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Exceptional New Acquisitions<br />

AUTUMN 2011


Catalogue autumn 2011<br />

All books are shipped on approval and are fully guaranteed. Any items may be returned<br />

within ten days for any reason (please notify us before returning). All reimbursements are<br />

limited to original purchase price. We accept all major credit cards. Shipping and insurance<br />

charges are additional. Packages will be shipped by UPS or Federal Express unless another<br />

carrier is requested. Next-day or second-day air service is available upon request.<br />

We offer a variety of gift services, including providing creative suggestions,<br />

gift wrapping and/or the addition of a personal note. We also issue gift certificates.<br />

Please contact us at 800-972-2862 so that we may assist you.<br />

In New York:<br />

535 Madison Avenue | between 54 th and 55 th Streets | New York, NY 10022<br />

Phone: 800-972-2862 | 212-751-0011<br />

Monday through Saturday, 10am to 6pm<br />

In Las Vegas:<br />

The Shoppes at the Palazzo<br />

3327 Las Vegas Blvd. | Suite 2856 | Las Vegas, NV 89109<br />

Phone: 888-982-2862 | 702-948-1617<br />

Open daily, 10am to 11pm<br />

In Philadelphia, by appointment:<br />

1608 Walnut Street | 19th Floor | Philadelphia, PA 19103<br />

Phone: 215-546-6466 | Fax: 215-546-9064<br />

Monday through Friday, 9am to 5pm<br />

For thousands of books and autographs in all price ranges,<br />

please visit our website: WWW.BAUMANRAREBOOKS.COM<br />

For regular updates and invitations to receive<br />

specialty catalogues, text bauman to 57682.<br />

Orders may be placed by telephone:<br />

1-800-97-BAUMAN (1-800-972-2862) or 212-751-0011<br />

Email: brb@baumanrarebooks.com<br />

Front cover image: Illuminated leaf from a Book of Hours, 15th century, Item 240.<br />

Back cover image: volume from the library of Marie Antoinette, with her coat-of-arms<br />

on both covers, Item 153.<br />

w w w.baumanrarebooks.com 1-800-97-bauman


Americana<br />

Table of Contents<br />

Modern Firsts, 1900-1992<br />

Literature<br />

History, Philosophy and Economics<br />

Royalty<br />

Art and Illustrated <strong>Books</strong><br />

Children’s Literature<br />

Travel and Exploration<br />

Bibles and Religion<br />

Gift Suggestions<br />

Index<br />

2<br />

34<br />

58<br />

82<br />

104<br />

110<br />

122<br />

138<br />

152<br />

166<br />

206


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<strong>Section</strong> 1: Americana<br />

american statesmen<br />

With Original Letters And Official Documents Of Signal Importance, Including Those Signed<br />

By Washington, Franklin, Jefferson, Hamilton, John Adams, Lincoln And Many More:<br />

Exceedingly <strong>Rare</strong> 40-Volume American Statesmen, 1898-1917, Limited Edition,<br />

One Of Only 500 Sets Issued, An Extraordinary Set Of 40 Volumes<br />

1. MORSE, John T. Editor. American Statesmen. Boston and New York, 1898-1900, 1908-1917. Forty volumes.<br />

Octavo, contemporary full brown crushed morocco gilt. $155,000.<br />

Limited large-paper edition, number 459 of only 500 sets, an exceedingly rare set containing an exceptional additional<br />

tipped-in collection of signed letters, official legal and fiduciary documents (in 39 of 40 volumes), including a 1787<br />

document signed by Franklin, a moving 1820 letter signed by John Adams, a Treasury Department circular letter signed<br />

by Hamilton detailing the enactment of his controversial 1790 Assumption Act, a fascinating autograph legal document<br />

signed by Jefferson, a very rare official document signed by two presidents, John Quincy Adams and James Monroe, a<br />

an 1855 autograph note by Lincoln, an 1864 cipher message from Grant, along with numerous portraits and illustrations,<br />

uniformly bound in magnificent full crushed morocco gilt.<br />

This most rare American Statesmen set of 40 volumes contains exceptionally rare additional signed letters and official<br />

signed legal, governmental and fiduciary documents, tipped into each volume (excepting the Index volume), and featuring:<br />

an official 1789 Pennsylvania document signed by Franklin, a note signed by Washington, a thoughtful 1820 letter signed<br />

by John Adams, a most rare Treasury Department circular letter signed by Alexander Hamilton regarding his 1790


