust jacket with just a bit of restoration 

to spine head. An exceptionally lovely inscribed copy. 

45 


46 

new acquisitions in a ll Fields | autumn 2012 | literature 

Balzac’s Works In 40 Volumes, 

Handsomely Bound And 

Illustrated 

37. BALZAC, Honore de. La 

Comédie Humaine. Boston, 1899. 

Forty volumes. Octavo, contemporary 

three-quarter blue morocco 

gilt. $6800. 

Limited illustrated “Édition Grand 

Format” of Balzac’s works in 

English, number 144 of only 500 

sets, each volume with seven engraved 

illustrations, handsomely 

bound with floral morocco onlays 

decorating the spines. 

A handsomely bound and richly illustrated edition of Balzac’s ambitious La Comédie Humaine, a series of 91 interconnected 

novels (which first appeared between 1831 and 1848) designed to depict the entire panoramic sweep of human experience—as 

Balzac once wrote, “Nothing is to be omitted.” “Balzac’s portrait of French society was as deep as it was wide, penetrating the 

imaginary, the mysterious, the fantastic, the philosophical elements of life” (Dolbow, 15). With a total of 280 photogravure engravings 

by Meunier, Moreau, Picard, Girardet, Wagrez, Chalon, Avril, and other eminent 19th-century French illustrators. 

Translated by Katherine Prescott Wormeley, who also compiled and wrote the Memoir of Balzac (Volume 40). A few corners 

bumped, a few headcaps expertly restored. A lovely, near-fine illustrated set of this masterpiece of world literature. 

“Light Of My Life, Fire Of My Loins”: 

Lovely First Edition Of Lolita, 1955 

38. NABOKOV, Vladimir. Lolita. Paris, 1955. Two volumes. 

Small octavo, original green paper wrappers, custom clamshell 

box. $11,000. 

Superb first edition, first issue of one of the most famous and 

controversial novels of the 20th century. An exceptional copy. 

Literature 

“Brilliant… One of the funniest and one of the saddest books 

that will be published this year” (New York Times). The saga of 

Lolita began well before its publication in 1955. It was turned 

down by a number of American publishers, all of whom feared 

the repercussions of publishing such a “pornographic” work. 

Finally issued by the Olympia Press in Paris, the first edition 

sold out quickly in Europe, but was not warmly received 

abroad: the British government pressured the French to ban 

the novel, and it was not published in America until 1958. First issue, with the price of “Francs: 900” on the rear wrappers (brisk 

sales spurred the publisher to raise the price later to 1200 francs). Field 0793. Juliar 428.1.1. Light ink dealer marks to top of rear 

wrappers. Text fine. Fragile wrappers in exceptionally lovely condition, with most minor rubbing to spine extremities and very 

faint toning to spines. Quite scarce in such beautiful condition.

“Secures His Place At The Very Front Of American 

Writers Of Fiction”: First Edition Of Light In August 

40. FAULKNER, William. Light in August. New York, 1932. 

Octavo, original beige cloth, dust jacket. $6800. 

First edition, first issue of one of Faulkner’s most powerful and 

ambitious novels. 

Published a year after his controversial Sanctuary, Faulkner’s tale 

of Joe Christmas and Lena Grove received almost universal acclaim. 

The New York Times called it “an astonishing performance… 

Light in August is a powerful novel, a book which secures 

Mr. Faulkner’s place at the very front of American writers of fiction” 

(Books of the Century, 100-01). “A searing novel… For the 

first time in his writing, Faulkner directly confronts racial prejudice 

in the South… Light in August is perhaps best read as 

Faulkner’s ironic Gospel” (Parini, 178-83). First issue, with first 

printing statement on copyright page, and “Jefferson” for 

“Mottstown” on page 340, line 1; first-issue binding, lettered in 

blue and orange. Without glassine wrapper, rarely found. Petersen 

A13.1a. Brodsky 134. Bruccoli & Clark I:122. Book fine; expert 

restoration to bright dust jacket. A lovely copy. 

“The Peak Of Faulkner’s Fictional Achievement”: 

Signed Limited First Edition Of Absalom, Absalom!, 

One Of Only 300 Copies Signed By Faulkner 

39. FAULKNER, William. Absalom, Absalom! New York, 1936. 

Octavo, original half green cloth gilt. $11,000. 

Signed limited first edition, number 278 of only 300 copies signed 

by Faulkner—“the greatest American novel since the turn of the 

century”—with folding map of Faulkner’s fictional Yoknapatawpha 

County. 

“Absalom is the peak of Faulkner’s fictional achievement. It 

is unquestionably the greatest American novel since the 

turn of the century… Its sole competitors among contemporary 

American novels are Dreiser’s American Tragedy 

and Fitzgerald’s The Great Gatsby, neither of which approaches 

Faulkner’s innovative daring” (Karl, 582). As issued 

without dust jacket or slipcase. Petersen A18.2a. Hamblin & 

Brodsky 186. Interior fine, faint toning to edges of boards. A 

scarce fine signed copy. 

47 


48 


ian fleming 

“Whom Have You Been Sent Over To Kill Here, Mr. Bond?”: 

First Edition Of Ian Fleming’s Live And Let Die, In Rare First-Issue Dust Jacket 

41. FLEMING, Ian. Live and Let Die. London, 1954. Octavo, original gilt-stamped black paper boards, 

dust jacket. $30,000. 

Scarce first edition of Fleming’s second James Bond novel, “full of pace, incident and color” (Lycett, 238)—in 

which 007 investigates an underworld voodoo leader who is suspected of selling 17th century gold coins to finance 

Soviet spy operations in America—in the rare first-issue dust jacket. 

“Before Casino Royale was published [in 1953], Fleming had already researched and written what was originally 

to be called The Undertaker’s Wind… Far from repeating the formula of his first success, this [book] was a world 

away from the sinister style of a luxurious European gambling resort” (Black, 10-11). “Fleming accomplished an 

extraordinary amount in the history of the thriller. Almost single-handedly, he revived popular interest in the spy 

novel, spawning legions of imitations, parodies, and critical and fictional reactions… Through the immense 

success of the filmed versions of his books, his character James Bond became the best known fictional personality 

of his time and Fleming the most famous writer of thrillers since Sir Arthur Conan Doyle” (Reilly, 571). First-issue 

dust jacket without credit for jacket design and art. Biondi & Pickard, 41. Owner signature. Book fine, with only a 

couple of spots of foxing to fore edge of text block. Light wear to extremities and light scattered foxing to white 

rear panel of bright, unrestored dust jacket. An about-fine copy of an increasingly scarce early Bond title.

“After All, He Said To Himself, 

It Is Probably Only Insomnia. Many Must Have It”: 

Hemingway’s Winner Take Nothing, 1933 

43. HEMINGWAY, Ernest. Winner Take Nothing. New York, 1933. 

Octavo, original black cloth, dust jacket. $4500. 

First edition of arguably Hemingway’s finest collection of short stories, 

in original dust jacket. 

This distinguished collection of 14 Hemingway stories includes “A Natural 

History of the Dead” and “‘After the Storm,’ which is more imaginative 

than anything Hemingway has hitherto written” (New York Times). Of 

particular importance is “what is perhaps Hemingway’s finest story ‘A 

Clean, Well-Lighted Place’”—securing his reputation as “the modern 

American master of the short story.” Hemingway’s “epigraph to Winner 

Take Nothing… is perhaps the finest and most accurate brief description of 

Hemingway’s heroes, of what he set out to do in his best work and what in 

the main he accomplished” (McCormick, 55-6). Six of the 14 stories in this 

collection made their first appearance here (though the dust jacket claims 

nine). Hanneman A12a. Bruccoli & Clark I:179. Book fine, dust jacket 

expertly restored. 

“The Mirror Of A Keen 

And Ruthless Mind”: 

Complete Set Of First 

Editions Of All Disraeli’s 

Works, 47 Volumes 

Handsomely Bound 

In Morocco-Gilt 

42. DISRAELI, Benjamin. First 

editions of the complete works. 

London, 1826-80. Forty-seven 

volumes. Octavo (varying sizes), 

early 20th-century three-quarter 

navy morocco gilt. $12,500. 

Splendid set of first editions of all of Disraeli’s major and most of his minor works, including his great trilogy, Coningsby, Sybil, 

and Tancred, the autobiographical Endymion, his rare first novel Vivian Grey, as well as several scarce political speeches in 

original wrappers, 47 volumes handsomely and uniformly bound by Morrell. 

British Prime Minister Benjamin Disraeli revealed, in his novels, “the same sagacious insight, the same insolent and satiric 

cleverness associated with his political career… their place in the growth of 19th-century thought was large” (Kunitz & Haycraft, 

187). “From the moment of the anonymous but sensational appearance of Vivian Grey to that of the publication of Endymion… 

Disraeli held up alike to the follies and the ideals of his age the mirror of a keen and ruthless mind… [Using] personal experience 

as material for novel-writing… Disraeli described in the pages of Endymion the long road that he had traveled from obscurity to 

fame” (Sadleir, 107-08). Sadleir, 113-122. Bookplate in each volume. Pamphlets are very good or better in fragile original printed 

paper wrappers. A few volumes with original cloth bound in at rear; many are uncut. A very handsomely bound and complete set 

of scarce first editions, in fine condition. 

49 


50 


ernest hemingway 

“That Musical Crystal-Clear Style, Blown Like Glass From The White-Heat Of Violence”: 

Signed Limited Edition Of Hemingway’s A Farewell To Arms, 

The Only One Of His Works So Issued, In Scarce Original Patterned Slipcase 

44. HEMINGWAY, Ernest. A Farewell to Arms. New York, 1929. Tall octavo, original white parchment spine and corners, 

glassine, patterned slipcase, custom clamshell box. $22,000. 

Signed limited first edition of Hemingway’s “consummate masterpiece,” number 96 of only 510 copies signed by him. A 

beautiful copy, uncut and entirely unopened, in scarce original slipcase. 

“Probably [Hemingway’s] best… Its success was so enormous… After it one could no more imitate that musical crystal-clear 

style; blown like glass from the white-heat of violence… the beginning, like all his beginnings, seems effortless and magical” 

(Connally 60). “A Farewell to Arms was the novel that placed Hemingway, early, among the American masters… [it is], in fact, 

the most satisfying and most sustained, the consummate masterpiece, among Hemingway’s novels. It bears the mark of 

Hemingway’s best gifts as a writer” (Mellow, 377-79). The only signed limited first edition of any of Hemingway’s works. 

Hanneman A8b. Book fine; rarely found original glassine with loss to spine, expert repairs to joints of very scarce slipcase.

thomas pynchon 

“Oedipa Played The Voyeur And Listener”: First Edition Of The Crying Of Lot 49, 

Most Scarce Inscribed By Thomas Pynchon 

45. PYNCHON, Thomas. The Crying of Lot 49. Philadelphia, 1966. Octavo, 

original half yellow cloth, dust jacket. $34,000. 

First edition of Pynchon’s second novel, inscribed: “10/86. To Michael Urban with 

all best wishes, Thomas Pynchon.” 

“A haunting sequence of imagined human situations, typical and pathetic ones, 

fused with the particularized power that shows Pynchon’s own obsession with the 

encoded messages of the American landscape. What is also noticeable… is that the 

major character is really Pynchon himself, Pynchon’s voice with its capacity to 

move from the elegy to the epic catalogue. The narrator sounds like a survivor looking through the massed wreckage of his civilization, 

‘a salad of despair.’ That image, to suggest but one of the puns in the word Tristero, is typically full of sadness, terror, love, 

and flamboyance. But then, how else should one imagine a tryst with America? And that is what this novel is” (New York Times). 

“The wealth of invention is overwhelming… Pynchon’s trick of sitting the action on the edge of absurdity without letting it fall off 

is carefully performed” (Parker, 20th Century Novel, 428). Mead A2. Owner signature. Laid in is a photocopy of a typed letter 

signed by Pychon to the recipient’s mother, stating that he would be happy to sign some books for her son, who was suffering from 

lymphoma. Book fine; very light wear to extremities of dust jacket. A fine copy. Books by Pynchon are notoriously rare inscribed. 

51 


52 


john steinbeck 

“I’ll Be Ever’where—Wherever You Look. 

Wherever They’s A Fight So Hungry People Can Eat, I’ll Be There”: 

First Edition Of The Grapes Of Wrath 

46. STEINBECK, John. The Grapes of Wrath. New York, 1939. Octavo, original beige cloth, dust jacket. $9000. 

First edition, first issue, of Steinbeck’s most important novel, his searing masterpiece of moral outrage and “intense 

humanity,” winner of the 1939 Pulitzer Prize. 

“It is a long novel, the longest that Steinbeck has written, and yet it reads as if it had been composed in a flash, ripped off 

the typewriter and delivered to the public as an ultimatum… Steinbeck has written a novel from the depths of his heart 

with a sincerity seldom equaled” (Peter Monro Jack). “The Grapes of Wrath is the kind of art that’s poured out of a crucible 

in which are mingled pity and indignation… Its power and importance do not lie in its political insight but in its intense 

humanity… [It] is the American novel of the season, probably the year, possibly the decade” (Clifton Fadiman). First issue, 

with “First Published in April 1939” on copyright page and first edition notice on front flap of dust jacket. Goldstone & 

Payne A12a. Salinas Public Library, 29. Bruccoli & Clark I:354. Bookplate. Faint number stamp. Book near-fine, with a 

few spots of foxing to original cloth. Bright dust jacket near-fine, with only minor rubbing and toning (less than usual) to 

extremities and closed tear to spine. A lovely copy.

Liber Scriptorum, Signed By Mark Twain, 

Theodore Roosevelt, Andrew Carnegie And 

Numerous Other Authors 

47. (TWAIN, Mark, ROOSEVELT, Theodore, et al.). Liber 

Scriptorum. New York, 1893. Thick folio, publisher’s full brown 

morocco gilt. $12,000. 

First edition, number 148 of only 251 numbered copies signed by 

each of the 109 contributors, the most prominent being Mark 

Twain (“The Californian’s Tale,” the first appearance of this story), 

Theodore Roosevelt (“A Shot at a Bull Elk”) and Andrew Carnegie 

(“Genius Illustrated from Burns”). An altogether impressive collection 

of the works and signatures of leading late-19th century 

literary figures, in original publisher’s morocco-gilt binding. 

“The Authors Club of New York, organized in 1882, was a social 

club for like-minded men and a support group for younger writers. 

In 1891, club members conceived Liber Scriptorum as a means to 

raise money for a suitable permanent home. Each member 

contributed an original essay, story or poem that would never be 

published elsewhere. Each author signed 251 copies of his entry, 

and the books were then bound. The book, published and printed 

by club member Theodore Low De Vinne, sold for $100—almost 

$2000 in 2002 dollars” (Carnegie Mellon University). Other 

contributors include master printer Theodore Low De Vinne, William Dean Howells, Henry Van Dyke and Frank R. Stockton. 

Though “there are presumed to be 251 copies of the book; actually, over 30 of these were not bound but were sold as separate 

articles” (Johnson, 128). BAL 3438. Old dealer description affixed to front free endpaper. Light offsetting from contemporary 

newspaper clippings. Light expert restoration to handsome publisher’s morocco. 

Inscribed By J.R.R. Tolkien 

48. TOLKIEN, J.R.R. Chaucer as a Philologist: The Reeve’s Tale. Reprinted 

from The Philological Society’s Transactions 1934, pp. 1-70. Hertford, 1934. 

Octavo, original blue-green paper self-wrappers; pp.1-70, (2). $16,000. 

Offprint edition of Tolkien’s study of Chaucer as a master of dialect, inscribed by 

Tolkien on the front wrapper to friend and fellow philologist G.H. Cowling. 

“Tolkien’s ruling passion was philology” (Shippey, xi). Established in 1842, the 

Philological Society is Great Britain’s oldest learned society devoted to the 

scholarly study of language. Tolkien read this paper (originally entitled “Chaucer’s 

Use of Dialects”) at a Society meeting on May 16, 1931. Extremely uncommon: 

OCLC records only one institutional copy. See Hammond & Anderson B14 (this 

offprint noted on page 293). The inscription on the front wrapper reads, “G.H.C. 

from J.R.R.T.” Recipient George Herbert Cowling came to know Tolkien in the early 1920s when they both taught English 

literature at the University of Leeds, and discovered that they shared an interest in Old and Middle English. In 1925 Tolkien 

was appointed Rawlinson and Bosworth Professor of Anglo-Saxon at Oxford, and in 1928 Cowling took up the Chair of 

English at the University of Melbourne, and despite the distance, the friendship between the two remained strong. Tolkien has 

also made textual corrections to pages 6, 20, 32, 36, 38 and 47. Scattered light foxing. Short tears and light rubbing to spine, 

light creasing and slight soiling to wrappers; Tolkien’s small and elegant inscription clean and quite legible. A scarce and fragile 

presentation-association copy, near-fine and desirable with Tolkien’s inscription. 

53 


54 


Inscribed And Presented By Tolkien To A Friend And Colleague 

49. TOLKIEN, J.R.R. The Reeve’s Tale. Version prepared for recitation at 

the ‘summer diversions.’ Oxford, 1939. Octavo, original white self-wrappers 

printed in black, staple-bound as issued; pp. (1-4) 5-14 (15-16). $8000. 

First edition, only printing, inscribed by Tolkien, “Best wishes from JRRT,” 

presented by him to his friend and fellow philologist G.H. Cowling. 

“Tolkien’s ruling passion was philology” (Shippey, xi). This pamphlet presents the 

text of Chaucer’s “Reeve’s Tale” with Tolkien’s two-page commentary. It was 

prepared for Tolkien’s recitation of the tale in the persona of Geoffrey Chaucer as 

a part of Oxford’s 1939 “Summer Diversions.” Extremely uncommon: OCLC 

records only two institutional copies, and there is only one auction listing 

(from 2004). Hammond & Anderson B16. Inscribed by Tolkien on the upper 

wrapper, “Best wishes from JRRT.” It includes a loosely inserted pencilled note 

in his hand, referencing his 1934 essay, “Chaucer as a Philologist.” The recipient 

of this copy, George Herbert Cowling, came to know Tolkien in the early 1920s 

when they both taught English literature at the University of Leeds, and 

discovered that they shared an interest in Old and Middle English. In 1925 

Tolkien was appointed Rawlinson and Bosworth Professor of Anglo-Saxon at 

Oxford, and in 1928 Cowling took up the Chair of English at the University of 

Melbourne, and despite the distance, the friendship between the two remained 

strong. Scattered light foxing to text and wrappers; wrappers lightly rubbed. A 

near-fine copy, scarce, desirable with Tolkien’s inscription. 

“Among The Most Remarkable Works Ever Penned 

By A Human Hand”: Limited Edition Of Wilde’s 

The Sphinx, One Of Only 200 Copies Lushly Illustrated 

By Charles Ricketts And Printed At The Ballantyne Press, 

In Original Vellum-Gilt 

50. WILDE, Oscar. The Sphinx. London, 1894. Small quarto, original 

gilt-stamped pictorial vellum, custom slipcase. $10,000. 