Assumption Act, a letter signed by Chief Justice John Marshall, an autograph note<br />

signed by Jefferson regarding a controversial legal case, documents signed by Madison<br />

and John Jay, an 1823 document signed by both John Quincy Adams and James<br />

Monroe, the two-volume biography of Lincoln—one volume with an official 1862<br />

document signed by him, and a fascinating autograph note concerning a legal case in<br />

his Illinois law firm, and major documents and letters signed by leading Civil War figures, including an 1864 cipher note<br />

signed by U.S. Grant. Limited large-paper edition, one of only 500 copies. Featuring an index and 39 biographies of America’s<br />

founding fathers, presidents, diplomats, legislators, Supreme Court Justices, and many more: authored by figures such as<br />

Theodore Roosevelt, Henry Cabot Lodge and Henry Adams. Each biography containing as issued a frontispiece portrait,<br />

facsimiles and full-page illustrations. A full description, including transcriptions and detailed condition notes, is available.<br />

A most rare and desirable set in about-fine condition.


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the federalist<br />

Very <strong>Rare</strong> And Important First Edition Of The Federalist:<br />

“The Most Famous And Influential American Political Work,” An Exceptional Copy<br />

2. (HAMILTON, Alexander; MADISON, James; JAY, John). The Federalist: A Collection of Essays, Written in Favour of the New<br />

Constitution… New York, 1788. Two volumes bound in one. 12mo, contemporary full sheep, custom chemise and full morocco<br />

clamshell box. $260,000.<br />

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

influence in procuring the adoption of the Federal Constitution.” An exceptional copy in full contemporary sheep.<br />

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

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

necessity of ratifying the newly proposed Constitution of the United States. The 85 essays, under the pseudonym ‘Publius,’ were designed<br />

as political propaganda, not as a treatise of political philosophy. In spite of this, The Federalist survives as one of the new nation’s<br />

most important contributions to the theory of government” (PMM, 234). The Federalist “exerted a powerful influence in procuring<br />

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<br />

that contains so much valuable political information. The true principles of a republican form of government are here unfolded with<br />

great clearness and simplicity” (Church 1230). “A generation passed before it was recognized that these essays by the principal author<br />

of the Constitution and its brilliant advocate were the most authoritative interpretation of the Constitution as drafted by the Convention<br />

of 1787. As a commentary and exposition of the Constitution, the influence of the Federalist has been profound” (Grolier American<br />

100, 56). Of the only 500 copies published, Hamilton is said to have sent nearly 50 copies to Virginia for the ratifying convention. The<br />

remaining 450 copies sold poorly, and “the publishers complained in October 1788, long after New York had ratified the Constitution,<br />

that they still had several hundred unsold copies” (Maggs, 815). Without initial blanks. Sabin 23979. Howes H114(c). Streeter II: 1049.<br />

Ford 17. Grolier American 100, 56. Early owner signature. Occasional neat ink and pencil annotations. Text generally quite clean.<br />

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<br />

tears and spots barely affecting text. Headcap and joints expertly repaired, just a few minor stains and a bit of wear to contemporary<br />

binding. A handsome copy of an exceptionally rare and important work, even more scarce in contemporary sheep.<br />

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abraham lincoln<br />

“There Is The Animal Himself”: Large Oil Portrait Of Lincoln,<br />

Painted From A Plaster Bust Produced In 1860 From A Life Mask<br />

3. (LINCOLN, Abraham) VOLK, Stephen Arnold Douglas. Portrait of Abraham Lincoln.<br />

[Fryeburg, Maine]: 1928. Oil on canvas, mounted on masonite (22 by 30 inches), contemporary gilt frame<br />

(entire piece measures 28 by 36 inches). $25,000.<br />

Original oil painting modeled after the plaster bust of state senator Lincoln made from a life mask by<br />

Douglas Volk’s father Leonard Volk in 1860. Painting signed “Douglas Volk, [19]28.”<br />

Douglas Volk’s father, sculptor Leonard Volk “met Abraham Lincoln in 1858 when Lincoln was debating<br />

Steven Douglass for the U.S. Senate seat from Illinois. Douglass was Volk’s brother-in-law and introduced<br />

him to Lincoln. During that first meeting, Volk, with the eye of an artist, could see the character in<br />

Lincoln’s face and asked him to sit for a bust. Although Lincoln good naturedly agreed, it took two more<br />

years of insistence and perseverance by Volk to finally get Lincoln to sit. Eventually, on March 31, 1860,<br />

shortly before Lincoln received the Republican nomination for president, Lincoln fulfilled his promise<br />

to Volk… On the first visit, Volk took some measurements and made a mask so that he could continue<br />

to work on the bust between sittings… Lincoln, who endured the ordeal [of the mask] in typical stoic<br />

humor, later said that the process ‘was anything but agreeable.’ Despite the painful first sitting, Lincoln<br />

enjoyed the sessions as an opportunity to escape the hectic campaign. Volk reported that ‘He would talk<br />

unceasingly, telling the funniest and most laughable of stories, but he talked little of politics or religion’…<br />

After a few sittings Lincoln looked at the bust and proclaimed ‘There is the animal himself’… Lincoln’s<br />

secretary John Hay later said of the Volk mask, ‘the face has a clean firm outline; it is free from fat, but<br />

the muscles are hard and full; the large mobile mouth is ready to speak, to shout, or laugh; the bold<br />

curved nose is broad and substantial, with spreading nostrils; it is a face full of life, of energy, of vivid<br />

aspiration.’ It is indeed the face of the man who captured the country’s favor and became our 16th<br />

president” (James J. Nance). A copy of Volk’s cabinet bust appears in a 1931 photograph of Leonard’s son<br />

Douglas Volk in his studio at the Fryeburg Tavern, using the bust as a model for his own oil portraits of<br />

Lincoln (Fryeburg Historical Society). This is one of Douglas Volk’s portraits. Fine condition, with only<br />

a bit of restoration to contemporary frame.<br />

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theodore roosevelt<br />

Theodore Roosevelt’s Hand-Corrected Typescript Of His 1912 “Fighting Speech,”<br />

In Which He Quotes The Gettysburg Address<br />

4. ROOSEVELT, Theodore. 1912 Campaign speech with hand corrections. Chicago: March 27, 1912.<br />

Typescript, 7-1/2 by 10 inches, 18 separate leaves; bound in full burgundy leatherette. $25,000.<br />

Bound typescript of Roosevelt’s powerful 1912 campaign speech, dubbed his “Fighting Speech” by<br />

the press, with numerous cross-outs and over 100 hand-written words and punctuation marks in<br />

Roosevelt’s hand.<br />

The March 28, 1912, edition of the Chicago Daily Tribune noted that “Theodore Roosevelt<br />

delivered a ‘fighting’ speech in the Auditorium theater last night. He spoke to the biggest political<br />

mass-meeting ever held in Chicago… Col. Roosevelt had started for Chicago intending to deliver<br />

an address on business in its relation to politics. He had planned to take up dispassionately the<br />

issues that have been raised between him and President Taft in the speeches thus far delivered in<br />

the campaign. But while he was traveling westward the primaries were held in New York with<br />

such manifestations of fraud and trickery on the part of professional politicians as to convince the<br />

colonel the will of the people had been totally subverted. He also read of the methods practiced in<br />