Limited first edition, one of only 200 copies richly illustrated by Charles 

Ricketts and beautifully printed at the Ballantyne Press, in original 

deluxe pictorial vellum-gilt by Leighton, Son and Hodge. 

“That amazing poem, The Sphinx, which we take leave to think is among 

the most remarkable works ever penned by a human hand… If such 

lines have not the haunting, magical touch of the true poet, we know 

not where to look for it in all English literature” (Globe, September 22, 

1909). “The monsters of the Egyptian room at the British Museum live 

again in his weird, sometimes repulsive, but all the same stately and 

impressive lines. The vellum binding, the various symbolic designs, the 

quaint rubricated initials and the general arrangement of the text, all 

by Mr. Ricketts’ sympathetic art, are most subtly infused by the spirit of the poem. The designs on the cover are particularly 

striking, and Mr. Ricketts has never made a lovelier thing than the group of maidens clustering round ‘the moon-horned Io’ 

as she weeps” (Pall Mall Budget, June 21, 1894). A few spots of scattered foxing and only slightest soiling (as usual) to vellum. 

A beautiful copy.

The Complete Writings Of 

Walt Whitman, Important 

1902 Definitive Edition, 

Beautifully Illustrated 

51. WHITMAN, Walt. The Complete 

Writings. New York and London, 1902. Ten 

volumes. Octavo, original three-quarter 

green morocco gilt. $11,000. 

“Paumanok Edition,” number 64 of only 300 

numbered sets on handmade paper, with 30 

tissue-guarded engravings, each volume with 

a hand-colored frontispiece. 

This definitive edition of Whitman’s works 

was issued under the supervision of three of his intimate friends: Richard Maurice Bucke, Thomas Harned, and perhaps most 

importantly, Horace Traubel, whose relationship to Whitman has been likened to that of Boswell to Johnson. With a biographical 

notice prepared by the literary executors. The first three volumes include Leaves of Grass and other poems, the remaining seven 

contain the complete prose writings. Index in Volume X. A total of 1,342 sets of the Complete Writings were produced and sold 

as six distinct editions; all copies have a general title page stating “The Complete Writings of Walt Whitman” and each “edition” 

has a half title indicating both the name of that particular edition and its limitation. This set is the fourth such “edition” listed 

in Myerson, with priority assumed. Myerson B4. Scattered light foxing to interiors, more so to preliminary and concluding 

leaves. One volume with expert repairs to joints. Bindings lovely. A beautiful, near-fine set. Collected works of Whitman are 

extremely desirable. 

Scarce Autograph Letter Signed By Virginia Woolf, 

Handsomely Matted And Framed 

With Photogravure Portrait 

52. WOOLF, Virginia. Autograph letter signed. Cambridge, 

circa 1928. Single blue leaf (measures 4-1/4 by 4-1/2 inches) in 

manuscript on the recto, black-and-white photogravure 

(measures 5-3/4 by 3-3/4 inches), matted and framed (total 

measuring 12 by 15 inches). $4200. 

Autograph letter signed by Virginia Woolf, circa 1928, likely 

written to an editor or publisher as she discusses a request for 

submitting “an article soon, but on the condition you say if you 

don’t want it. I know what the difficulties are of getting things 

in,” handsomely matted and framed with a lovely photogravure 

portrait of Woolf as a young woman. 

This scarce autograph letter signed by Virginia Woolf, matted 

and framed with by a photogravure of her as a young woman, is 

undated but may have been written by her from Chesterton, near 

Cambridge, England. It was there, in 1928, that she lectured at the Newnham Arts Society on the “Women and Fiction,” forming 

the basis for her seminal work, A Room of One’s Own. Woolf writes, possibly to an editor or publisher, about a planned article 

and the issue of a check. Her letter reads: “I meant to thank you for your letter before I left London. It’s quite all right about the 

cheque and I’m sorry I bothered you. Yes—I will certainly send you an article soon—but on condition you say if you don’t want 

it. I know what the difficulties are of getting things in. It’s bitter here, & all pipes burst & radiator frozen at Chesterton, where we 

have been. Yours ever, Virginia Woolf.” Photogravure fine, letter fine with only faint foldlines, beautifully matted and framed. 

55 

new acquisitions in a ll Fields | autumn 2012 | History, economics, pHilosopHy, religion and science

56 

new acquisitions in a ll Fields | autumn 2012 | History, economics, pHilosopHy, religion and science 

History, economics, PHiLosoPHy, reLigion and science 

Elegantly Bound “Standard Edition,” 1762, 

Of The King James Bible 

53. BIBLE. The Holy Bible, Containing the Old and New Testaments… 

Cambridge, 1762. Two volumes. Quarto, contemporary full red morocco 

gilt. $15,000. 

1762 “Standard Edition” of the King James Bible, with engraved allegorical 

frontispiece, distinctively bound in contemporary, elaborately gilt-tooled 

morocco. 

First published in 1611, the King James version is “the most celebrated book 

in the English-speaking world… Other translations may engage the mind, 

but the King James Version is the Bible of the heart” (Campbell, 1, 275). This 

1762 edition marks the “standard edition” of that magisterial translation. “In 

this Bible a serious attempt was made [by S.F. Parris] to correct the text of 

King James’ version by amending the spelling and punctuation, unifying 

and extending the use of italics, and removing printers’ errors. Marginal 

annotations, which had been growing in some Bibles since 1660, although 

excluded from others, were finally received into the place they have occupied ever since, sundry new ones being added. Lloyd’s 

dates and chronological notes were also adopted and increased, and the marginal references were much enlarged” (Darlow & 

Moule 854). Includes Apocrypha. With engraved allegorical frontispiece (by Grignion after Hayman) and separate New 

Testament title page. Issued the same year in a folio edition, very few copies of which now survive. Herbert 1143. Infrequent 

scattered light foxing. Stunning contemporary morocco in excellent condition. An outstanding Bible, distinguished in elaborately 

gilt-tooled binding. 

Impressive Folio 1715 Amsterdam King James Bible, With Geneva Notes And Six Folding Maps— 

Including California Depicted As An Island—Handsome In Contemporary Calf With Clasps 

54. BIBLE. The Holy Bible, Containing the Old and New Testaments… WITH: The Book of Common Prayer. Amsterdam, 

1715. Folio (10-1/2 by 17 inches), contemporary full diced paneled brown calf over beveled wooden boards rebacked with original 

spine laid down, raised bands, new endpapers, brass clasps and catches. $8500. 

Handsomely bound 1715 Amsterdam edition of the King James Bible, including the 

marginal notes of the Geneva Bible, with six folding maps—including one of the New 

World that depicts California as an island—distinguished in full contemporary calf 

and brass clasps and catches. 

This edition identifies no publisher or place but likely hails from Amsterdam. In 1642, 

Joost Broerss of Amsterdam was the first publisher to produce a Bible combining the 

King James text with the Geneva Bible’s notes—an ironic blend, since the ostensibly 

seditious sentiments found in the Calvinist notes played a major part in James I’s 

decision to commission a new Bible. This edition also boasts six folding maps by Joseph 

Moxon. The world map depicts California as an island; “owing to a misinterpretation of 

certain reports from Spanish explorers,” California was often depicted as an island 

between 1622 and 1730 (Lister, 27). Bound with uniform 1715 editions of the eloquent 

Book of Common Prayer (first published 1549) and Sternhold and Hopkins’ popular 

metrical psalter. Includes Apocrypha. Without leaf Y4 (2 Samuel 6:21-12:12); leaf Y5 

bound in twice. Darlow & Moule 731. Owner signatures. Marginal tissue restoration to 

first few leaves of prayer book and final leaf (blank). Light age-wear to handsome 

contemporary binding. A distinguished Bible in excellent condition.

winston churchill 

Churchill’s Brilliant History Of The Second World War, 

Inscribed By Churchill In Volumes I And II In The Years Of Publication 

55. CHURCHILL, Winston. The Second World War. London, 1948-54. Six volumes. 

Octavo, original black cloth, dust jackets. $16,000. 

First English editions of Churchill’s masterpiece, in the original dust jackets, inscribed in 

Volume I: “Inscribed for Sergeant Golding by Winston S. Churchill, 1948” and in Volume 

II: “Inscribed for R. Golding by Winston S. Churchill, 1949.” Laid in to Volume I is an 

unsigned typed note on Churchill’s Hyde Park Gate stationery dated December 6, 1948, 

and reading “Returned with Mr. Churchill’s Compliments.” 

The six volumes of Churchill’s masterpiece were published separately between 1948 and 

1954. With the Second World War, Churchill “pulled himself back from humiliating 

[electoral] defeat in 1945, using all his skills as a writer and politician to make his fortune, 

secure his reputation, and win a second term in Downing Street” (Reynolds, xxiii). “Winston himself affirmed that ‘this is not 

history: this is my case’” (Holmes, 285). Churchill was re-elected to the post of Prime Minister in 1951. “The Second World War 

is a great work of literature, combining narrative, historical imagination and moral precept in a form that bears comparison 

with that of the original master chronicler, Thucydides. It was wholly appropriate that in 1953 Churchill was awarded the 

Nobel Prize for Literature” (Keegan, 175). Although preceded by the American editions, the English editions are generally 

preferred for their profusion of diagrams, maps and facsimile documents. Cohen A240.4. Woods A123b. Occasional scattered 

light foxing to interiors, more so to preliminary and concluding leaves; some foxing to fore edges. Light rubbing to extremities 

of original cloth. Light wear to extremities of bright dust jackets with some fading to spines; some with minor tape repairs to 

versos. An extremely good inscribed set. 

57 


58 


“Churchill’s Last Great Work”: History Of The English- 

Speaking Peoples, Signed By Churchill In Volume I 

56. CHURCHILL, Winston. A History of the English-Speaking 

Peoples. London, 1956-58. Four volumes. Octavo, original red cloth, 

dust jackets. $16,000. 

First English editions of Churchill’s classic history, illustrated with 

maps and genealogical tables, in the original dust jackets, signed by 

Churchill in Volume I. 

Churchill believed that “Every nation or group of nations has its own 

tale to tell. Knowledge of the trials and struggles is necessary to all 

who would comprehend the problems, perils, challenges, and 

opportunities which confront us to-day… It is in the hope that 

contemplation of the trials and tribulations of our forefathers may not 

only fortify the English-speaking peoples of to-day, but also play 

some small part in uniting the whole world, that I present this 

account.” “Churchill’s last great work was published nearly 20 years 

after he penned its first draft in the late 1930s, just after wrapping up 

[the biography of] Marlborough. 

This enabled him to utilize the literary team he had assembled for the biography, to 

which he added dozens of outlines he had solicited from scholars… In its final form the 

original single volume evolved to four, each of which was published simultaneously in 

Britain, the USA and Canada—a first for Churchill’s works” (Langworth, 312). Cohen 

A267.1.a. Interiors fine; slightest rubbing to cloth extremities. Very light soiling and 

toning to spines of bright dust jackets. A fine set, desirable signed. 

“Here I Sit In Order To Write, At The Age Of 67, 

Something Like My Own Obituary”: 

His “One And Only Intellectual Biography,” Signed By Albert Einstein 

57. (EINSTEIN, Albert). Albert Einstein: Philosopher-Scientist. Evanston, 1949. 

Octavo, original blue cloth, dust jacket. $11,500. 

First trade edition, signed by Albert Einstein. 

“Historians of modern science have good reason to be grateful to Paul Arthur Schilpp, 

professor of philosophy and Methodist clergyman but better known as the editor of a 

series of volumes on ‘Living Philosophers,’ which included several volumes on scientistphilosophers… 

to his everlasting credit, he persuaded Albert Einstein to do what he had 

resisted all his years: to sit down to write, in 1946 at age sixty-seven, an extensive 

autobiography” (Gerald Holton). “The greatest physicist of the 20th century” (PMM 

408). An excellent study of Einstein’s life as well as of his scientific and philosophic 

thought, illustrated with photographic portraits and plates. Includes Einstein’s 

autobiographical notes in German and English; 24 descriptive and critical essays on Einstein’s work (contributors include 

Wolfgang Pauli, Louis de Broglie, Max Born, Kurt Gödel and Niels Bohr), together with Einstein’s responses; and a 

bibliography of his writings and index. With “First Edition” and code “L-G” on copyright page. This volume is the seventh 

in the “Library of Living Philosophers.” Published the same year as the signed limited edition of 1000 copies. Book fine; 

slight edge-wear, mild soiling to scarce near-fine dust jacket.

friedrich a. hayek 

“An Immense Contribution To Social And Legal Philosophy”: 

Scarce First American Editions Of Nobel Laureate F.A. Hayek’s 

Landmark Three-Volume Law, Legislation And Liberty, Signed By Hayek 

58. (ECONOMICS & FINANCE) HAYEK, Friedrich A. Law, Legislation and Liberty. Chicago, 1973-79. Three Volumes. 

Octavo, original black cloth, dust jackets. $8500. 

First American editions of F.A. Hayek’s groundbreaking trilogy, the Nobel laureate’s defining work that on publication was a 

“powerful challenge to current trends in social theory and policy” (Economist), signed in Volume I by Friedrich Hayek. 

Co-winner of the 1974 Nobel Prize in Economics and a prominent member of the “Austrian School” of economic thought, F.A. 

Hayek went “beyond Mises in reformulating the notion of economic coordination as an information problem, competition acting 

essentially as a discovery process” (Blaug, 557). Intended as a sequel to his Constitution of Liberty (1960) and hailed as “a powerful 

challenge to current trends in social theory and policy” (Economist), Hayek’s Law, Legislation and Liberty is “an immense 

contribution to social and legal philosophy” (Philosophical Studies). Here he refined his concepts on “links between an economic 

system based on free markets and a political system based on ‘liberty under law’… He showed the fundamental contradiction 

between the idea of constitutionalism—‘limited government’—and the misconception of 

a democracy ‘where the will of the majority on any particular matter is unlimited.’ He 

emphasized the difference between the rules of a spontaneous order and the rules of 

organization, i.e. between cosmos (‘the law of liberty’) and taxis (‘the law of legislation’)… 

Memorable traits noticeable in almost all of his writings are Hayek’s chivalry and tolerance 

in criticism and polemics” (Sills, 279-80). First American editions published coincident 

with the first English editions. Sills, 282. Title page owner signature in Volume I. Books 

fine, dust jackets about-fine. A lovely signed set in exceptional condition. 

59 


60 


jesse l. livermore 

“Profits Always Take Care Of Themselves, But Losses Never Do”: 

Livermore’s How To Trade In Stocks, 1940 First Edition, 

With Exceedingly Scarce Unrestored Original Dust Jacket 

59. (ECONOMICS & FINANCE) LIVERMORE, Jesse L. How to Trade in Stocks: The Livermore Formula for Combining 

Time Element and Price. New York, 1940. Octavo, original blue cloth, dust jacket, custom clamshell box. $17,500. 

First edition of the only book by Jesse Livermore, one of Wall Street’s most flamboyant stock traders, featuring the first in-depth 

explanation of the famed Livermore Formula, his highly successful trading method still in use today, and containing 16 full 

color charts. An exceptional copy in extremely scarce unrestored original dust jacket. 

The only book written by Jesse L. Livermore, widely believed to be the subject of Edwin Lefevre’s fictional biography and 

investment classic Reminiscences of a Stock Operator. One of the most flamboyant figures on Wall Street in the first half of the 

20th century, Livermore made and lost several fortunes and was even blamed for the stock market crash of 1929. Intrigued by 

Livermore’s career, financial writer Edwin Lefevre conducted weeks of interviews with him during the early 1920s. Then, in 

1923, Lefevre wrote a first-person account of a fictional trader named “Larry Livingston,” who bore countless similarities to 

Livermore, ranging from their last names to the specific events of their trading careers. Although many traders attempted to 

glean the secret of Livermore’s success from Reminiscences, his technique was not fully elucidated until this work was published 

in 1940. How to Trade in Stocks offers an in-depth explanation of the Livermore Formula, the trading method, still in use today, 

that turned Livermore into a Wall Street icon. With bright, exceptionally scarce dust jacket, almost never found. Interior very 

fresh and clean with only lightest scattered foxing, tiny bit of edge-wear to about-fine book; slight chipping to spine ends and 

rear panel, faint dampstaining, minor soiling to bright extremely good dust jacket. Very rare in an unrestored dust jacket.

Rare 1751 Franklin And Hall Imprint Containing 

The First Works By John Bartram— 

“The Most Gifted Botanist In The Continental Colonies 

And A Boon Companion To Franklin” 

60. (FRANKLIN, Benjamin; BARTRAM, John) SHORT, Thomas. 

Medicina Britannica. London, 1751. Thick octavo, contemporary full 

mottled sheep, custom clamshell box. $12,000. 

First American edition, a very rare 1751 imprint by Franklin and Hall’s 

publishing firm, featuring a preface, notes and appendix by Franklin’s 

friend, the noted American botanist John Bartram. 

This first American edition of Thomas Short’s Medicina Britannica— 

“an interesting and lucid herbal” (DNB)—is of particular import in 

containing the first publication of works by Bartram: a preface, 

appendix and his notes throughout. “Except for the introduction and 

notes for a Philadelphia edition of Short’s Medicina Britannica [this 

copy] and two short pieces on snakeroot and red cedar for Poor 

Richard’s Almanack, Bartram wrote almost nothing for publication” (DSB). While Franklin, in 1748, turned over the daily 

operation of his printing firm to Hall, Franklin’s over-arching role in many publishing and editions decisions continued over 

the next 18 years. Without one text leaf (267-8). Small owner signature to title page, first text leaf. Interior with light scattered 

foxing, slight marginal dampstaining, minor edge-wear to a few early leaves not affecting text; contemporary sheep worn, some 

loss to paper spine label. A most rare and desirable copy in extremely good condition. 

Each volume of Green’s renowned history contains an original signed 

document. Volume I contains a military appointment (7-1/2 by 11 inches) 

signed by King George III in 1798. Volume II contains an enlistment paper (8 

by 12-1/2 inches) written aboard the HMS Victory, 1804, signed by Admiral 

Horatio Nelson, who would perish the following year at the Battle of 

Trafalgar. Volume III contains a two-page autograph letter (7 by 9 inches), 

signed by the Duke of Wellington, the general who defeated Napoleon and 

was twice British prime minister. Volume IV contains an 1876 document (8 

by 12-1/2 inches) signed by Queen Victoria, with seal and tax stamp. 

Occasional pencil underlining. Short closed tear along fold to the document 

signed by Nelson, Wellington document laid in, with minor expert paper 

repair. Interiors with occasional light foxing and offsetting. 

Green’s History Of The English People, 

Extra-Illustrated With Over 100 Plates And With 

Documents Signed By Queen Victoria, King George III, 

The Duke Of Wellington, And Lord Nelson 

61. GREEN, John Richard. History of the English People. London, 

1878-80. Four volumes. Octavo, mid 20th-century full brown morocco 

gilt rebacked with original spines laid down. $14,500. 

First expanded edition of Green’s landmark history, generously 

extra-illustrated with over 100 engraved plates and maps (more than 

30 with hand-coloring), as well as with four original documents 

signed by these important British historical figures: Queen Victoria, 

King George III, Lord Nelson, and the Duke of Wellington. 

61 


62 


birdman of alcatraz 

“Stroud Was Given 60 Days Within Which To Dispossess Himself Of His Birds”: 

Writer Thomas Gaddis’ Birdman Of Alcatraz Archive, Including 23 Autograph Original Letters 

And An Impassioned Handwritten Legal Brief By The Birdman 

62. GADDIS, Thomas E. Birdman of Alcatraz archive, including first editions, correspondence, and related materials. No 

city, circa 1953-1965. Ten octavo books, four three-ring binders, one four-ringer binder, galley proofs, four scrapbooks, one 

mounted portrait photograph. $48,000. 

Archive of correspondence and legal briefs, with 23 handwritten letters and one handwritten legal brief by Robert “Birdman” 

Stroud, including research materials, clippings, and other information relating to the book and film versions of The Birdman of 

Alcatraz, formerly belonging to writer Thomas E. Gaddis. 

Sentenced to 12 years for murdering an associate in Alaska in 1909, Robert Stroud was transferred to Leavenworth Federal 

Penitentiary in Kansas in 1912, where he killed a prison guard in 1916 and was sentenced to death. While on death row, he began 

breeding canaries and selling them to help support his mother. He also authored two books: Diseases of Canaries (1933) and 

Stroud’s Digest on the Diseases of Birds (1943), “still considered a standard work of the diagnosis and treatment of avian diseases” 

(Gus Schwabe, DVM). Stroud protested to authorities about not receiving royalties from Diseases of Canaries in 1933, and prison 

officials decided to transfer him to Alcatraz Federal Penitentiary. Through a legal loophole, Stroud was able to remain at Leavenworth 

until 1942, at which point he was moved to Alcatraz, without his birds. In 1955, crime writer Thomas E. Gaddis published a 

sympathetic biography of Stroud, The Birdman of Alcatraz. Gaddis’ book was made into a hit movie in 1962, starring Burt 

Lancaster. However, in 1959, due to poor health, Stroud was moved to the Medical Center for Federal Prisoners in Springfield, 

Missouri, where he died in 1963 at the age of 73. He had been incarcerated for 54 years, 42 of which were spent in solitary confinement. 

This archive contains many of the documents Gaddis used while researching and writing his book, including: 

*Two three-ring binders containing Stroud’s personal and legal correspondence including 23 original letters handwritten by 

Stroud and many of Stroud’s own carbon copies of typed letters, as well as an impassioned 24-page handwritten brief. 

*One tall four-ringer binder containing 

legal briefs and correspondence. 

*Gaddis’ copies of Stroud’s two bird books. 

*Gaddis’ galley copies for Birdman. 

*Gaddis’ American, English, French, 

Dutch, Italian and Spanish first editions 

of Birdman, plus later Italian and German 

editions, many with Gaddis’ bookplate. 

*Gaddis’ three large scrapbooks containing 

newspaper and magazine clippings related 

to Stroud and the publication of Birdman. 

*Two three-ring binders containing Guy 

Trosper’s original and revised screenplays 

for the movie of Birdman, as well as publicity 

stills and ancillary materials. 

*Oversized scrapbook containing clippings and pressbook for the movie. 

*An 8 by 10-inch photograph of Stroud taken in 1962, mounted on board, total size 16-1/2 by 11-1/4 inches. 

A rare archive, offering insight into the life and legal struggles of one of America’s most notorious prisoners.

“Insight Such As This Falls To One’s Lot But Once In A 

Lifetime”: First Edition In English Of Freud’s Masterpiece 

63. FREUD, Sigmund. The Interpretation of Dreams. New York, 1913. 

Octavo, original blue cloth, custom half-morrocco clamshell box. $5500. 

First edition in English of arguably the greatest book in the history of 

psychoanalysis. 

“Unquestionably Freud’s greatest single work. It contains all the basic 

components of psychoanalytic theory and practice: the erotic nature of 

dreams, the ‘Oedipus complex,’ the libido and the rest; all related to the 

background of the ‘unconscious,’ later to be called the ‘sub-conscious’” (PMM 

389). First published in German in 1899, Die Traumdeutung has “ranked 

Freud with Darwin and Marx… This book remained for Freud his greatest 

achievement.” He later wrote that it contains “‘the most valuable of all the 

discoveries it has been my good fortune to make. Insight such as this falls to 

one’s lot but once in a lifetime’” (Grolier 87). Here “Freud gave an unprecedented 

precision and force to the idea of the essential similarities of normal and 

abnormal behavior, opening up the door to the irrational that had been closed 

to Western psychology since the time of Locke… Its modest reception belied the extraordinary impact it would come to have on 

20th-century thought” (Norman-Stanford 33). With rarely found integral title page, and errata slip at page [1]. As issued without 

dust jacket. Grinstein 227. Very light occasional marginalia. Text fresh and clean, lightest edge-wear to bright gilt-lettered cloth. 

A highly desirable near-fine copy. 

Beautifully Illustrated 1716 Haggadah, Printed In Venice 

64. HAGGADAH. Seder Haggadah shel Pesah. Venice, 1716. Folio (14 by 10 

inches), period-style full black morocco gilt; ff. 26. $8500. 

Beautifully illustrated 1716 Venice Haggadah. Includes Leone Modena’s 

commentary (Tzli Esh), based on Isaac Abrabanel’s earlier commentary, 

Zevah Pesah. 

This early 18th-century Venice Haggadah was printed in the esteemed tradition 

established in the same city in the previous century. “Among its visual 

highlights were a magnificent architectural border surrounding every page of 

text, woodcut initials enclosing miniature figures and scenes, and large 

woodcut illustrations placed at the top or bottom of almost every page… arranged 

into a meaningful biblical cycle that begins with Abraham and later 

focuses on the narratives actually recalled in the text of the Haggadah” 

(Yerushalmi 44-55, regarding the extremely scarce 1609 and 1629 Venice 

editions, accurate for this edition as 

well). Includes the famous 13-panel 

illustration of the stages of the Seder, 

and the ten-panel depiction of the 

ten plagues, which became fixtures 

of illustrated Haggadahs after their 

first introduction in the 1609 Venice edition. Modena’s commentary first appeared in 

the 1629 Venetian edition; here, as in the 1629 edition, his commentary is printed 

within the architectural columns (alternating at times with the translation of the text). 

Title page and each page throughout with decorative architectural woodcut border. 

Yaari 82. Yudlov 132. Foxing and staining, several pages with marginal restoration, at 

times affecting text. A very good copy of this scarce edition, beautifully bound. 

63 


64 


“A Formative Influence On The Principles Of The Declaration 

Of Independence And Of The Early State Constitutions”: 

1698 Edition Of Locke’s Two Treatises Of Government 

65. LOCKE, John. Two Treatises of Government. London, 1698. Octavo, 

contemporary full paneled brown calf rebacked with original morocco spine 

label laid down. $8500. 

Third edition of Locke’s classic Two Treatises, “credited with great influence on 

American constitutionalism,” scarce in contemporary paneled calf. 

“In Two Treatises on Government… John Locke developed what he considered 

the ‘true original, extent and end of civil government.’ The First Treatise was 

devoted to a refutation of the theory of divine right monarchy expounded by 

Sir Robert Filmer in his Patriarcha, published in 1680. In his Second Treatise, 

Locke presented his positive views on the origins of the social order. Civil 

society and government, Locke argued, were founded on an original social 

compact entered into by autonomous individuals in a state of nature. The 

powers of government, Locke contended, were limited by the authority 

granted by the free consent of the individuals subscribing to the social 

compact. Locke’s Second Treatise has been credited with great influence on 

American constitutionalism… Locke had a profound impact…. on the theoretical basis for forming new governments… Locke 

had a formative influence on the principles of the Declaration of Independence and on the early state constitutions” (A 

Covenanted People 37). First issued in 1690 from the same publishers. Front pastedown with early inked notations, small shelf 

label. Text generally fresh with slight scattered foxing, a few small expert paper repairs, minor edge-wear to boards. 

“Vertues Which Ought To Be In A Compleat Woman”: 

1649 Edition Of Markham’s English House-Wife 

66. MARKHAM, Gervase. The English House-Wife, Containing 

the Inward and Outward Vertues which Ought to Be in a 

Compleat Woman, As Her Skill in Physick, Surgery, Cookery… 

Ordering of Great Feasts, Preserving of All Sorts of Wines. 

London, 1649. Small quarto, 19th-century three-quarter black 

calf gilt. $4200. 

Early 17th-century edition of Markham’s popular manual on 

nursing, cooking, weaving, brewing and baking, the second part of 

Country Contentments. 

One of England’s most prolific early writers on husbandry, 

sporting pastimes, and household management, Markham tailored 

his works toward introducing the landed classes to their 

various “gentle” responsibilities. This classic work, in addition to 

lengthy sections on herbal remedies and dressing wounds, contains 

whole chapters on “Skill in Cookery,” “Of Distillations,” 

and “The Excellency of Oats.” The English House-Wife first appeared 

in 1615 as the second part of Country Contentments. 

Wing M629. Cagle 854:3. Bookplate. Pencil gift inscriptions. 

Pencil bibliographic notations. Text generally quite nice, light 

wear to binding. A near-fine copy.

plato 

“The Oldest Extant Document Of Greek Philosophy… The Best Introduction To Western Philosophy 

That There Is”: First English Translations Of Plato’s Apology And Phaedo, 1675 

67. PLATO. Plato His Apology of Socrates and Phaedo or Dialogue Concerning the Immortality of Mans Soul. London, 

1675. Small octavo, period-style full black morocco gilt. $18,500. 

First edition in English of Plato’s defense of Socrates and his record of Socrates’ prison-cell discourse on the immortality of the 

soul, with engraved frontispiece of Socrates taking the cup. Considered the best introduction to Western philosophy. In a 

stunning period-style binding. 

“That Plato should be the first of all the ancient philosophers to be translated and broadcast by the printing press was inevitable… 

The germs of all ideas can be found in Plato… By 15th-century standards, Plato was a best-seller” (PMM 27). During Socrates’ 

imprisonment, Plato came to his defense, attended to him in his cell, and was present for his discussion on the immortality of the 

soul, which Plato later committed to writing as the Phaedo. This is the first appearance in English of both Plato’s Apology of Socrates 

and his Phaedo, translated from the original Greek by Walter Charleton, whose original manuscripts, “Socrates Triumphant, or 

Plato’s Apology for Socrates” (1675) and “Immortality of the Human Soul” (1657) are preserved in the British Library (DNB). The 

Apology, the oldest extant document of Greek philosophy, is “in the widest sense an example of forensic oratory” (Dunkle) and is 

“still about the best introduction to Western philosophy that there is” (Ross, Commentary). In Phaedo, Plato records Socrates’ 

suggestion that the cognitive soul may enter the world intact and that the life principle of the soul cannot wear out. Plato remained 

relatively unread in England until the 17th century, so that John Brinsley in 1612 could complain that there was no English 

translation of any of Plato’s works in print for students to use in translation exercises. The present first edition of two of Plato’s 

authentic dialogues is preceded only by the pseudo-Platonic Axiochus translated by Spenser (printed in 1592 and known by a 

unique copy only) and a selection of Plato’s dialogues printed for school use in 1673. This is the first English translation ever printed 

of authentic dialogues of Plato (Jayne, 139). Titles printed in red and black. With engraved frontispiece depicting Socrates accepting 

his cup of hemlock. Unobtrusive blind stamp to title page. Scattered light foxing. Engraved frontispiece and final leaf with expert 

restoration to edges not affecting image or text. A beautifully bound copy. 

65 


66 


crimean war 

“Still Regarded As A Brilliant Example Of Lithographic Work”: 

Simpson’s Dramatic Coverage Of The Crimean War, With 79 Large Folio Tinted Lithographs 

68. (CRIMEAN WAR) SIMPSON, William. The Seat of War in the East… First Series. BOUND WITH: Second Series. 

London, 1855, 1856. Elephant folio (15-1/2 by 22-1/2 inches), contemporary three-quarter burgundy morocco gilt. $8500. 

First edition of this remarkable series of images from the Crimean War, by the “pioneer war-artist” William Simpson, the 

complete First and Second Series with two lithographed vignette title pages and 79 large folio tinted lithographs—tinted in two 

colors—in attractive contemporary morocco. 

“After the Crimean war broke out Simpson was engaged upon views of the Baltic 

battles for Colnaghi & Son; and when that firm decided to publish a large illustrated 

work on the Crimean campaign from sketches made on the spot, Simpson was selected 

for the work on Day’s recommendation. He started on short notice, arrived at Balaclava 

in November 1854, and remained with the British army till the fall of Sebastopol. 

Simpson was thus the pioneer war-artist, and received several commissions to paint 

incidents in the war for the queen. The Seat of War in the East was published in two 

volumes by Colnaghi in 1855-6, and is still regarded as a brilliant example of 

lithographic work” (DNB). “These plates are indeed an impressive piece of work, not 

only artistically and technically, but also as pictorial reporting. Simpson must in this 

way rank as an early war correspondent” (Abbey). Simpson covered one of the first 

wars to be documented extensively in written reports, drawings and even photographs. 

News correspondence reaching Britain from the Crimea was the first time the public 

could follow the day-to-day realities of war. Both series were published in ten parts. 

This work was also issued with the plates hand-colored. Abbey Travel 237. Plate 17 in 

the First Series with marginal paper repair, not affecting image or caption. Occasional 

foxing, chiefly marginal, images generally clean and fine. Light rubbing to attractive 

contemporary morocco binding. An excellent copy.

“The First And Greatest Classic Of Modern Economic 

Thought”: Scarce Five-Volume Set Of Adam Smith’s 

Two Major Works, 1804 Moral Sentiments And 

1806 Wealth Of Nations 

69. SMITH, Adam. The Theory of Moral Sentiments. WITH: An 

Inquiry Into the Nature and Causes of the Wealth of Nations. London 

and Edinburgh, 1804, 1806. Five volumes, uniformly bound. Octavo, 

contemporary full brown calf gilt. $11,000. 

Early editions of Smith’s two landmark works—the two-volume Moral 

Sentiments with the three-volume Wealth of Nations—uniformly bound in 

handsome contemporary calf. 

With Moral Sentiments and Wealth of Nations, Adam Smith crafted “not 

merely a treatise on moral philosophy and a treatise on economics, but a 

complete moral and political philosophy, in which the two elements of 

history and theory were to be closely conjoined” (Palgrave III:412). Written 

while Smith was a professor of moral philosophy in Glasgow, Moral Sentiments laid the foundation for Wealth of Nations and 

proposed the theory expanded there.” Wealth of Nations is of even more monumental impact, for this was “the first major expression 

of… the theory that the individual had to the right to be unimpeded in the exercise of economic activity… It is the first and 

greatest classic of modern economic thought” (PMM 221). This is the tenth edition of Moral Sentiments, first published in 1759, 

and the eighth overall edition and first Edinburgh edition of Wealth of Nations, first published in 1776. Moral Sentiments with half 

titles, Wealth of Nations without half titles. Tribe 80, 90. Kress B5117. Goldsmiths 16558. Interiors fine; light rubbing to contemporary 

bindings; front joint of Volume I of Moral Sentiments a bit tender. A handsome, near-fine set of these two important works. 

“All The Excellencies That Narration Can Admit” (Johnson): Knolles’ Illustrated Generall Historie 

Of The Turkes, 1631, Bound With His 1620 Lives Of The Othoman Kings And Emperors 

70. KNOLLES, Richard. Generall Historie of the Turkes. BOUND 

WITH: The Lives of the Othoman Kings and Emperors. London, 1631, 

1620. Thick folio (9 by 13 inches), contemporary full brown paneled calf 

rebacked $8800. 

Enlarged 1631 edition of Knolles great Generall History together with the 

scarce early 1620 edition of his Lives of the Othoman Kings and Emperors, 

containing 32 engraved medallion portraits of the sultans and a battle 

scene, engraved title page, and woodcut head- and tailpieces and initials 

throughout. 

“The recent victories of Mahomet III over the Christians must have rendered 

the Turkish question of vital interest to the security of Europe, and the 

struggle remained in the balance till the end of the 17th century” (Hind). 

First published in 1603, Knolles’ work earned the praise of Samuel Johnson: 

“None of our writers can, in my opinion, justly contest the superiority of 

Knolles, who, in his History of the Turks, has displayed all the excellencies 

that narration can admit. His style,… is pure, nervous, elevated, and clear” 

(Rambler, No. 122). And Byron, shortly before his death, wrote, “Old Knolles 

was one of the first books that gave me pleasure when a child; and I believe it 

had much influence on my future wishes to visit the Levant, and gave perhaps 

the oriental colouring which is observed in my poetry” (DNB). Trace of early ownership signature dated 1794. Occasional lightly 

penciled underlining. Text and plates generally fresh with minor wormholing, engraved title page with expert restoration, early 

archival tape reinforcement to gutter edge of dedication leaf. A highly desirable extremely good copy. 

67 


68 

new acquisitions in a ll Fields | autumn 2012 | a mericana 

americana 

the civil war/harper’s weekly 

“A Delight To The Casual Reader And A Rich Treasury For The Historical Investigator”: 

Five Volumes Of Harper’s Weekly, 1861-65, Covering The Civil War Years, 

With Numerous Wood-Engravings By Homer And Nast 

71. (CIVIL WAR) Harper’s Weekly. Volumes V-IX. New York, 1861-65. Five volumes. Large thick folio (12 by 16 inches), 

publisher’s brown cloth gilt rebacked with original spines laid down. $13,500. 

Critical run of one of the great contemporary historical sources of the Civil War, containing first-hand accounts from the 

battlefield and thousands of wood-engraved illustrations by such noted American artists as Winslow Homer and Thomas Nast, 

including many scenes of battle and camp, portraits of officers, political cartoons, maps and battle plans. A lovely set, quite rare 

in publisher’s original cloth. 

Begun in 1857, Harper’s Weekly remains one of the most valuable primary sources for understanding 19th-century American 

life. “Here is a vital illustrated history… The combination of pictures, politics, essays and fiction gives [Harper’s] first-rate 

importance” (Mott, 469). Issues from the Civil War years contain not only dramatic first-hand accounts from the battlefronts, 

but graphic scenes of engagement in the field and life in the camps. From the first encounter at Fort Sumter, through all the 

hard-fought campaigns and into the beginnings of Reconstruction, Harper’s chronicles the bloody years that indelibly shaped 

the future of the United States. Virtually every page offers insight into this pivotal era, with thousands of wood-engravings, a 

great many by Winslow Homer and Thomas Nast. The year 1862 contains three of Homer’s most memorable and collected pieces 

from his Civil War years: “The Sharpshooter,” “The Surgeon,” and “Thanksgiving in Camp.” Political cartoonist Thomas Nast 

joined Harper’s in 1862, producing 55 signed engravings, among them the well-known source for our modern-day Santa Claus 

(issue for December 26, 1863). One of Nast’s cartoons, “Compromise with the South,” was said to have re-elected Lincoln in 

1864. See Mott, 469-87; Beam, 250-59; Paine, 98-104. Lomazow 648. Interiors fine, rare original publisher’s cloth in exceptional 

condition with only light restoration, gilt very bright. A beautiful set.