Indiana. When he got here he was mad clear through… His first act after arriving at the Congress<br />

hotel was to tear up the set speech he had written and dictate a new one bearing on the developments of


the hour… After the newspapermen left the colonel set himself to work<br />

on the revision of his evening address. Stenographers trotted in and out<br />

of the suite in a string… There wasn’t a weasel word in it.”<br />

An examination of the speech here offered reveals that, based on the size<br />

of type and spacing between lines, there were at least three different<br />

typists. Roosevelt read what he had dictated, made his corrections, and<br />

ostensibly had the speech retyped. Contrary to what the “Tribune”<br />

reported, Roosevelt did not tear up his “business” speech. Roosevelt had<br />

planned to first speak about business and politics, and then deliver his<br />

attacks on Taft and his supporters. In the speech here offered, Roosevelt<br />

begins by saying “So much friends, for what I have to say about business.<br />

It is a very important subject, but there is a still more important subject<br />

that I wish to touch upon. Now the fundamental issue in this fight is an<br />

issue of honesty, decency, fair play. Have the people the right to rule?<br />

Have the masses of the Republican Party, the rank and file, the plain<br />

people in whom Abraham Lincoln trusted, the right to express their will<br />

as to who the nominee for President shall be? Or are they to be bled<br />

[“bled” was an error in transcription; Roosevelt crossed it out and<br />

handwrote “bullied”] and defrauded out of that right and the nomination<br />

be entrusted to the representatives of political and financial privilege.”<br />

His correction of “bled” to “bullied” indicates that this was his original dictated speech which he then corrected after it was<br />

returned to him by the stenographers. Bookplate of John Maxwell Taylor, son of General Maxwell Taylor, Chairman of the<br />

Joint Chiefs of Staff under Presidents John F. Kennedy and Lyndon B. Johnson. Final leaf is a carbon copy with a small open<br />

tear repaired with tape, not affecting readability. A fine piece of Rooseveltiana.<br />

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colton atlas<br />

Colton’s Large Hand-Colored Wall Map Of The United States, 1854—<br />

This Copy Used To Plot Troop Movements During The Civil War<br />

5. (COLTON, Joseph Hutchins) SMITH, John Calvin. Colton’s Map of the United States of America. New York, 1854. Thirty-six<br />

separate sections mounted on linen backing, entire map measures nearly 7 by 5-1/2 feet; custom clamshell box. $20,000.<br />

1854 edition of Colton’s landmark steel-engraved wall map of the United States. The manuscript cover label reads, “This map hung<br />

on the dining room wall of Schuyler Cottage at Nevis ——, N.Y. The U.S. & Confederate forces—advances & retreats marked by rows<br />

of red and black headed pins.”<br />

“Beginning with large wall maps of the United States in 1847, Joseph H. and George W. Colton expanded their operations to include<br />

gazetteers and atlases” (Schwartz & Ehrenberg, 273). This large hand-colored steel-engraved wall map is representative of the<br />

Colton firm’s reputation for producing “the best grade of geographical publications and the most extensive house in America for<br />

many years for the manufacture of maps of every kind, atlases, [and] school geographies” (Ristow, 315). It was the Coltons’ practice<br />

to purchase the copyrights to existing maps, rather than produce the maps themselves. First published by Colton in 1853, this wall<br />

map of the United States, a revised version of John Calvin Smith’s 1843 map (which in turn relied upon Arrowsmith for the<br />

American West), also shows parts of Canada and “a large portion of Texas.” Ristow, 318. See Wheat 471; Schwartz & Ehrenberg, 273.<br />

An extraordinary cartographic production in fine condition, with intriguing Civil War association.


declaration of independence<br />

“We Hold These Truths To Be Self-Evident…”: Important Large Broadside Force Engraving<br />

Of The Declaration Of Independence, 1848, Perhaps As Few As 500 Copies Printed<br />

6. (DECLARATION OF INDEPENDENCE) FORCE, Peter. In Congress, July 4th 1776. The Unanimous Declaration of the<br />

Thirteen United States of America. Washington, 1848. Broadside (25-1/2 by 29 inches), copperplate engraving on thin rice paper,<br />

Floated and framed, entire piece measures 36 by 32-1/2 inches. $48,000.<br />

The Peter Force engraving of the Declaration of Independence, with remarkably exact renditions of the signers’ hands. One of the best<br />

representations of the original manuscript Declaration, perhaps as few as 500 copies issued.<br />