“Congress Shall Make No Law”: 

1791 Constitutions, First Collected Printing 

Of The U.S. Constitution And 12 Proposed 

Amendments, The Declaration Of Independence, 

And 14 State Constitutions 

72. (CONSTITUTION) UNITED STATES CONGRESS. 

The Constitutions of the United States. Philadelphia, 1791. 

12mo, contemporary full tree sheep rebacked. $12,000. 

1791 edition of the Constitutions, very scarce first collection of 

state constitutions published after the ratification of the U.S. 

Constitution, the first to assemble a printing of the U.S. 

Constitution together with 12 proposed amendments, and the 

first to include the constitution of Vermont along with those 

of the 13 original states, including that of Massachusetts— 

“the oldest functioning written constitution in the world”— 

especially scarce in contemporary boards. 

Writing from Paris in December 1787, Thomas Jefferson responded to a letter from Madison that outlined the newly constructed 

federal Constitution. Though unhappy with its “omission of a bill of rights,” Jefferson approved of this “government which 

should go on of itself peaceably” (LOA, Constitution I:210). Also contains the 12 constitutional amendments proposed by 

Congress in 1789. Evans 23887. Howes C716. Contemporary owner signature. Text generally fresh with minimal embrowning to 

edges of a few leaves, light marginal expert restoration to title page and last leaf, expert restoration to contemporary boards. 

Extremely good. 

“The Greatest, Perhaps, Since The Time 

Of Sir Isaac Newton”: Rare First Printing 

Of Franklin’s Electrical Kite Experiment 

73. FRANKLIN, Benjamin. A Letter… concerning the 

Effects of Lightning. BOUND WITH: A Letter… 

concerning an electrical Kite. IN: Philosophical 

Transactions. Volume XLVII. London, 1753. Thick quarto, 

period-style full brown calf. $11,000. 

Rare first publication of Benjamin Franklin’s electrical 

kite experiment, documented by him in his famed October 

1, 1752 letter to the Royal Society—here published for the 

first time in this Volume XLVII of Philosophical 

Transactions—offering Franklin’s proof that “lightning is really an electrical phenomenon. 

Others had made such a suggestion before him—even Newton himself—but it was he who 

provided the experimental proof” (PMM). This important volume of Philosophical 

Transactions also contains the first publication of Franklin’s June 20, 1751 Letter… 

concerning the Effects of Lightning, along with Watson’s review of Franklin’s Experiments 

and Observations on Electricity and over 90 additional scientific papers. 

“In his lifetime, science illuminated Franklin with a brilliant electrical flash.” Like his 

20th-century counterpart Einstein, to whom he is often compared, Franklin possessed “an 

uncanny gift in science… Each man redefined the very fabric of material reality” (Chaplin, 1-5). With 18 of 20 folding engraved 

plates (without plates VII and XIV: neither illustrating the Franklin papers). Text and plates very fresh with only light scattered 

foxing, small closed marginal tear to one leaf minimally affecting text (197). A scarce near-fine copy, handsomely bound. 

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new acquisitions in a ll Fields | autumn 2012 | a mericana

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“They Will Not Find A Rebellion: They May 

Indeed Make One”: The Only Collection Of 

Franklin’s Political Writings Printed In His 

Lifetime And With His Consent 

74. FRANKLIN, Benjamin. Political, Miscellaneous, and 

Philosophical Pieces. London, 1779. Thick octavo, contemporary 

three-quarter calf sympathetically rebacked. $12,500. 

First edition, scarce octavo issue, of this major collection of 

Franklin’s writings, many printed here for the first time, containing 

his powerful testimony before Parliament in 1766, in 

which his eloquent answers to questions about the Stamp Act 

and other incendiary measures 

made Franklin “the 

foremost spokesman for the 

American cause,” printed 

with “substantially the same 

setting of type” as quarto issue, complete with frontispiece portrait of Franklin, three engraved 

plates (one folding) and folding table, handsomely bound. 

This seminal collection contains many of his writings on the rebellious American colonies 

and incendiary British measures such as the Stamp Act. Asked how Americans might react 

to a British army sent to enforce the Stamp Act, Franklin replied that if such an army 

landed on American shores: “They will not find a rebellion: they may indeed make one” 

(275-6). Also includes pieces on the “Way to Wealth,” language, scientific experiments and 

observations on the Aurora Borealis. Ford 342. Text generally fresh with light scattered 

foxing. Extremely good, scarce. 

“The First Great American”: Franklin’s Works, 

Including The First American Appearance Of The 

Memoirs Of The Life And Writings Of Benjamin Franklin 

75. FRANKLIN, Benjamin. Memoirs of the Life and Writings of 

Benjamin Franklin. Philadelphia, 1808-18. Six volumes. Octavo, 

modern full red morocco gilt. $4000. 

First American appearance of Franklin’s Autobiography as originally 

written by him, together with an early collection of Franklin’s Works, a 

splendid six-volume set illustrated with two frontispiece portraits and 

12 engraved plates (most folding), handsomely bound. 

Hailed as the “first great American” by historian Frederick Jackson 

Turner, Benjamin Franklin “held true to a fundamental ideal with unwavering 

and at times heroic fortitude: a faith in the wisdom of the 

common citizen” (Isaacson, 478-93). Franklin’s autobiographical writings 

cover the years from his birth in 1706 through 1759 only, and were written by him at four different periods between 1771 and 

1789. Curiously, the first two of the four parts originally appeared in French (1791, 1798) and, before 1818, all English versions were 

re-translations from those French editions. This 1818 edition of Franklin’s writings, edited by his grandson, includes the first 

American appearance of any part of the Autobiography in the original English, as written by Franklin, as well as the first American 

appearance of the third and largest part of his Autobiography (covering 1731-1757), preceded only by the same year’s London 

quarto and octavo editions. Ford 568. Text and plates generally fresh with light scattered foxing, small bit of tape reinforcement 

to verso of folding Chart. An extremely good copy.

mckenney and hall 

“Truly A Landmark In American Culture”: 

McKenney’s Indian Tribes Of North America, 

With 120 Splendid Hand-Colored Plates 

76. MCKENNEY, Thomas and HALL, James. History of the Indian Tribes 

of North America, with Biographical Sketches and Anecdotes of the Principal 

Chiefs. Philadelphia, 1858. Three volumes. Royal octavo, original deluxe full 

brown morocco. $33,000. 

Early octavo edition of one of the most recognized and desirable American color 

plate books produced in the 19th century, illustrated with 120 splendid fully 

hand-colored lithographic plates by J.T. Bowen after Charles Bird King’s 

original oil paintings, “the most colorful portraits of Indians ever executed” 

(Howes). Beautifully bound in publisher’s deluxe morocco. 

In commissioning the Indian Tribes of North America, McKenney aimed to 

educate the American public about these greatly exotic warriors and chiefs and to 

preserve them for posterity in a series of beautiful portraits. Most of the original 

oil portraits were painted from life in studio of Charles Bird King, to whom 

McKenney brought many of the subjects. The rest were copied from watercolors 

executed in the field by a young frontier artist named James Otto Lewis. The 

finished portraits resided in the Smithsonian until 1865, when fire consumed the 

institution and destroyed most of the paintings. As a result, the folio and octavo 

editions are particularly vital in their “faithful recording of the features and dress 

of celebrated American Indians who lived and died long before the age of 

photography” (McKenney-Hall Portrait Gallery, 23). Howes M129. Field 992. See 

Sabin 43411. Owner signature. Plates bright and vividly colored, interiors 

generally clean, with only occasional finger-marks. Publisher’s deluxe morocco 

bindings beautiful. 

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“The Hopes And Prayers Of Liberty-Loving 

People Everywhere March With You”: 

Signed Limited First Edition Of 

Crusade In Europe, Signed By Eisenhower 

77. (PRESIDENTS) EISENHOWER, Dwight D. 

Crusade in Europe. Garden City, 1948. Thick octavo, 

original tan linen, acetate, slipcase, custom clamshell 

box. $7000. 

Signed limited first edition, one of 1426 copies signed 

by Eisenhower at the bottom of a facsimile of his 

D-Day message to Allied troops. 

Eisenhower’s memoir provides an important and 

unique perspective on the difficult command-level 

decisions that decided the outcome of World War II. 

Included are numerous battlefield and theater maps (a 

number in color), as well as photographic illustrations 

selected by Edward Steichen. Owner inkstamp to 

limitation page. Original slipcase lightly worn. Crease 

to rear flap of original acetate. Book fine. 

Inscribed By John F. Kennedy: Profiles In Courage 

78. (PRESIDENTS) KENNEDY, John F. Profiles in Courage. New 

York, 1956. Octavo, original black and blue cloth, dust jacket, custom 


First edition, early printing, of Kennedy’s best-known book, warmly 

inscribed by him: “To Father Charles Morsan. With very fond wishes. 

John Kennedy.” 

“A series of sketches of American politicians who risked their careers 

in the cause of principle… ‘A man does what he must,’ Kennedy 

wrote, ‘—in spite of personal consequences, in spite of obstacles and 

dangers and pressures—and that is the basis of all human morality’… 

the book was popular history of high 

order, and it received the Pulitzer Prize 

for biography in 1957” (DAB). Book fine, 

dust jacket bright and extremely good 

with light edge-wear. A most desirable 

inscribed copy.

john f. kennedy 

Presentation First Edition Of To Turn The Tide, Inscribed And Signed By JFK 

79. KENNEDY, John F. To Turn the Tide. New York, 1962. Octavo, original black cloth, dust jacket. $18,500. 

First edition, a scarce presentation copy inscribed and signed in the year of publication by John F. Kennedy to Jacqueline 

Kennedy’s trusted White House Personal Assistant, Providencia Paredes: “To Provi—With warmest regards, John F. 

Kennedy, 1962,” with the First Lady’s personal engraved calling card laid in. 

Providencia Paredes, the recipient of this scarce presentation copy inscribed by John F. Kennedy, was Mrs. Kennedy’s 

White House personal assistant. Mrs. Paredes was introduced to John F. Kennedy by Evelyn Lincoln, his personal secretary, 

and after meeting with Jacqueline Kennedy, began working for the Kennedys in their Georgetown home. After JFK was 

elected President, Mrs. Paredes became a U.S. citizen and accompanied them to the White House. Jacqueline Kennedy’s 

Secret Service agent Clint Hill recalled: “The first staff member I met was Providencia Paredes, whom Mrs. Kennedy 

introduced as her ‘personal assistant,’ Everybody called her ‘Provi’… Whatever Mrs. Kennedy needed, Provi was there to 

assist” (Mrs. Kennedy and Me). Mrs. Paredes, who traveled widely with the President and Mrs. Kennedy on numerous state 

trips, was in Dallas with the President and First Lady on November 22, 1963, and stood with the Kennedy family at 

Arlington on November 25, 1963. She returned to Arlington in 1994 for the funeral of Jacqueline Kennedy Onassis. In her 

Last Will and Testament, the former First Lady remembered her trusted personal assistant: “I give and bequeath to 

Providencia Paredes, if she survives me, the amount of Fifty Thousand Dollars.” To Turn the Tide contains Kennedy’s 

statements and addresses from his election through the 1961 adjournment of Congress. With Signed copies of this work 

are rarely found and much scarcer than signed copies of Profiles in Courage. With Mrs. Kennedy’s engraved personal calling 

card (3-1/4 by 2/14 inches) laid in. Lightest edge-wear, only faint soiling to dust jacket. A fine inscribed presentation copy. 

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abraham lincoln 

Exceptional 1862 Military Appointment, Signed By Abraham Lincoln As President 

80. (PRESIDENTS) LINCOLN, Abraham. Engraved document signed. Washington, July 18, 1862. Single vellum sheet 

(16 by 19-1/2 inches), partially printed and finished in a secretarial hand, embossed blue paper seal. Framed piece measures 

23 by 24 inches. $17,800. 

Fine Lincoln Civil War document appointing Samuel Breck as Assistant Adjutant General with the rank of Major, 

countersigned by Edwin M. Stanton, Secretary of War, and docketed by Adjutant General Lorenzo Thomas, with fragile 

paper seal. Lincoln’s signature bold and fine. 

Career officer Samuel Breck “graduated the United States Military Academy in 1855 and served in the Florida War of 

1855-56. He was Assistant Professor of geography, history, and ethics at the Academy in 1860-61. During the Civil War 

he served as Assistant Adjutant-General of Gen. McDowell’s division in the beginning of 1862… and [later in the year] 

of the Department of the Rappahannock, being engaged in the occupation of Fredericksburg and the Shenandoah 

Valley expedition” (Appleton’s). Breck received three brevets for war service (Boatner, 82). From 1870 onward he served 

in Washington as Assistant Adjutant-General in charge of rolls, returns, and the preparation of the Volunteer Army 

Register, under General George D. Ruggles, whom in 1897 he succeeded as Adjutant General of the Army with the rank 

of Brigadier General (New York Times). A beautiful example in fine condition, Lincoln’s signature bold and fine.

“A House Divided Against Itself Cannot Stand”: 

First Edition, First Issue, Of The Lincoln-Douglas Debates, 1860 

81. (PRESIDENTS) (LINCOLN-DOUGLAS DEBATES) LINCOLN, 

Abraham. Political Debates Between Hon. Abraham Lincoln and Hon. 

Stephen A. Douglas. Columbus, 1860. Octavo, original brown cloth, custom 

clamshell box. $8000. 

First edition, first issue, of the most famous debates in American history, the 

event that transformed Lincoln into a national presidential candidate, scarce 

in original cloth. 

Running as a little-known candidate for the Illinois senatorship in 1858, Lincoln 

challenged incumbent and Democratic leader Stephen Douglas to a series of 

debates. The result was a memorable chain of lively arguments in front of 

cheering crowds. Though Lincoln lost the senatorial race, “he began collecting 

a scrapbook of his best speeches, particularly those from the just-concluded 

campaign against Douglas, for possible inclusion in a book. Assiduously pasting 

newspaper accounts of the debates into the scrapbook, Lincoln cast about for a 

publisher. Initial efforts failed, mainly because Lincoln wanted the book printed 

in Springfield, which had no local publishing or printing facilities. Eventually, 

however, the Columbus, Ohio, firm of Follett, Foster & Company showed interest, and he began preparing the first edition… 

Somewhat surprisingly for an attorney, Lincoln did not seek Douglas’ permission to publish a book of their combined speeches, 

although Douglas was later given the last-minute opportunity—he declined—to make corrections to his own remarks” (Morris, 

121). Faint ink owner signature. Pencil owner signature. Old ink marginalia. Evidence of bookplate removal. Light foxing to 

interior as usual, a bit of wear mainly to extremities of cloth. An extremely good copy. 

Lincoln Writes To The Secretary Of War 

82. (PRESIDENTS) LINCOLN, Abraham. Autograph 

directive signed. No place, March 23, 1863. Single 

sheet (4 by 3 inches), writing on recto only; framed 

with portrait, entire piece 17 by 13 inches. $16,000. 

Autograph directive signed by President Abraham 

Lincoln: “Sec. Of War, please see the bearer & appoint 

him a Quarter-Master, if another is needed. A. Lincoln. 

March 23, 1863.” 

This directive was addressed to Edwin Stanton, Lincoln’s 

dynamic Secretary of War. March, 1863 was a pivotal 

month for both Stanton and Lincoln. By 1863, it had 

become apparent that the Union Army was not going to 

be able to maintain necessary troop levels, so Stanton initiated the first forced conscription in 

U.S. history with the March 3 Enrollment Act, which precipitated the week-long Draft Riots. 

“During the course of the war, Stanton’s response to Lincoln evolved from disdain to respect and 

warm affection. While the two men often disagreed, the president was able to soften the war 

secretary’s harsh demeanor… and they became close friends” (ANB). Note docketed in red ink 

above Lincoln’s note, and addressed in another hand across note. Fine condition, with Lincoln’s 

writing and signature fine and bold, handsomely framed. 

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Handsome Original Oil Portrait Of Washington 

83. (PRESIDENTS) (WASHINGTON, George) KENDE, Geza. Portrait of Washington. No place, circa 1930. 

Oil portrait on canvas, image measures approximately 20 by 30 inches. Handsomely framed, entire piece measures 

29 by 39 inches. $16,000. 

Handsome large full-length oil portrait of George Washington. 

Artist Geza Kende trained at the National Academy of Art in Budapest. After emigrating to the United States, he 

settled in Los Angeles in 1932, where he lived until his death in 1952. The full-length portrait, modeled on the 

Lansdowne portrait by Gilbert Stuart (which served as the basis for the image on the one dollar bill), depicts 

Washington in a black suit standing against a column with a ceremonial sword in his left hand and a scroll in the 

right. A beautiful item in excellent condition. 

“The Public Promptly Christened Us The ‘Rough Riders’”: 

1899 First Edition Of The Rough Riders, 

Signed By Theodore Roosevelt 

84. (PRESIDENTS) ROOSEVELT, Theodore. The Rough Riders. 

New York, 1899. Octavo, original gilt-stamped brown cloth, custom 

slipcase and chemise. $9000. 

First edition of Roosevelt’s stirring memoir of the Spanish-American 

War’s Rough Riders, boldly signed by him, illustrated with frontispiece 

portrait and 43 black-and-white photographs (one doublepage) 

and illustrations, including one by Frederic Remington, in 

original cloth. 

Roosevelt resigned his position as Assistant Secretary of the Navy in 

May 1898 to organize the Rough Riders (officially the First Volunteer 

U.S. Cavalry Regiment), made 

up of a mix of cowboys and Ivy 

League students and graduates, 

for the impending war 

with Spain. He soon became 

colonel of the regiment 

and led it to glory at 

Kettle Hill and Santiago. Roosevelt parlayed his victories on the battlefield into victories 

in the political arena, and “less than two weeks after the Rough Riders were 

mustered out in September 1898, Colonel Roosevelt became the Republican gubernatorial 

candidate” for New York (ANB). He rapidly ascended from there: the year after 

this volume was published, he was selected to be McKinley’s vice-presidential running 

mate, and the following year, became president, at age 43, upon McKinley’s assassination. 

Wheelock, 11. Interior fine; light rubbing to extremities, light soiling to original 

cloth. A near-fine copy, scarce signed. 

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franklin d. roosevelt 

Magnificent Limited Edition Of FDR’s D-Day Prayer, 

One Of Only 50 Copies, Broadcast The Night Of The Normandy Invasion 

85. (PRESIDENTS) ROOSEVELT, Franklin D. Lithographic broadside, “D-Day Prayer.” Washington, Christmas 1944. 

Broadside (14 by 21 inches), handsomely framed, entire piece measures 19-1/2 by 25 inches. $18,000. 

Limited edition of this rare broadside of the “D-Day Prayer,” one of only 50 exquisitely printed copies issued by President 

Roosevelt for his close friends, handsomely printed in gothic type with red- blue- and gold ink textual embellishments. 

The text of the broadside, now known as the “D-Day Prayer,” was originally titled “Let Our Hearts Be Stout.” On June 6th, 1944, 

while American and Allied troops stormed the beaches at Normandy, Roosevelt released the text of a prayer in the afternoon 

which he then delivered by radio to the nation at 10:00 p.m., Eastern time. It is estimated, according to Andrew Malcolm, that 

as many as 100 million people listened to it. “The prayer does not invoke one faith, but the appeal to God is bold and unapologetic. 

The D-Day Prayer was an extraordinary event in U.S. religious history” (Malcolm). This copy belonged to the descendants of 

John Boettiger, who was married to Roosevelt’s daughter Anna in 1944 (they later divorced). According to family lore, Boettiger 

and Anna assisted in the writing of the speech. Small expertly repaired marginal tear, faintest scattered foxing. A beautiful 

near-fine copy of an important historical item. Quite rare, beautifully framed.

“Should Be Included In Texas Collections”: 

First Edition Of Maillard’s History Of The 

Republic Of Texas, 1842, With Large Color- 

Outlined Folding Map Of Texas 

87. MAILLARD, N. Doran. The History of the Republic of 

Texas. London, 1842. Octavo, original blind-stamped green 

cloth recased. $12,000. 

First edition of this notorious History, covering the first 

encounters between Native Americans and the Spanish 

through the early 1840s, a scarce work important to Texas 

collectors “as an example of what can be said about Texas by 

one who hates it,” with printings of official documents and 

original material on the Texas Revolution, and a large 

color-outlined map of Texas. 

Signed By The Bambino 

86. RUTH, Babe and CONSIDINE, Bob. The Babe Ruth Story. New York, 

1948. Octavo, original red cloth, custom clamshell box. $12,500. 

First edition of Babe Ruth’s autobiography, illustrated with 49 photographs, 

signed by Ruth in blue ink on the half title. 

“Millions of words have been written about Babe Ruth since he first donned a 

major league uniform in 1914, but this is the first time the Babe himself has 

told the incredible story of his sensational career.” Ruth signatures from 1948 

are quite scarce, as he was in very poor health for much of that year and ultimately 

died on August 16th. Smith 18833. Grobani 8-19. Owner signature to 

front free endpaper and dedication page. 

Interior fine; light soiling to original cloth 

with expert restoration to extremities. 

Dust jacket with expert restoration. An 

extremely good copy, exceptionally scarce 

with Ruth’s signature. 

British lawyer Maillard arrived in Texas in 1839, settling in 

Richmond, Texas and becoming a co-editor of the Richmond 

Telescope. Within a year, however, he returned to England 

“and immediately began writing letters to the press and to 

British officials condemning Texas.” Written in response to 

Kennedy’s pro-Texas Rise, Progress, and Prospects of the 

Republic of Texas (1841), Maillard’s History is widely held as “the most vitriolic denunciation of 

the Republic of Texas, written with absolutely no regard for the truth… Graff called it ‘Texas cut down to size—a difficult feat 

even in 1842.’” Historians nevertheless emphasize this “should be included in Texas collections as an example of what can be 

said about Texas by one who hates it.” He characterizes Texas as “‘a country filled with habitual liars, drunkards, blasphemers, 

and slanderers; sanguinary gamesters and cold-blooded assassins.’” Maillard’s useful perspective on Indians and slavery is 

valued, however, as is the book’s large folding map of Texas: “for among its classifications shown in colored lines are the 

political boundaries of Texas under Spain and the territory now ‘absolutely in possession of the Texians’” (Streeter, Texas 1422). 

Graff 2663. Bookseller ticket. Institutional inkstamp to title page, first text leaf and margin of one leaf (201). Text generally fresh 

and clean, expert repairs to folding map, expert restoration to original cloth. 

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new acquisitions in a ll Fields | autumn 2012 | travel and exploration 

traveL and exPLoration 

“For 160 Days We Marched Through The Forest”: 

Deluxe First Edition Of In Darkest Africa, 1890, 

One Of Only 250 Copies Signed By Stanley 

88. STANLEY, Henry M. In Darkest Africa or the Quest, Rescue 

and Retreat of Emin Governor of Equatoria. New York, 1890. Two 

volumes. Large thick quarto (10 by 12 inches), publisher’s threequarter 

dark brown morocco. $16,000. 

Deluxe signed limited first edition, American issue, one of only 250 

copies signed by Stanley. Profusely illustrated with engraved frontispieces, 

38 mounted plates on India paper, six additional fullpage 

etchings (each signed by the artist), three color folding 

maps (two backed in cloth), a folding table of comparative 

vocabularies, and numerous mounted, in-text India-prints. 

Perhaps no adventurer is more closely connected with Africa 

than Stanley, whose expeditions did more to reveal the nature of that continent than any modern explorer. His 1887 mission to 

relieve the besieged governor of Egypt, his last mission to Africa, ended miserably when Stanley arrived only to learn that the 

governor did not care to be relieved, but instead was angry at the Englishman for interfering in his affairs. This account contains 

the harrowing details of Stanley’s journey through the nearly impenetrable Ituri, or Great Congo, Forest, which he traversed not 

once but three times over the course of his travels. The conditions were brutal; sometimes the expedition could achieve no more 

than three or four hundred yards an hour. Along the way Stanley compiled important data on the Pygmies and discovered the 

Ruwenzori, or “Mountains of the Moon.” The perilous journey nearly cost Stanley his life, and only a third of the men with whom 

he set out returned alive. Published in the same year as the English issue (also limited to 250 copies). Hosken, 189. Interiors fine, 

expert reinforcement to Volume II front inner hinge. Light wear to morocco extremities, light soiling to vellum boards (as 

often). Near-fine condition. 

Richly Illustrated And Finely Bound Large Folio Atlas Of Australasia 

89. (AUSTRALIA) GARRAN, Andrew. The Picturesque Atlas of 

Australasia. Sydney and Melbourne, 1886. Three volumes. Large folio 

(14 by 17-1/2 inches), period-style three-quarter blue straight-grain 

morocco gilt. $7800. 

First edition of this profusely illustrated late 19th-century history of 

Australia, New Zealand and the South Pacific, with 23 color-printed maps 

(seven large folding), 41 full-page wood-engravings, and hundreds of fine 

in-text wood-engravings of historical scenes and personages, local customs, 

natural history and landscapes. 

First published in 1886 by Andrew Garran, editor of the Sydney Morning 

Herald and one of the earliest supporters of the federation of Australia, this 

monumental history includes maps of Tasmania, Oceania, New Zealand, 

the Fiji Islands and New Guinea. Numerous historical essays detail aboriginal 

life, as well as the European explorations and colonial settlements. The 

art editor was Frederick B. Schell, prolific illustrator for Harper’s Weekly 

and Leslie’s Illustrated Magazine, and for years Frederic Remington’s editor. 

“No expense was spared and some of Australia’s finest landscape artists 

such as Julian Rossi Ashton and Arthur Henry Fullwood were commissioned 

to travel to different areas and paint the most historically interesting or beautiful views available” (Mill Pharmacy). 

The result is not only a splendid written history, but a rich visual history as well—a tour de force of the art of engraving on 

wood. Scattered foxing. An excellent set.

“Frowning And Fierceness Prove Not Manliness”: 

Rare First Edition Of Burton’s Wit And Wisdom From West Africa, 

1865, Explorer Henry Stanley’s Copy 

90. BURTON, Richard Francis, compiler. Wit and Wisdom from West Africa. 

London, 1865. Octavo, contemporary three-quarter red morocco, custom clamshell 

box. $12,000. 

First edition of Burton’s collected African folk wisdom and his own observations 

from his three years of travels in West Africa, handsomely bound. This copy from the 

library of Henry Morton Stanley. 

“Burton’s life abounds in strange, mysterious, dark passages, but the three years in West 

Africa—three years that must have seemed like an eternity of hell—are among the 

strangest. Three years in a stinking, malarial, undeveloped, miasmic, ignorant, nasty 

backwater!… That he wrote a lot of books—nine fat volumes—during those three years 

is a matter of record, books that are pedantically, obsessively entranced with facts, with 

details, with the layering up of information. As virtually always, any single one of them would have been enough to make another 

man’s reputation, to ensure a safe berth in a university or a foreign office” (Rice, 481). “This is a very interesting work… rare, especially 

if in good condition” (Penzer, 75). The copy of Henry Morton Stanley, sold at the 2002 auction of his personal collection, which 

focused mainly on Africana. Perhaps no adventurer is more closely connected with Africa than Lord Stanley, whose various 

expeditions did more to reveal the nature of that continent than those of any other modern explorer. Stanley’s journey of 1874-77 “left 

an enduring impress upon history: for out of it grew the Congo State and the Anglo-Egyptian dominion on the Upper Nile” (DNB). 

Interior fine, light rubbing and soiling to binding. A desirably copy, scarce in such nice condition. 

Burton’s Scarce First Footsteps In East Africa, With Four Chromolithographs And Two Maps, 

From The Library Of Comte De Chambord, Henri V Of France 

91. BURTON, Richard F. First Footsteps in East Africa; or, An Exploration of 

Harar. London, 1856. Octavo, original blind-stamped red cloth. $8500. 

First edition of one of the best and most sought-after of Burton’s works, his account 

of his visit to the forbidden city of Harar and his ill-fated expedition into Somalia, 

illustrated with four chromolithographed plates and two maps, from the library of 

Comte de Chambord, Henri V of France, whose claim to the throne after his father’s 

assassination was ultimately unsuccessful. 

“To test his capacity for African exploration, Burton first made a journey to the 

‘forbidden’ city of Harar in Somaliland, where the emir was reputed to execute all 

infidels on sight [and where it was rumored no white man had ever gone before. 

Disguised as an Arab merchant] Burton entered the city. But Harar capitulated to 

Burton as Jericho to Joshua. Then disaster struck. Hostile Somalis attacked the 

camp at Berbera… Burton and Speke escaped with their lives but only after being 

within a hair’s breadth of death and having sustained terrible wounds. Ever after 

Burton bore on his cheek a hideous disfiguring scar where a Somali lance had 

transfixed his jaw” (McLynn, 59). This copy is second issue, as usual; the almost 

unobtainable first issue was suppressed due to an appendix detailing Nubian rituals of female circumcision. Penzer, 60-63. 

From the Library of Comte de Chambord, Henri V of France and Duke of Bordeuax. While he was never officially proclaimed 

King as Henri V, the Comte de Chambord (born after the assassination of his father, the duc de Berry) reigned in dispute from 

August 2-9, 1830 before he was forced into exile. Henri, who preferred the title of Comte de Chambord, nevertheless persisted in 

his claim to the throne. Bookplate, bookseller tickets. Text and plates fresh with light scattered foxing (less than usually found), 

faint soiling to bright gilt cloth. A near-fine copy, quite scarce in such lovely condition. 

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“One Of The Most Illustrious Of English Navigators” (PMM): 

Folio History Of Cook’s And Other Major English Voyages, 

1784-86, With 157 Copperplate Illustrations And Maps 

92. (COOK, James) ANDERSON, George 

William. New, Authentic, and Complete 

Collection of Voyages Round the World… 

Containing an Authentic, Entertaining, 

Full, and Complete History of Captain 

Cook’s First, Second, Third and Last 

Voyages. London, 1784-86. Thick folio (10- 

1/2 by 15 inches), contemporary full brown 

tree calf rebacked. $9500. 

Richly illustrated first edition account of 

the “first really scientific navigator,” with 

engraved frontispiece portrait of Cook, 

124 magnificent full-page plates of elevations, 

views, inhabitants, utensils, flora 

and fauna, and 32 maps and charts—including 

a large folding map of the world. 

The only 18th-century explorer to lead 

more than one Pacific voyage, Cook 

embarked on three circumnavigations between 1768 and 1776, essentially transforming into their modern form the dangerously 

unreliable maps of the Pacific’s expanse and the New World’s western coast. “In three great voyages Cook did more to clarify the 

geographical knowledge of the Southern Hemisphere than all his predecessors had done together. He was the first really 

scientific navigator and his voyages made great contributions to many fields of knowledge” (Hill). In addition to Cook’s voyages, 

this “important compilation of English voyages” includes accounts of the voyages of Sir Francis Drake, Lord Anson, Philip Carteret, 

Samuel Wallis, John Byron and Lord Mulgrave. Beddie 19. Owner signature. First and last few leaves and map of the world 

mounted on heavy stock, small worm hole to margin of first six gatherings (and plates), just touching an occasional word, staining 

and marginal repairs to last five gatherings (and plates). An extremely good copy. 

“The Most Compelling Justification For Cook’s Voyages”: 

First Edition Of The First Biography Of Captain Cook, 1788 

93. (COOK, James) KIPPIS, Andrew. The Life of Captain James Cook. 

London, 1788. Quarto, contemporary brown tree calf gilt rebacked. $8000. 

First edition of the first biography of Captain James Cook, with frontispiece 

portrait by James Heath, bound in contemporary tree calf boards. 

“This work contains an admirable precis of the three voyages, with valuable 

information from the original sources. It introduces most of Samwell’s Narative 

of Captain Cook’s Death, and also gives accounts of the various tributes to Cook’s 

memory” (Cox I, 64). “[Kippis’ Life] became the most compelling justification 

both for Cook’s voyages and for continued European involvement in the Pacific 

in years to come” (Withey, 406-7). Bound with the half title. Beddie 1962. Text 

generally fine, some foxing to frontispiece, contemporary calf quite boards with 

light expert restoration.

egypt/samuel augustus binion 

Binion’s Monumental Egyptian Plate Book, 

With 72 Superb Elephant Folio Egyptian Plates, Many In Color 

94. (EGYPT) BINION, Samuel Augustus. Ancient Egypt or Mizraïm. New York, 1887. Two volumes. Elephant folio (19-1/2 

by 26 inches), modern three-quarter crimson morocco, original gilt title laid down on front covers. $19,800. 

Limited first edition, “Edition de Luxe,” one of only 800 copies, splendidly illustrated with 72 spectacular large folio plates of 

pyramids, temples, views, the Sphinx, antiquities, mummies, papyri, among other Egyptian subjects, including 50 beautiful 

tinted and full-color lithographs. 

This spectacular production by American Egyptologist Samuel Binion was considered the height of American chromolithography. 

Most of the huge plates are based on one of four major volumes of Egyptian travel and antiquities from the Napoleonic 

era through the mid 19th-century: David Roberts’ Egypt and the Holy Land, Prisse d’Avennes’ Oriental Album, Lepsius’ 

Denkmaler aus Agypten und Athiopen, and the Napoleon-commissioned Description de l’Egypte. Of particular beauty are the 

fully colored architectural reconstructions of Egyptian temples, and a splendid rendition of Cleopatra’s Needle. Mizraïm was 

originally issued in 12 parts in wrappers; here the parts have been bound together into two volumes, as usually found, each 

with its own lithographic title page. Blackmer 143. Closed tear to title page of Volume I skillfully repaired; two unimportant 

tape repairs to lower margins of text leaves. Tear to lower outer corner of one plate in Volume II, not affecting image, otherwise 

plates in fine condition, far nicer than often found. A fine copy of this spectacular chromolithographic production. 

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Maspero’s Famed History Of Egypt, 

Illustrated With Hundreds Of 

Plates, Handsomely Bound Set 

95. (EGYPT) MASPERO, Gaston Camille 

Charles, and RAPPOPORT, A.S. History of 

Egypt, Chaldea, Syria, Babylonia, and 

Assyria. London, 1903-04. Twelve volumes. 

Royal octavo, publisher’s three-quarter green 

morocco gilt with red morocco onlays. $7500. 

Limited “Edition Nationale,” one of only 

1000 copies, of this esteemed history of 

Egypt and the Middle East, richly illustrated 

with over 1200 plates and in-text illustrations, 

including hundreds of fine gravures, 

with beautifully hand-colored frontispiece 

illustrations. 

The principal work of this set is an English translation of Maspero’s Histoire ancienne 

des peuples de l’Orient classique (1895), here translated in nine volumes. Three volumes 

are dedicated to Rappoport’s three-volume History of Egypt from 330 BC to the modern 

era. In these 12 richly illustrated volumes, Maspero and Rappoport present an intimate acquaintance with the history of 

Egypt and the Nile Valley, Assyria and Babylonia, as well as the literature and culture of these regions. The illustrations offer 

a comprehensive picture of Egyptian culture, depicting early forms of writing and painting, ancient relief sculpture and 

statuary, pottery and weaponry, and other cultural artifacts. Also with plans of the ancient cities, diagrams of royal tombs 

and numerous maps of historic sites. Issued simultaneously in three limited editions. Spines mildly toned. A fine copy of an 

impressive production. 

First Edition Of A Display Of Two Forraigne Sects 

In The East Indies, 1630 

96. (INDIA) LORD, Henry. A Display of Two Forraigne Sects in the 

East Indies Vizt.: The Sect of the Banians the Ancient Natives of India 

and the Sect of the Persees. London, 1630. Two parts in one. Slim octavo, 

18th century full brown calf gilt rebacked. $4500. 

First edition of this two-part historical and cultural exploration of the 

Banians of India and the Persees of Persia including an account of their 

“idolatrous” practices, with an elaborate copper-engraved title page by 

William Marshall, handsomely bound in 18th-century calf boards. 

Henry Lord was a curate, appointed by the East Indian Company to serve 

as chaplain to the English factory at Surat. Equipped with a generous 

salary and money for books, Lord set about gaining knowledge of the 

region. He learned basic Hindustani and Persian and explored the customs 

of the area’s natives. Upon his return to England, Lord published this 

work, A Display of Two Forraigne Sects in the East Indias. Lord dedicated 

the book to the Archibishop of Canterbury, hoping he might see fit to put 

down the idolatrous practices of the natives. Regardless of his aims, this work became a classic of exploration literature. It was 

excerpted in Picart’s Religious Ceremonies, Pinkerton’s Voyages, and in the various editions of Churchill’s Collection of Voyages and 

Travels. Only slightest embrowning to interior, light wear to boards. A handsome copy in near-fine condition.

venice 

“A Night Of Ghostly Gondolas, Chasing Specks Of Stars In Dim Canals…”: 

F. Hopkinson Smith’s Venice Of To-Day, With 60 Large Signed Folio Plates 

97. (VENICE) SMITH, F. Hopkinson. Venice of To-day. New York, 1896. Five volumes and ten portfolios. Large folio (19 by 

22-1/2 inches; portfolios 18 by 23 inches), contemporary three-quarter purple morocco gilt, portfolios in original full parchment, 

red silk lettering pieces mounted to front covers. $16,000. 

“Artist’s edition,” one of only 118 sets, with 20 color and 20 black-and-white mounted plates—each signed on the mount in 

pencil by the author/artist—and with over 160 in-text illustrations, also mounted, many in color. This set accompanied by 

a suite of ten portfolios, each containing two of the color plates finely matted, each of these also signed on the matte by 

Hopkinson Smith. 

F. Hopkinson Smith was known as much for his art as for 

his writing, and often combined the two in delightful travelogues. 

“I have made no attempt in these pages to review 

the splendors of the past… I have contented myself rather 

with the Venice that you see in the sunlight of a summer’s 

day; the Venice that bewilders with her glory when you 

land at her water-gate; that delights with her color when 

you idle along the Riva; that intoxicates with her music as 

you lie in your gondola adrift on the bosom of some breathless 

lagoon; the Venice of mould-stained palace, quaint 

caffe and arching bridge; of fragrant incense, cool, dimlighted 

church and noiseless priest; of strong-armed men 

and graceful women; the Venice of light and life, of sea and 

sky and melody.” First published in 1895; later issued under 

the title of Gondola Days. See BAL 18220 (for first edition). 