By 1820 the original Declaration of Independence (now housed at the National Archives in Washington, D.C.) showed serious signs<br />

of age and wear from handling. John Quincy Adams, then Secretary of State, commissioned William J. Stone to engrave an exact<br />

copy of the original onto a copper plate. In 1823, Congress ordered 200 official copies printed on vellum. Fewer than 40 of Stone’s<br />

printing on vellum are known to have survived, with at least 21 of those housed in institutions and public collections. All subsequent<br />

exact facsimiles of the Declaration descend from the Stone plate. In 1843 Congress commissioned Peter Force to compile and<br />

publish The American Archives. Perhaps using the Stone’s original plate at first, but then most likely a copy plate, Force prepared<br />

prints of the Declaration of Independence on special thin rice paper. Congress authorized the printing of 1500 copies of American<br />

Archives, but subscriptions for the elaborate edition were disappointing, and in the end many fewer copies—perhaps only 500—were<br />

issued. Most, including this copy, were folded and bound into Volume I, Series Five, published in 1848. Faint fold lines (as usual), a<br />

bit of expert paper restoration, handsomely framed.<br />

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ulysses s. grant<br />

“By The Directions Of My Father, I Send You This Book”:<br />

Exceedingly <strong>Rare</strong> Presentation/Association First Edition Of Grant’s Memoirs,<br />

Inscribed After His Death And Prior To Publication As Per Grant’s Request By His Son Frederick<br />

To A Prominent Friend And Supporter Of His Father<br />

7. GRANT, Ulysses S. Personal Memoirs of U.S. Grant. New York, 1885-86. Two volumes. Octavo, original deluxe full<br />

brown morocco gilt. $15,000.<br />

First edition, exceptionally rare presentation/association copy of “one of the most valuable writings by a military commander<br />

in history,” inscribed by Frederick Grant five months after his father’s death to a New York merchant who was a<br />

Presidential Elector in Grant’s 1872 election and a powerful, “conscientious and devoted admirer” of Grant. Dated seven<br />

days before publication, Frederick Grant writes in Volume I: “With the affectionate regards of the author to Oliver Hoyt,<br />

Esq. By the directions of my father, I send you this book with the above note, F.D. Grant, New York City, Dec-3-1885.”<br />

This exceptionally rare presentation/association copy of Grant’s Personal Memoirs is inscribed by his son Frederick D. Grant<br />

five months after his father’s death. Frederick, who as a young boy of thirteen had accompanied his father to his famous first<br />

meeting in Washington with President Lincoln (Grant “arrived in a simple army coat, shorn of rank,” and, unrecognized as<br />

commander of the Union armies, was at first given a modest room at the Willard Hotel), accompanied his father off and on<br />

at several campaigns during the war, including Vicksburg. A graduate of West Point in 1871, Frederick served with Sheridan<br />

on the Yellowstone Expedition and was with Custer on the Black Hills Expedition. Having resigned from the army in 1881,<br />

Frederick was at his father’s side throughout the long months of his struggle with cancer, and, along with Mark Twain and<br />

Adam Badeau, aided in the preparation and compilation of his father’s Memoirs. “Over the final months of his father’s life,<br />

Fred Grant would not only prove to be an indispensable researcher, an adept historian, and an accomplished editor, he would<br />

lead his father through the pain-wracked days when writing seemed impossible. When Grant seemed at the edge of despair,<br />

when the pain of his illness threatened to undo his work, when visitors, family friends, and reporters pressed in on him, it<br />

was the ever patient Fred who diverted their attention and allowed his father to work… Badeau and Fred served as Grant’s<br />

researchers, secretaries, fact checkers, critics and readers” and worked closely with Twain on the project. Fred, along with the<br />