Fine condition. A monumental set, beautifully illustrated. 

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new acquisitions in a ll Fields | autumn 2012 | cHildren’s literature 

“We’ve Dug So Fast And We’ve Dug So Well That 

We’ve Quite Forgotten To Leave A Way Out!” 

cHiLdren’s Literature 

99. BURTON, Virginia Lee. Mike Mulligan and His Steam 

Shovel. Boston, 1939. Oblong quarto, original pictorial tan cloth, 

dust jacket, custom clamshell box. $11,000. 

First edition of the beloved children’s classic. Very scarce, 

especially so in original dust jacket. 

“Taking her cue from her small sons, Aristides and Michael, 

Burton chose subjects that would intrigue children… [including] 

Mary Ann, the steam shovel… [Burton’s books] have heroes and 

heroines children can understand and enjoy, ingenious and 

satisfactory endings and lively illustrations. The books survive 

because they exhibit so effectively the elements most basic to 

children’s literature” (Silvey, 109-10). First edition, with 1939 date 

on title page. Occasional marks of handling, a chip and a tear to 

top edge of scarce price-clipped dust jacket, with tape repair on 

front panel. A near-fine copy. 

“They Went Home And Broke Their Bread, 

Brushed Their Teeth And Went To Bed”: 

First Edition Of Madeline 

98. BEMELMANS, Ludwig. Madeline. New York, 1939. Slim folio, 

original pictorial boards, dust jacket. $3900. 

First edition, first issue, of the first book about the irrepressible Madeline. 

“The original inspiration for Madeline was the 

convent where Bemelmans’ mother was educated 

as a child, along with the author’s own experience 

in boarding school, where he walked 

with his classmates in two straight lines” 

(Silvey, 55). First issue, with 12 girls instead of 

11 in the “They went home and broke their 

bread” illustration. Book with light wear to 

extremities including small split at 

rear joint. Bright dust jacket with 

slight soiling and only minor wear 

to extremities. Scarce.

Cinderella, Inscribed By Walt Disney 

100. DISNEY STUDIOS. Walt Disney’s Cinderella. New York, 1950. 

Slim folio, original laminated pictorial boards. $15,000. 

First edition of the “Big Golden Book” edition of the most celebrated of 

all Disney classics, boldly inscribed on the title page: “To Gunther, Jane 

& Family, With my very best, Walt Disney.” 

Known as one of Walt Disney’s all-time favorite films, this version in 

book form was adapted from the highly successful movie by studio 

artist Retta Scott Worcester, who achieved legendary status among 

animators for her handling of the hunting dogs in 

Bambi. Interior fine; original front endpaper 

pop-up pumpkin coach fine and 

fresh. Lightest rubbing to spine 

head of bright boards, wear to 

lamination. A nearly fine copy, 

most scarce inscribed and in such 

excellent condition. 

“One Of The Central Classics Of Children’s Fiction”: 

First Edition Of The Wind In The Willows, Beautifully Bound In Full Inlaid Morocco-Gilt 

101. GRAHAME, Kenneth. The Wind in the Willows. London, 1908. Small 

octavo, modern full green morocco gilt with burgundy, green, and brown morocco 

inlays, custom quarter morocco slipcase. $5000. 

First edition of the beloved children’s novel, “one of the classic read-aloud books that 

should not be missed by any family” (Silvey), very handsomely bound in full moroccogilt 

with a stylized inlaid morocco willow tree design by Sangorski & Sutcliffe. 

“Unquestionable is the permanence, as an inspired and characteristically English 

contribution to children’s literature, of Kenneth Grahame’s The Wind in the 

Willows… one of the most endearing books ever written for children… Part of the 

secret success of the book is that its appeal is ageless and parents never tire of 

reading it aloud. Like all great books it is inexhaustible” (Eyre, 62). The Wind in 

the Willows began as a series of bedtime stories told by Grahame to his son, 

Alastair, who was known as Mouse. Grahame described it in a letter to Theodore 

Roosevelt as “an expression of the very simplest of joys of life as lived by the simplest 

beings.” With frontispiece by Graham Robertson. Pierpont Morgan Children’s 

Literature 269. A fine copy, beautifully bound. 

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Rare First Edition Of MacDonald’s Charming Fantasy, 

At The Back Of The North Wind 

102. MACDONALD, George. At the Back of the North Wind. London, 1871. 

12mo, original pictorial magenta cloth gilt recased, custom half morocco 


Rare first edition of MacDonald’s classic story, his first full-length work for 

children, with 76 in-text wood engravings by the Dalziel brothers after illustrations 

by Arthur Hughes. An exceptionally lovely copy. 

Macdonald “has been called the father of modern children’s fantasy” (Silvey, 

427). Originally published as a serial in the juvenile magazine, MacDonald’s 

tale is “a remarkable piece of work and a milestone in children’s fiction in that 

it combines the qualities of the fairy story at its best with the expression of 

social and moral concerns… Influences on it include Dickens and Hans 

Andersen, but MacDonald’s vivid style lifts it far above the level of imitation” 

(Carpenter & Prichard, 34). MacDonald, in turn, would influence such creators 

as J.M. Barrie, Howard Pyle, C.S. Lewis and Maurice Sendak, who wrote that MacDonald’s work “does more than merely 

suggest mystery—you walk right into it. Every one of his books is a dream romance… You want to believe whatever it is.” 

Enhancing this dream-like atmosphere are the wonderful wood engravings by the Dalziels—in whose work that art form 

“reached its zenith” (Harthan, 205)—after original artwork by the important Pre-Raphaelite, Arthur 

Hughes: Binding B (Carter, More Binding Variants, 22-23). Ray, Illustrator and Book in England 177. 

Recased with inner paper hinges repaired. Publisher’s pictorial binding in exceptional condition, gilt 

bright and fresh. A lovely copy of a beautiful and enduring story. Rare. 

“Here Is Edward Bear, Coming 

Downstairs Now, Bump, Bump, Bump…”: 

First Edition Of Winnie-The-Pooh 

103. MILNE, A.A. Winnie-the-Pooh. London, 1926. 

Octavo, original gilt-stamped green pictorial cloth, dust 

jacket, custom clamshell box. $7000. 

First edition of the beloved book of adventures in the Hundred 

Acre Wood, with charming illustrations by Ernest H. Shepard. 

“Milne’s Winnie-the-Pooh has been considered a classic of children’s literature 

almost since its publication” (Cooper & Cooper, 95). In 1925, Milne acquired “a 

Sussex farmhouse for use as a weekend and holiday alternative to the family’s 

London home… [that would] provide the setting for the stories he now started to 

write about [his son] Christopher’s toys… Winnie-the-Pooh and The House at 

Pooh Corner [its companion volume, published 1928] are, on their own terms, 

more successful as works written for children than anything else produced during 

children’s literature’s Golden Age” (Carpenter, 201, 205). “Ernest H. Shepard’s 

illustrations, modeled after the actual toys, show character and movement in simple line vignettes, which add so much to the 

books that most people consider them to be inseparable from the texts” (Silvey, 462). Payne IIA. Cutler & Stiles, 116. Book 

near-fine, with only light rubbing to cloth and gilt quite bright. Dust jacket near-fine, with small expert repair, only slight 

rubbing and soiling. A lovely copy.

“A Little Masterpiece”: 

First Edition In English Of Bambi 

104. SALTEN, Felix. Bambi: A Life in the Woods. New York, 1928. 

Octavo, original green cloth, dust jacket. $3000. 

First trade edition in English, in scarce original dust jacket. 

With lovely black-and-white illustrations and decorative endpapers, all 

by Kurt Wiese. Includes an enthusiastic foreword by Nobel Prizewinning 

author John Galsworthy, who called this popular children’s 

classic “a little masterpiece.” Felix Salten is the pseudonym of Hungarian 

journalist Siegmund Salzmann. Bambi first appeared in German in 

1923—this trade edition in English was preceded only by a scarce 

limited edition of 1000 copies. Owner signature. Book fine, scarce dust 

jacket with only a bit of very minor wear to extremities and a few small 

tape repairs to verso. A lovely, near-fine copy. 

“Mazel Tov!”: First Edition Of In The Night Kitchen, 

Inscribed With A Self-Portrait Sketch By Sendak 

105. SENDAK, Maurice. In The Night Kitchen. New York, 1970. Tall 

thin quarto, original white cloth, dust jacket. $6500. 

Scarce first edition, advance review copy, of this wonderfully illustrated 

classic, inscribed: “For Burt—Mazel-Tov! Maurice Sendak. Dec. ’70,” 

with a small self-portrait by Sendak (presumably casting himself as 

Mickey). With publisher’s advance review slip laid in. 

Sendak’s homage to New York City and the movies of the 1930s, In the 

Night Kitchen “spins the reader through the surreal fantasy of a child’s 

dream, like Alice into Wonderland or Dorothy into Oz.” Like most of 

Sendak’s work, Kitchen is “a celebration of the primal, sensory world of 

childhood and an affirmation of its imaginative potency” (Silvey, 586). 

First-issue dust jacket, without the Caldecott medal affixed. Hanrahan 

A75. This copy is inscribed to Burt Britton, an avid book collector and 

eventually the co-founder of Books & Co 

in New York City. While working as a 

bartender, Britton found himself alone 

with Norman Mailer. When Mailer asked 

Britton, “What do you want from me, Kid?” after last call, Britton replied that he wanted Mailer to 

draw him a self-portrait. Mailer did and so began a lifelong collecting interest. Britton collected 

hundreds of self-portraits. Random House eventually bought book rights to a selection of the portraits 

in 1976 as Self-Portrait: Book People Picture Themselves. This book contains a self-portrait sketch by 

Maurice Sendak, apparently implying that Mickey from In the Night Kitchen is him. Book fine, bright, 

corner-clipped dust jacket with only slightest rubbing to extremities. A very nearly fine inscribed copy 

with a wonderful provenance. 

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“Something Strange Is Happening To Me, Charlie Brown… 

I Keep Hearing An ‘E Flat’ In My Head Over And Over”: 

Outstanding Original Sketch By Schulz Of Schroeder, 

Framed With Signed Inscription 

106. SCHULZ, Charles M. Original large sketch of Schroeder. No 

place, circa 1954. Folio cardstock leaf (12 by 16 inches); handsomely 

framed with original inscription (8 by 6 inches), entire piece measures 

29 by 19 inches. $8200. 

Wonderful large original sketch of Schulz’s beloved Peanuts character 

Schroeder, handsomely framed with signed inscription by Schulz reading: 

“Best Wishes, Charles M. Schulz.” 

“One of Charles Schulz’s most endearing characters is Schroeder, whose 

passion for the great composer Ludwig van Beethoven knows no limits. 

Schulz’s own admiration for Beethoven was surely 

one catalyst for the hundreds of strips featuring the 

composer. In 1975 Schulz described his own moment 

of awakening: ‘Having been fascinated for 

several months by Strauss waltzes, I graduated one 

day to the purchase of Beethoven’s Second Symphony, and I remember that this record opened up a 

whole new world for me’… The child pianist Schroeder, head bowed over his toy piano, has channeled 

the special power of Beethoven’s music to the readers of the Peanuts comic strip since 1951” (Schulz 

Museum). Fine condition, with only faint stains to corners. 

Exceptional Large Original Sketch Of 

Snoopy And Woodstock Hiking The 

Tuckerman Ravine Trail, Signed By Schulz 

107. SCHULZ, Charles M. Original large sketch of 

Snoopy signed. No place, no date. Oblong octavo leaf 

(9-1/2 by 7 inches) of white cardstock, drawn and signed 

in black ink on recto; matted and framed, entire piece 

measures 16 by 14 inches. $8500. 

Original sketch of Snoopy and Woodstock, two Peanuts 

favorites, hiking the Tuckerman Ravine Trail, one of the 

trails leading to the top of Mount Washington in New 

Hampshire, rendered in black marker, boldly signed 

below the image by Schulz. 

This image was almost certainly done for a specific 

recipient, based on the uniqueness of the setting. Here, 

Snoopy is shown wearing a cap and a backpack, while 

Woodstock trails behind him, nervously lugging an 

enormous duffle on his back. A sign points them in the 

direction of the “Tuckerman Ravine A.M.C.” The image is quite special due to the level of detail used for Woodstock, who is 

rarely found so clearly outlined. Verso printed with portion of a blank storyboard for a Peanuts cartoon. Slight tape residue on 

verso. A fine signed item.

Beautiful Large Original Sketch Of The 

Peanuts Gang Ready To Play Football 

Featuring Charlie Brown, Linus, Lucy, 

And Snoopy, Signed By Schulz 

108. SCHULZ, Charles M. Original large 

sketch of Snoopy signed. No place, late 1960s. 

Oblong quarto leaf (15 by 8 inches) of white cardstock, 

drawn and signed in black ink on recto; 

matted and framed, entire piece measures 19 by 

15 inches. $9000. 

Wonderful original sketch of Charlie Brown, 

Linus, Lucy, and Snoopy in a football-themed 

panel drawn for a Butternut Bread advertisement, 

rendered in black marker, boldly signed by 

Schulz. Scarce. 

“Peanuts first appeared in October 1950 in eight 

daily newspapers. The feature was immediately 

popular and was soon picked up by hundreds of other newspapers throughout the country. By the end of the decade Schulz had 

become arguably the best-known cartoonist in the United States” (ANB). This wonderful image features Charlie Brown, Linus, 

and a third member of the gang all dressed in football attire, while Lucy is dressed as a cheerleader. The player are shown 

holding Snoopy up in the air as he holds up the game ball. Schulz has drawn a set of goalposts in the background. Butternut 

Bread advertisement panels have become quite scarce and panels featuring multiple Peanuts characters are rare. Slight tape 

residue to verso. Fine condition. 

“An Elephant’s Faithful, One Hundred Per Cent”: 

First Edition Of Horton Hatches The Egg, 

In Rare Original Dust Jacket 

109. SEUSS, Dr. Horton Hatches the Egg. New York, 1940. Quarto, 

original gray cloth, dust jacket. $9000. 

First printing of Seuss’ story of one noble elephant’s exceptional 

steadfastness, in the scarce original dust jacket. 

After producing several prose books with black-and-white illustrations, 

Seuss “returned to full color and to rhyming text in Horton Hatches the 

Egg… Two years earlier, he had told almost the exact same story in the 

fable ‘Matilda, the Elephant with a Mother Complex.’ Matilda was 

characterized as a foolish failure for her dogged and well-meaning but 

ridiculous efforts. But the world had changed in the two years between 

Matilda and Horton. Germany had invaded Poland… [Seuss] held a 

growing belief that the United States had to join the war in Europe, and 

the concept of duty became very important to him” (Cohen, 201). 

Horton’s refrain epitomizes that concept—“I meant what I said, and I 

said what I meant. An elephant’s faithful, one hundred percent”—and 

his motto “has become a classic line in children’s literature” (Silvey, 591). Younger & Hirsch 31. Contemporary owner inscription. 

Interior clean. Cloth with only very light toning to spine. Exceptionally scarce extremely good original dust jacket with some 

expert restoration to extremities only, not affecting any letters. 

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Limited First Edition In English Of Nijinsky, 

With 12 Hand-Colored Illustrations By Barbier 

110. BARBIER, George and MIOMANDRE, Francis de. Designs on the 

Dances of Vaslav Nijinsky. London, 1913. Tall, slim quarto, original white 

paper wrappers. $8200. 

Limited first edition in English of this lavish visual credit to the great Nijinsky, 

Barbier’s first illustrated book, one of only 400 copies on vellum, with 12 striking 

full-page line blocks by George Barbier, hand-colored en pochoir. 

“We have our despair, our sadness, our violated love and this thing, most dread of 

all—the passing of the days between our hands, helpless to cherish aught they give. 

But in the spring, the Russian Ballets and NIJINSKY return. And all is forgotten” 

(Francis de Miomandre). This glowing tribute is illustrated with 12 full-page, 

pochoir-colored line blocks of Nijinsky in his various roles by Art Deco legend 

George Barbier, who began his career as a costume and set designer for the Ballet 

Russes. Renowned for his achievement in costume and fashion illustration, his art 

work is epitomized by a characteristically elegant, stylized line. Illustrations lovely 

and bright, original paper wrappers with expert restoration. 

“His Strongest Illustrations”: First Edition, Superior Issue Of Beardsley’s King Arthur, 

His First Illustrated Book—An Outstanding Copy In Original Parts 

111. (BEARDSLEY, Aubrey) MALORY, Thomas. The Birth, Life and Acts of King Arthur, Of His Noble Knights of the 

Round Table. London, 1893-94. Twelve parts. Quarto, original gray pictorial wrappers, custom clamshell boxes. $12,500. 

First edition, “superior issue,” of Beardsley’s 

magnificent version of Malory’s masterpiece, 

one of only 300 copies on handmade Dutch paper, 

with 15 full-page and five double-page illustrations, 

as well as over 20 rubricated initials, 

over 40 borders and nearly 300 in-text 

decorations. An outstanding uncut copy, rarely 

seen in this condition. 

art, arcHitecture and music 

“William Morris’ view of a book as a unified 

work of art with all the visual elements in harmony… 

resulted in the production of several 

profusely decorated Malorys, generally in limited 

editions. An immediate response to the Kelmscott 

books was J.M. Dent’s Morte Darthur (1893-94),” 

containing 20 illustrations “by the then-unknown 

Aubrey Beardsley. Though a Burne-Jones influence 

was evident in the early chapters, Beardsley soon developed the Art Nouveau style characterized by whiplash line, abstract 

floral motifs and starkly contrasted black-and-white forms. Far more original was his treatment of content, for his knights, lethargic 

and spiritless, are completely dominated by their mistresses and the fays. Far from glorifying chivalric romance, Beardsley 

satirized it, shocking Victorian sensibilities with his effeminate heroes, androgynous nudes, lecherous satyrs and sensual angels” 

(Lacy, 46). Originally published in two issues: 300 copies in gray wrappers printed on Van Gelder paper (the present copy, known 

as the “superior issue”) and 1500 copies in green wrappers. Lasner 22. Spines of first two parts leaning slightly; a few volumes with 

marginal foxing. Interiors fine, with the usual mild offsetting from illustrations. Expected minor edge-wear to original wrappers. 

A superb copy in the original parts, most uncommon and desirable thus.

“Fate Knocking At The Door”: First Edition 

Of Beethoven’s Fifth Symphony, One Of The 

World’s Greatest Musical Treasures 

112. BEETHOVEN, Ludwig van. Cinquième 

Sinfonie… Oeuvre 67. Leipzig, 1826. Royal octavo, early 

three-quarter brown morocco rebacked with a portion 

of original spine laid down, portions of original printed 

pink paper wrappers mounted to boards. $13,500. 

First edition of the full score of Beethoven’s magnificent 

Fifth Symphony, fully engraved and handsomely bound, 

with boards preserving much of the original paper 

wrappers. 

“The piece of music by which Beethoven is most widely 

known” (Grove, Beethoven, 137). “Because of its 

tremendous power, Beethoven’s Fifth has always been a special favorite; the opening, which Beethoven in an unguarded 

moment likened to fate knocking at the door, has become the symbol of man over his destiny” (Alkerstedt). “What 

instrumental work of Beethoven testifies to this [depth of thought] to a higher degree than the immeasurably noble and 

profound Symphony in C minor? How this marvelous composition carries the hearer irresistibly with it in its ever-mounting 

climax into the spirit kingdom of the infinite!” (E.T.A. Hoffmann). This full score is preceded only by the orchestral parts 

and various arrangements for smaller ensembles, published by the same firm in April 1809. Kinsky-Halm, 160. Fuld, 557. 

Owner signatures (to front board, front and rear free endpapers) of noted 19th-century music scholar and music collector 

Julian Marshall. “In later years he formed a valuable collection of musical autographs and portraits, wrote much on musical 

subjects and contributed to Grove’s Dictionary of Music and Musicians” (DNB). Bookseller’s small inkstamp to title page. 

Armorial bookplate. Scattered light foxing, corners expertly restored. Rare and important. 

“More An Expression Of Feeling Than A Painting”: 

First Edition Of Beethoven’s “Pastoral” (Sixth) Symphony 

113. BEETHOVEN, Ludwig van. Sixieme symphonie Pastorale… Oeuvre 68. 

Leipzig, 1826. Royal octavo, early three-quarter brown morocco gilt rebacked with 

original spine laid down, portions of original printed pink paper wrappers mounted 

to boards. $8500. 

First edition of the full score of Beethoven’s Sixth (Pastoral) Symphony, bound with 

boards preserving much of the original wrappers. 

The announcement of Beethoven’s concert of December 22, 1808 appearing a few days 

earlier in the Wiener Zeitung referred to “A Symphony, entitled: ‘A Recollection of 

Country Life.’” The word “pastoral” is first found in a violin part (now in the Gesellschaft 

der Musikfreunde, Vienna) used at the first performance. Beethoven feared that the 

“program” aspect of the symphony would overwhelm the music, and he warned that 

the symphony was “More an expression of feeling than a painting.” Beethoven’s love of 

nature “went deeper than the townsman’s delight in pretty places and fresh air… In the presence of field, trees and hills Beethoven 

felt himself nearer to the spirit of divine things than he did among men and buildings; and his art responded in like degree, for it 

was during his lonely rambles that his inspiration came most fluently and his compositions most readily assumed their nature and 

course” (Grove I:556). Kinsky-Halm, 163. Fuld, 560. Manuscript note on front free endpaper by noted 19th-century music scholar 

and music collector Julian Marshall. “In later years he formed a valuable collection of musical autographs and portraits, wrote 

much on musical subjects and contributed to Grove’s Dictionary of Music and Musicians” (DNB). Bookseller’s small inkstamp to 

title page. Armorial bookplate. Scattered light foxing, expert restoration to corners. 

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94 


The Art Of Botticelli, 

Beautifully Bound And Illustrated, 

With An Original Signed Etching 

By Muirhead Bone 

114. (BOTTICELLI) BINYON, Laurence. 

The Art of Botticelli. London, 1913. Folio (11 

by 14 inches), contemporary full dark green 

crushed morocco gilt. $3600. 

Limited first edition, one of 275 copies, with 

an original etched frontispiece signed by 

artist Muirhead Bone, and 23 beautiful 

color reproductions of Botticelli’s works, 

handsomely bound by Zaehnsdorf. 

Poet, art-historian, and critic Laurence 

Binyon, as curator of the Department of 

Oriental Prints and Drawings at the British Museum, “did more than anyone to spread the appreciation of the art not only of 

China and Japan, but of India and Persia. At the same time Binyon’s devotion to Western art was unabated… He edited William 

Blake’s Woodcuts (1902), Drawings and Engravings (1922), Engraved Designs (1926), and published an essay on The Art of Botticelli 

(1913). Both Blake and Botticelli made special appeal to him by their ‘faculty of communicating the reality of floating movement 

and rushing light; a faculty which seems especially to belong to artists of poetic nature and of spiritual imagination, to seers of 

visions—a faculty which together with his brooding love of the English earth and legends pervades so much of Binyon’s own 

poetry” (DNB). Muirhead Bone gained fame as the first field artist for the British in World War I. Freitag 1174. A wonderful 

production, splendidly bound and illustrated and in fine condition. 

“The Ecstasy And Essence Of The Dance”: 

Exceedingly Scarce First Edition Of 

Brodovitch’s Ballet, One Of Only 500 Copies, 

With 104 Photogravures Of The Ballet Russes 

115. BRODOVITCH, Alexey. Ballet. New York, 

1945. Oblong quarto, original half gray cloth, original 

French wrappers over stiff paper boards, custom 


First edition, an exceptionally scarce “photobook legend,” 

Brodovitch’s first and only authored work, one of 

only 500 copies, featuring 104 dynamic black-and-white 

photogravure plates with “a vibrancy and fluidity that 

perfectly captures the motion of dance” (Parr & Badger), 

in fragile original French wraps. 

“One of the most cinematic and dynamic photobooks ever published… Ballet, published in 1945 by J.J. Augustin in New York, 

has become a photobook legend for two reasons. Firstly, only a few hundred copies were printed, so the book is more talked 

about than actually seen. Secondly, the volume was extremely radical… Alexey Brodovitch’s pictures totally violated the 

accepted conventions… [creating] a vibrancy and a fluidity that perfectly captures the motion of the dance” (Parr & Badger 

I:240). “Working with an extremely mobile 35mm camera, Brodovitch captured the ecstasy and essence of the dance in images 

that shift, dissolve, blue, darken impenetrably, or explode into light” (Roth, 110). Most copies of this edition were “distributed 

to the artist’s inner circle rather than to bookstores” (Roth, 110). Images fresh and bright; expert restoration to fragile paper 

wrappers and rear inner hinge. A beautiful near-fine copy of this scarce photographic classic.

Chagall’s Stunning Illustrations For The Bible, First American 

Edition, With 105 Heliogravures And 28 Lithographs 

116. CHAGALL, Marc. Illustrations for the Bible. New York, 1956. Folio 

(10-1/2 by 14 inches), original pictorial boards. $7000. 

Scarce first American edition, published the same year as the first Paris 

edition, of Chagall’s extraordinary illustrations for the Hebrew Bible, with 

105 etchings reproduced in heliogravure, as well as 12 black-and-white and 

16 color lithographs prepared by Chagall especially for the present work and 

printed by Mourlot Frères. 

A breathtaking blend of Chagall’s childhood experience of the world of the 

Hebrew Bible as “another world that still existed behind the world of workaday 

reality” and his experience of Palestine during a 1931 trip, the artist’s 105 

etchings—together with 12 black-and-white and 16 chromolithographs 

composed especially for this book—constitute an “astonishing unity of word 

and image, of visual representation and nonvisual suggestion” (Meyer, 383, 

388, 393). Without original dust jacket. See Sorlier, 62-81. A very nearly fine 

copy, much nicer than often found. 

“The Same Religious Force As The Bible Itself”: 

First American Edition Of Chagall’s Second Series 

Of Bible Illustrations, With 96 Heliogravures And 

24 Color Lithographs 

117. CHAGALL, Marc. Drawings for the Bible. New York, 1960. Folio 

(10-1/2 by 14-1/2 inches), original paper boards, dust jacket, custom 


Rare first American edition of Chagall’s second series of illustrations for 

the Bible, with 96 black-and-white heliogravures, as well as 24 color lithographs 

prepared by Chagall especially for the present work and printed by 

Mourlot Frères. 

“The picture is not there to cover, sustain 

or adorn the event, but to report it 

plainly and yet in all its temporal and 

eternal significance… Chagall’s Bible 

etchings have the same religious force 

as the Bible itself” (Meyer, 383, 388, 

393). The massive undertaking occupied 

Chagall off and on from 1931 to 1956, and again between 1958-59 (this edition). 

Printer Fernand Mourlot ran a lithography press where such greats as Braque, Matisse, 

Picasso, Miró and, of course, Chagall came to have their designs printed and to learn 

about this still nascent medium. Appeared simultaneously in French, also in a trade 

edition. Sorlier 75. Book fine; slight edge-wear, tiny closed tears, small bit of loss to 

lower edge of rear panel of extremely good price-clipped dust jacket. 

95 


96 


First Edition Of Leonard Cohen’s First Book, 

Inscribed By Him In The Year Of Publication 

118. COHEN, Leonard. Let Us Compare Mythologies. Montreal, 1956. Octavo, 

original black cloth, dust jacket, custom clamshell box. $9500. 

First edition of Cohen’s first book, inscribed by the gifted poet and musician in the year 

of publication: “For Professor Walker, With best wishes, Leonard Cohen, May 1956.” 

When Cohen published his first book, Let Us Compare Mythologies, he had already 

received prestigious awards for his poetry, which, from the first, revealed his 

abiding interest “in mythology and magic… The first poem in Let Us Compare 

Mythologies, ‘Elegy,’ exhibits a number of characteristics which recur throughout 

his work: his almost magical control and modulation of verbal melody, his sensuous 

particularity, the empathetic reach of his imagination and his fascination with 

situations which mingle violence and tenderness to heighten the effect of both. We 

also see emerge for the first time the theme of the quest—here as usually in Cohen 

the quest for a lost or unknown God, mysterious, elusive, but compelling” (Pacey, Phenomenon of Leonard Cohen, 5-6). 

Reportedly, fewer than 400 copies of the first edition were printed (Nadel, 45). With five full-page line illustrations by Freda 

Guttman. Whiteman A1. Dust jacket with light toning to spine and folds, a few short closed tears. Book fine. A desirable, aboutfine, 

rare inscribed copy. 

“At Seven I Wanted To Be Napoleon. And My Ambition Has Been 

Growing Steadily Ever Since”: The Secret Life Of Salvador Dalí, 

Boldly Inscribed By Dalí With His Original Sketch 

119. DALÍ, Salvador. The Secret Life of Salvador Dalí. New York, 1942. Quarto, 

original black cloth, dust jacket, custom clamshell box. $7800. 

First trade edition of Dalí’s autobiography, boldly inscribed by him: “A Martin 

Riskin, Dalí, 1971” with Dalí’s original sketch across the half title and opposite 

page showing a figure standing tall in a tree-studded landscape. Recipient Riskin, 

a pre-eminent cultural figure, was decorated in 1979 with the French Chevalier 

in the Order of Arts and Letters. 

Dalí “did not like biographers, and perhaps the well-known, but false, versions of 

events disseminated by the painter himself in sources such as The Secret Life of 

Salvador Dalí were his largely futile attempts to ‘forestall such meddlers’ and to put 

them on the wrong track” (Victoria L. McCard). Any signature by Dalí is scarce, 

and inscribed copies with a sketch, as in this copy, are particularly 

elusive. Issued the same year as a limited edition of 119 copies (with 

original inked drawing), no priority established. Recipient Martin 

Riskin, a pre-eminent cultural figure born into a family of musicians 

that included Jasha Heifetz, was a founder of the Sibelius Society, 

president of Opera Nova, longtime board member of the American 

Symphony Orchestra, and chairman of the music committee of the 

National Arts Club. He notably worked with Miró, Dalí and other 

leading artists who were commissioned by Chateau Mouton 

Rothschild in the design of wine labels, and in 1979 the French 

Minister of Culture decorated Riskin with the Chevalier in the Order 

of Arts and Letters. Interior fine, minimal toning to spine ends of 

cloth, slight edge-wear, rubbing to scarce dust jacket. A near-fine 

presentation copy with notable provenance.

salvador dalí 

Dalí’s Large Folio Alice’s Adventures In Wonderland, Signed By Him, 

With An Original Etching And 12 Full-Page Color Photogravures 

120. (DALÍ, Salvador) CARROLL, Lewis. Alice’s Adventures in Wonderland. New York, 1969. Large folio (13 by 18-1/2 inches), 

loose signatures laid into brown cloth portfolio, original half chestnut morocco clamshell box with original ivory fore-edge 

clasps, original packing materials. $13,000. 

Beautifully printed limited edition of the brilliant and beloved 

children’s classic, one of 2500 copies signed by Salvador Dalí on 

the title page, with an original etching and 12 full-page color 

photogravures after his paintings—as breathtakingly imaginative 

as the text they illustrate. A fine copy, as new in all of the original 

packing and shipping materials. 

Dalí’s twisting dreamscapes and semi-hallucinatory images 

superbly complement Carroll’s astonishingly inventive fantasy (first 

published in 1865) and exemplify the artist’s entire oeuvre. “Dalí’s 

images have become icons of the fantastic, signposts (not maps) that 

point the way inward to that realm” (Clute & Grant, 246). This 

magnificent production, printed on Mandeure paper, contains an 

original three-color etching as a frontispiece and 12 striking fullpage 

color photogravures (heliogravures) after Dalí’s original 

gouache paintings. Michler & Löpsinger 321-333. A fine copy. 

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98 


“A Major Role In Changing The Character Of The 

American City”: Architectural Works Of Graham 

Anderson Probst & White, One Of Only 300 Copies, 

With Over 385 Fine Folio Plates 

121. GRAHAM, Ernest and PROBST, Edward et al. The Architectural 

Works of Graham Anderson Probst & White, Chicago, and Their 

Predecessors. London, 1933. Two volumes. Folio (13 by 16-1/2 inches), 

original full crushed brown morocco gilt. $8500. 

Signed limited first edition, one of only 300 copies signed by Edward E. 

Probst and Marvin G. Probst, containing 389 folio photogravures, 

drawings and diagrams of some of the most famous buildings in 

America—“all done at the highest level from Beaux Arts to Art 

Deco”—in publisher’s full morocco by Sangorski & Sutcliffe. 

The firm of Graham, Anderson, Probst & White traces its origins back to 

Daniel Burnham, who coordinated the massive architectural display of the 

1893 World’s Columbian Expedition in Chicago and is widely regarded as a 

founding figure of the Chicago School of architecture. The firm created 

some of the most enduring monuments of American architecture such as 

the Flatiron Building in New York and Union Station in Washington. After Burnham’s death in 1912, the firm ultimately became 

Graham, Anderson, Probst & White, “one of the most prolific commercial architectural firms in the history of American 

architecture” (ANB). The firm and its architects “played a major role in changing the character of the American city between 1910 

and 1930” (Chappell, 2). Without original slipcases, rarely found. This copy was presented to D.E. Garey by Edward E. Probst and 

Marvin G. Probst, sons of the firm’s president Edward M. Probst, who was succeeded as president by Marvin Probst in 1942. An 

exceptional two volumes in fine condition. 

“Your Letter About My Book (Bound For Glory) Got Down 

Here Today… You Have Taken Me Back Over My Old Tracks”: 

Important 1945 Autograph Letter Signed By Guthrie, 

The First In His Correspondence With Charlotte Strauss, 

Discussing Bound For Glory 

122. GUTHRIE, Woody. Autograph letter signed. Scott Field, Illinois, October 

29, 1945. Six pages on three sheets of lined paper, measuring 8 by 10-1/2 inches, neat 

cursive on recto and verso, bound with single staple at upper corner, custom 


Original signed autograph letter, this six-page letter written entirely in Woody 

Guthrie’s penciled cursive, twice signed by him and dated October 29th, 1945, the 

first in his largely unpublicized correspondence with Charlotte Strauss. Here 

Guthrie talks of the 1200-page manuscript for Bound for Glory that was “cut 

down to four hundred and forty eight pages,” and slyly confesses that “I like to 

hear people talk about me and my works.” 

In this October letter, his first to Strauss, Guthrie tells her that “your letter 

about my book (Bound for Glory) got down here today. Marjorie read it [the letter] 

at home and then mailed it on… Your letter gets me to feel just like my book made you 

feel… You have taken me back over my old tracks again and showed me twelve thousand 

more stories and places to write about… You won’t feel bad if I tell you plain that I like to hear people talk about me and my 

works.” Guthrie talks of submitting a 1200-page manuscript to his Bound for Glory publisher, which “they cut down to four 

hundred and forty eight pages,” and asks for “permission to publish all or any part of your letter”—a request she seems to 

have resisted in their continuing and intimate correspondence. New Grove, 856. Text fresh and clean, faint creases at foldlines. 

A highly desirable letter in about-fine condition.

“The Greatest Book Arts Work Ever Produced In 

The United States”: Rockwell Kent’s Moby Dick 

123. (KENT, Rockwell) MELVILLE, Herman. Moby Dick or 

The Whale. Chicago, 1930. Three volumes. Quarto, original 

black silver-stamped cloth, aluminum slipcase. $16,000. 

Limited first edition of Rockwell Kent’s masterpiece and 

one of the most famous American illustrated books of the 

20th century, one of only 1000 copies, with 280 magnificent 

illustrations by Kent, many full-page, in original aluminum 

slipcase. 

Kent’s Moby Dick has been “heralded by various critics as the 

greatest book arts work ever produced in the United States” 

(Stanley Collection 33). Kent not only provided the illustrations but also 

designed this landmark edition. “His energy, many-sided activities and 

preoccupation with integrated book design made him one of the best known 

American illustrators” (Harthan, 247). Kent’s “best-known contribution to 

popular American culture. In black and white, he created a universe of 

emblems and symbols that incorporated elements of both realism and 

abstraction” (Wien, 134). Without scarce acetate dust jackets. 

Rockwellkentiana, 62. Each volume with bookplates designed by Rockwell 

Kent. From the library of John Whiting and Helen Otillie Friel, noted 

Pennsylvania bibliophiles. Text and plates fresh and clean, faintest rubbing to boards. An impressive about-fine copy of a 

magnificent production, a landmark in American book arts and an impressive highlight of Kent’s distinguished career. 

Pictorial Documentation Of Wellington’s Defeat Of Napoleon, 

With 54 Splendid Large Hand-Colored Folio Aquatints 

124. JENKINS, James. The Martial Achievements of Great 

Britain and Her Allies from 1799 to 1815. London, circa 1831. 

Folio (12 by 14-1/2 inches), late 19th-century three-quarter 

brown morocco gilt. $8000. 

First edition, large-paper copy, later issue, of this dramatically 

illustrated record of British military action during Lord 

Wellington’s Peninsular Campaign, with hand-colored frontispiece, 

vignette title-page and dedication with Wellington’s 

coat-of-arms and 51 additional vividly hand-colored aquatints 

of battle scenes by Thomas Sutherland after drawings by 

William Heath. A beautiful production, uncut in handsome 

three-quarter morocco-gilt. 

“A brilliant and worthy record of a brilliant period in England’s 

history” (Hardie, English Coloured Books, 147). From the terrifying rout and retreat at Corunna to the glorious victory at 

Talavera, the British and their allies fought to keep Napoleon out of Spain and Portugal. In 1807 a demoralized and ill-defended 

Spain was at the mercy of the French Emperor. Seven years later and the loss of over a million lives, the French finally retreated 

over the Pyrenees, never to return. The Anglo Portuguese Army under a brilliant strategist, the Duke of Wellington and 

supported by Spanish guerrilla irregulars, had ground down the best equipped and most feared army in Europe. Jenkins’ work 

“is worthy of its theme; nor could one desire a finer record of heroic deeds” (Prideaux, 224). First published in 1814-15. Without 

portrait of the Duke of Wellington; “copies are complete without it” (Tooley 281). Without list of subscribers. Tooley 281. 

Bookplate. A few spots of mostly marginal foxing and soiling to interior, hand-colored plates generally quite lovely, front joint 

with expert restoration. A handsome, large-paper copy in near-fine condition. 

99 


100 


Exquisite And Extensive Folio Album Of Original Ink 

Drawings By Renowned Meiji-Era Artist Mochizuki Gyokusen, 

With A Number Finely Original Colored Drawings 

125. MOCHIZUKI GYOKUSEN (attributed to). Gyokusen gazu zen 

[complete]. No place, Meiji 19 (1886). Folio (11 by 15-1/2 inches), album of 

sumi ink-on-paper drawings in string-bound album, 65 leaves in paper 

wrappers, custom cloth chemise and half calf clamshell box. $8500. 

Extensive album of splendid ink-on-paper drawings by Meiji-era Japanese 

master artist Mochizuki Gyokusen, a number finely colored by hand, 

dated Meiji 19 (1886), first month, first day and signed “Gyokusen,” featuring 

a few hundred individual compositions. 

Mochizuki Gyokusen was born in 1834 in Kyoto. Together with his 

grandfather Gyokusen and father Gyokusen he carried on the Mochizuki 

school tradition. He learned painting from his father (Mochizuki 

Shigeteru) and later took his name. In 1855 he produced a painting for the 

Emperor, eventually becoming an official artist to the Emperor. He brought realism to the Mochizuki School that combined 

elements of the Kishi and Shijo schools and his paintings of reeds and geese were particularly well-received. He is also famous 

for works such as “Plovers at the Seaside” and “Eagle Raising Chicks.” He was working in the Japanese manner but also 

considerably influenced by Western art. The artist was followed by his son, Mochizuki Gyokkei (1874-1938) and Kawai Gyokudo 

(1873-1957) was his student. As his son was 12 years old in 1886 it is possible that some or all of the drawings could be the work 

of the young artist. Three leaves have been substantially colored; a few others have had touches of color added. See Roberts, 

1976, page 10. One small drawing has been neatly excised; another leaf is four inches shorter than the others, possibly due to the 

excision of another image. Excellent condition, a splendid album. 

“His Passionate Craftsmanship Was The Spark 

Which Ignited A 50-Year Renaissance Of Bookmaking”: 

Beautiful Kelmscott Press Edition Of The Golden Legend 

126. (MORRIS, William) [CAXTON, William] [VORAGINE, Jacobus 

de]. The Golden Legend. Hammersmith, 1892. Three volumes. Tall 

quarto, early 20th-century full brown crushed morocco gilt. $7000. 

Splendid limited first and only Kelmscott Press edition, one of only 500 

sets produced, with woodcut title page and facing page with full woodcut 

page border—the first such title page that Morris designed—as well as 

two full-page woodcut illustrations designed by Burne-Jones, beautifully 

bound by Riviere and Son. 

The Golden Legend was one of the earliest books to be printed in the West 

and only the Bible was more popular. These accounts of the miracles and 

martyrdoms of the saints were written during the 13th century, at the 

peak of medieval civilization, by Jacobus de Voragine, an Italian 

Dominican friar. The Kelmscott Press was founded in 1891 by William 

Morris, Pre-Raphaelite painter, designer, architect, and printer. “Morris sought to revive what he saw as the purity of the first 

century of printing, and to produce what he described as books which ‘would have a definite claim to beauty… and be easy to 

read’” (Feather, 152). His “passionate craftsmanship was the spark which ignited a 50-year renaissance of bookmaking in England, 

on the Continent, and in the United States” (Art of the Printed Book, 36). Peterson A7. Bookplates. Blindstamp of New England 

Conservatory of Music to half title and one text leaf of each volume. Old dealer description laid in (Philip C. Duschnes). Fine 

condition. A beautifully bound and most desirable set of this splendid Kelmscott production.

Among The Most Important Works Of Its Kind: 

The First Isaac Ware Edition Of Palladio, 1738, With Over 200 

Fine Folio Plates—This Copy Given By The Patron Of The Edition, 

The Earl Of Burlington, In 1746 

127. PALLADIO, Andrea. The Four Books of Andrea Palladio’s 

Architecture. London, 1738. Folio (10 by 16 inches), contemporary 

full brown calf gilt sympathetically rebacked. $11,500. 

First Isaac Ware edition (in English) of Palladio’s enormously 

important treatise on architecture, with four engraved title pages and 

212 numbered architectural plates (205 of which are full-sized folio 

plates)—still considered the definitive English edition. A handsome 

copy, given by the Earl of Burlington—the edition’s sponsor—to 

George Morrison in 1746. 

First published in Italian in 1570, Palladio’s treatise popularized 

classical decorative details, becoming what is probably the most 

influential architectural book ever printed. Incorporating many of his 

own designs to illustrate the principles of classical Roman architecture, 

Palladio strongly influenced 18th-century architecture in the British 

Isles, Italy and America. The first English translation was in 1715, with 

designs by Giacomo Leoni. Leoni’s edition, however, was not authentic 

enough for Lord Burlington, promoter of the Palladian style in England. Burlington commissioned architect Isaac Ware to 

produce a more accurate translation, which was “notably more literal than his predecessor’s and is considered, to this day, the 

definitive one” (Harris). Bound without subscriber’s list (two leaves, usually found preceding Preface) or index of terms and 

errata (one leaf at rear); all plates present. Avery 172. Inscribed on a tipped-in slip, “G. Morrison given the Earl of Burlington, 

1746.” Later owner signature. Armorial bookplate. Text and plates quite clean and bright. Corners and extremities expertly 

restored. An exceptional copy. 

“His Acknowledged Masterpiece”: 

The Highly Prized Peter Pan In Kensington Gardens, 

Illustrated And Signed By Arthur Rackham 

128. (RACKHAM, Arthur) BARRIE, J.M. Peter Pan in Kensington 

Gardens. London, 1906. Quarto, original full pictorial vellum gilt, custom seethrough 

slipcase. $15,000. 

Signed limited first separate edition, one of only 500 copies signed by Rackham, 

with 50 mounted color illustrations. 

Peter Pan’s name “came from Peter Llewelyn Davies, who when still a baby 

became the subject of stories told by Barrie to [Peter’s older brothers]. According 

to these stories Peter, like all babies, had once been a bird and could still fly out 

of his nursery window and back to Kensington Gardens, because his mother 

had forgotten to weigh him at birth. From these stories came the ‘Peter Pan’ 

chapters in The Little White Bird [published 1902], afterwards re-issued with 

Arthur Rackham illustrations as Peter Pan in Kensington Gardens” (Carpenter, 

177). “The 50 color plates were unanimously praised by all who saw them. One critic wrote: 

‘Mr. Rackham seems to have dropped out of some cloud in Mr. Barrie’s fairyland, sent by special providence to make pictures in 

tune with his whimsical genius’” (Dalby, 76-77). Rackham’s “acknowledged masterpiece” (Ray, 204, 206). “A much-sought-after 

volume” (Quayle, Early Children’s Books, 87). Mounted plates bound together at the end of the text rather than throughout as 

suggested by plate list, as often. New silk ties. Latimore & Haskell, 27. Riall, 74. Pencil owner inscription to rear free endpaper. A 

beautiful copy in fine condition. 

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david roberts 

One Of The Greatest Lithographic Works Ever Printed: 

Beautiful Copy Of Roberts’ Holy Land, Egypt And Nubia 

129. ROBERTS, David. The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia. London, 1855-56. Six volumes in three. 

Quarto, contemporary three-quarter maroon morocco gilt. $19,500. 

First quarto edition of this monumental early visual record of the Middle East by the first Westerner permitted to enter sacred 

sites, with 250 magnificent tinted lithographs, a lovely set. 

Inquisitive Western minds first glimpsed the mysteries of Egypt and the 

Middle East in detail through David Roberts’ folio-sized Holy Land, 

issued in 41 parts from 1842 to 1849 and containing 250 full-page handcolored 

lithographs produced from his magnificent, on-site drawings. 

Roberts was the first Westerner to be granted permission to enter 

whichever sacred mosque or monument he desired. His images of these 

sacred places established what many people even today envision as the 

aura of Egypt and the Holy Land. “Roberts’ Holy Land has a world-wide 

reputation; nothing of a similar character has ever been produced that 

can bear a comparison with it” (Ran, 6). Louis Haghe, considered the 

foremost lithographer of his time, transferred the exquisitely detailed 

drawings to stone. This is the first quarto edition of 1855-56, containing 

all 250 lithographic plates contained in the folio edition, including a 

frontispiece portrait of Roberts, six pictorial title pages, and two 

engraved maps. Undoubtedly the most famous of these is Plate 240, the 

great sphinx, still commonly reproduced in poster art. A considerable 

number of plates are printed in two tints; plates 213 and 240 are printed 

in three. Only the lightest rubbing to contemporary cloth boards. A fine 

copy, beautifully bound.

Limited First Edition Of Warner’s Four-Part 

Illuminated Manuscripts In The British Museum, 1903, 

One Of Only 500 Copies, With 60 Exquisite Folio 

Chromolithographic Plates, Beautifully Bound 

130. WARNER, George F. Illuminated Manuscripts in the British Museum. 

London, 1903. Four parts bound in one. Folio (11-1/2 by 15-1/2 inches), 

contemporary full red morocco gilt, custom cloth dust jacket. $4500. 

Limited first edition from parts of this lushly illustrated work, each part one 

of only 500 copies printed, with 60 chromolithographic plates (many 

heightened in gold) printed by inventor of lithography William Griggs, 

beautifully bound in full morocco-gilt by L. Broca. 

The lithographer of this work, William Griggs, “invented photo-chromolithography 

by first printing from a photo-lithographic transfer a faint 

impression on the paper to serve as a ‘key,’ separating the colours on 

duplicate negatives by varnishes, then photo-lithographing the dissected 

portions on stones, finally registering and printing each in its position and 

particular colour, with the texture, light and shade of the original. He 

greatly cheapened the production of colour work by a simplified form of 

this discovery, viz. by a photo-lithographic transfer from a negative of the original to stone, printed as a ‘key’ in a suitable 

colour, superimposing thereon, in exact register, transparent tints in harmony with the original… But for his ‘brilliant and 

painstaking work, chromo-lithography as a means of illustrating books would be almost a lost art, like that of coloured 

aquatint’ (Hardie, English Coloured Books, 255-6)” (DNB). Only light scattered foxing to interior, binding lovely. A handsome 

copy of a beautiful book, splendidly bound. 

“A Return To Architectural Prinicples”: First Edition Of Edith 

Wharton’s The Decoration Of Houses, 1897 

131. WHARTON, Edith and CODMAN, Ogden, Jr. The Decoration of 

Houses. New York, 1897. Quarto, original marbled paper boards. $5600. 

First edition of Wharton’s influential first published book, illustrated with 56 

plates, scarce in original marbled boards. 

Considered the first American handbook of interior decoration, Wharton’s 

beautifully illustrated Decoration of Houses, her first published book (her Verses 

appeared privately in 1878), contains chapters on every aspect of interior design 

(including rooms in general, walls, doors, windows, fireplaces, ceilings and 

floors, gala rooms, bedrooms, the dining-room and library), as well as a survey 

of historical traditions and a detailed bibliography. The indirect result of 

Wharton’s collaboration with Ogden Codman on the decoration of “Land’s 

End,” her estate in Newport, Decoration of Houses advocates continental rather 

than English models, and “remains even today a bible for classical and elegant 

taste in interior decoration” (Metcalf, Ogden Codman). Wharton notes in her 

conclusion: “Modern civilization has been called a varnished barbarism: a 

definition that might well be applied to the superficial graces of much modern decoration. 

Only a return to architectural principles can raise the decoration of houses to the level of the 

past.” With 56 half-tone plates; without extremely rare dust jacket. Garrison A2.1.a., binding 

B, no priority determined. Melish, 1-2. Text and plates fresh and clean, lightest edge-wear, 

faint toning to spine of original boards. A lovely about-fine copy. 

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104 


world’s columbian exposition of 1893 

Splendidly Illustrated Survey Of The Art And Architecture At The 1893 World’s Columbian Exposition, 

With 115 Elephant Folio Plates, Many In Color—Number 3 Of Only Ten Deluxe Limited Subscriber’s 

Sets Produced With The Plates Printed Additionally On Silk 

132. (WORLD’S COLUMBIAN EXPOSITION OF 1893) WALTON, William. World’s Columbian Exposition: the Art and 

Architecture. Philadelphia, 1893-95. Three volumes bound in nine. Elephant folio (15 by 20 inches), contemporary full dark blue 

morocco gilt, protective jackets. $22,000. 

Deluxe issue of the Indo-Japan edition of this massive and magnificently illustrated record of the Art and Architecture from 

around the world displayed at the 1893 World’s Columbian Exposition in Chicago, with 115 full-page matted photogravures, 

photolithographs, halftones, etchings—34 finely printed in color—and more than 100 in-text gravures. This set is number three 

of only ten deluxe folio sets produced with all of the illustrations, both full-page and in-text, in double suite, with the second of 

each suite finely printed on silk and matted, expanding this set from the usual three volumes to nine. This set printed specifically 

for subscriber Mrs. Mary Hamilton Hoxie of Chicago, daughter of a founder of the city, with her name printed in each volume. 

Very handsomely bound in original full morocco-gilt, a superb set. 

The World’s Columbian Exposition (World’s Fair) in Chicago was deemed the most marvelous World’s Fair to have yet occurred— 

“each of these is greater than the last, Paris topped Philadelphia, and is outdone by Chicago”—and the Fair brought together the 

leading examples of culture from around the world. The sections on Art include fine reproductions of paintings, sculpture and 

etchings by the leading artists of the day, with many plates including a remarque depicting the artist. The Architecture volume 

(here bound in two) pictures the striking venue of the Exposition, the many arcades, promenades, exhibition halls, lakes, and other 

features. This beautifully illustrated work is a valuable resource for its vivid recording of the state of the fields of Art and Architecture 

at the end of the 19th century. Eleven of the color lithographs are not reprinted in double-suite (as issued). The regular issue of the 

Indo-Japan edition was limited to 500 sets, but would not have included the second suite of plates printed on silk, and was bound 

in only three volumes. A few minor scuffs to extremities of morocco. A fine copy of this extremely scarce deluxe issue, with a 

superb Chicago provenance.

A 

AUDUBON, John James 20 

AUSTEN, Jane 38 

B 

BALZAC, Honore de 46 

BARBIER, George 92 

BARRIE, J.M. 101 

BARTRAM, John 61 

BEARDSLEY, Aubrey 92 

BEETHOVEN, Ludwig van 93 

BELL, Charles 22 

BEMELMANS, Ludwig 86 

Bible 29, 56 

BINION, Samuel Augustus 83 

BOTTICELLI 94 

BRADY, Mathew 19 

BRODOVITCH, Alexey 94 

BURTON, Richard F. 30, 81 

BURTON, Virginia Lee 86 

C 

CARROLL, Lewis 97 

CHAGALL, Marc 95 

CHAUCER 37 

CHURCHILL, Winston 57, 58 

COBURN, Alvin Langdon 17 

COHEN, Leonard 96 

COOK, James 82 

D 

DALÍ, Salvador 96, 97 

DARWIN, Charles 23 

DICKENS, Charles 40 

Disney Studios 87 

DISRAELI, Benjamin 49 

E 

EINSTEIN, Albert 26–27, 58 

EISENHOWER, Dwight D. 72 

F 

FAULKNER, William 47 

The Federalist 5 

FLEMING, Ian 48 

FRANKLIN, Benjamin 21, 61, 69, 70 

FREUD, Sigmund 63 

G 

GADDIS, Thomas E. 62 

GARRAN, Andrew 80 

GOYA, Francisco 9–16 

index 

GRAHAME, Kenneth 87 

GRAHAM, Ernest 98 

GREEN, John Richard 61 

GUTHRIE, Woody 98 

H 

Haggadah 28, 63 

HAMILTON, Alexander 5 

Harper’s Weekly 68 

HAYEK, Friedrich A. 59 

HEMINGWAY, Ernest 44, 49, 50 

HOMER 25 

HUME, David 33 

HUTCHINSON, Horace G. 35 

I 

Illuminated Manuscript 36 

Iwo Jima Manuscript Map 34 

J 

JEFFERSON, Thomas 2–3 

JENKINS, James 99 

JOYCE, James 32 

K 

KENNEDY, John F. 72, 73 

KENT, Rockwell 99 

KIPPIS, Andrew 82 

KNOLLES, Richard 67 

L 

LEE, Robert E. 19 

LINCOLN, Abraham 18, 74–75 

LIVERMORE, Jesse L. 60 

LOCKE, John 64 

LORD, Henry 84 

M 

MACDONALD, George 88 

MADISON, James 5 

MAILLARD, N. Doran 79 

MALORY, Thomas 92 

MARKHAM, Gervase 64 

MASPERO, Gaston Camille 84 

MCKENNEY and HALL 71 

MELVILLE, Herman 99 

MILNE, A.A. 88 

MOCHIZUKI GYOKUSEN 100 

MOLIERE, Jean-Baptiste 105 

MOORE, Joseph 31 

MORRIS, William 100 

N 

NABOKOV, Vladimir 46 

P 

PALLADIO, Andrea 101 

PICART, Bernard 24 

PLATO 65 

POPE, Alexander 25 

PROBST, Edward 98 

PYNCHON, Thomas 51 

R 

RACKHAM, Arthur 101 

RAND, Ayn 45 

ROBERTS, David 102 

ROOSEVELT, Franklin D. 78 

ROOSEVELT, Theodore 53, 77 

RUTH, Babe 79 

S 

SALTEN, Felix 89 

SCHULZ, Charles M. 90, 91 

SENDAK, Maurice 89 

SEUSS, Dr. 41, 91 

SIMPSON, William 66 

SMITH, Adam 67 

SMITH, F. Hopkinson 85 

STANLEY, Henry M. 80 

STAUNTON, George Leonard 6–7 

STEINBECK, John 52 

T 

TOLKIEN, J.R.R. 42, 53, 54 

TWAIN, Mark 39, 53 

U 

U.S. Congress 69 

W 

WALTON, William 104 

WARNER, George F. 103 

WASHINGTON, George 77 

WHARTON, Edith 103 

WHITMAN, Walt 55 

WILDE, Oscar 54 

WILLIAMS, Tennessee 43 

WOOLF, Virginia 55 

105 

new acquisitions in a ll Fields | autumn 2012 | index

Plato’s Apology and Phaedo, 1675, Item 67. 

535 MAdisoN AveNUe, Nyc 

The pAlAzzo, lAs vegAs 

1608 wAlNUT sT, philAdelphiA 

www.bAUMANrArebooks.coM 

1-800-97-bauman

Catalogue - Bauman Rare Books

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