rest of his family, was at Grant’s side when he died<br />

on July 23rd (Perry, Grant and Twain).<br />

The following December Frederick inscribed this<br />

pre-publication copy of his father’s Memoirs seven<br />

days before “the first volume of the book was published<br />

on December 10, 1885” to Oliver Corse Hoyt,<br />

a prominent New York merchant and financier who<br />

served as a Presidential Elector in Grant’s 1872 reelection,<br />

casting “his vote for Grant, of whom he was<br />

a conscientious and devoted admirer.” Later, Hoyt<br />

was a trustee of a fund of $250,000. that had was<br />

raised by private subscription in 1881 for the benefit<br />

of Grant and his family, to insure the General an<br />

income for the remainder of his life. A longtime<br />

resident of Connecticut, Hoyt served three terms as<br />

Senator in the Connecticut legislature. “Grant’s<br />

memoirs comprise one of the most valuable writings<br />

by a military commander in history” (Eicher 492).<br />

Dornbusch II:1986. Mullins & Reed 35. Bookplates of<br />

recipient Oliver Corse Hoyt. Text and plates fresh<br />

and clean, Volume I with detaching corner of front<br />

free endpaper expertly reattached, expert reinforcement<br />

to half title; some light wear to boards and<br />

spine heads. An extraordinary presentation copy.


thomas jefferson<br />

“One Of The Great Seminal Papers In American Political History”:<br />

Exceedingly <strong>Rare</strong> Broadside Published Within Days Of Thomas Jefferson’s First Inaugural Address, 1801<br />

8. JEFFERSON, Thomas. The Inaugural Speech of Thomas Jefferson. Salem, Massachusetts, March 14, 1801. Broadside, single<br />

folio leaf of laid paper (measuring 12 by 19 inches), printed in three columns on the recto, untrimmed. $32,000.<br />

Exceedingly rare broadside of “one of the immortal inaugural speeches,” Thomas Jefferson’s first inaugural address, a ringing<br />

reaffirmation of American political and philosophical principles, an exceptional printing, one of the very first broadsides published<br />

(one of the first four), issued by the editor of the Salem Register, an ardent Jeffersonian and fierce anti-Federalist.<br />

Following the divisive election of 1800—which Jefferson deemed “as real a revolution in the principles of our government as that of<br />

1776 was in its form” (Smith III:298)—the new president needed, in his first official address, to strike a tone both conciliatory and<br />

authoritative. “When he spoke his voice carried to<br />

only the first few rows of the crowded Chamber;<br />

most of those who strained to hear his address had<br />

to read it in the Washington papers the next day…<br />

[And yet] his address, one of the great seminal papers<br />

in American political history, was to have an<br />

almost biblical impact” (Brodie, 336). Filled with<br />

memorable and moving language—including the<br />

coining of the phrase “entangling alliances” (Ellis,<br />

Founding Brothers, 128)—Jefferson’s First<br />

Inaugural remains best known for this statement of<br />

American ideals: “But every difference of opinion<br />

is not a difference of principle. We have called by<br />

different names brethren of the same principle. We<br />

are all republicans: we are all federalists. If there be<br />

any among us who would wish to dissolve this<br />

Union or to change its republican form, let them<br />

stand undisturbed as monuments of the safety<br />

with which error of opinion may be tolerated where<br />

reason is left free to combat it.” “One of the immortal<br />

inaugural speeches” (Randall).<br />

Although the priority of broadside printings—<br />

which were considerably less common than newspaper<br />

printings—is not fully determined, this<br />

March 14 broadside precedes printings on silk and<br />

is possibly one of the first four broadsides issued:<br />

preceded by a Washington, D.C. broadside, a New<br />

York broadside “From the Office of the Mercantile<br />

Advertiser” published Monday March 9, and issued<br />

the same week as Mathew Carey’s Philadelphia<br />

broadside, which appeared “a week after the inauguration”<br />

and was advertised in Philadelphia’s<br />

Gazette of the United States on March 12 and the<br />

Aurora on March 14, the same day this Salem<br />

broadside was published (Cunningham, Inaugural<br />

Addresses, 1-20). Shaw & Shoemaker 726. See Shaw<br />

& Shoemaker 717. OCLC lists only two copies.<br />

Text fresh and clean, only a bit of faint dampstaining,<br />

a few tiny pinholes at foldlines. An exceptional<br />

untrimmed example of this very rare and<br />

important document.<br />

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abraham lincoln<br />

“The Lady-Bearer Of This—A Quakeress—Wishes To Do Some Acts Of Humanity For<br />

Secession Prisoners…”: Most Unusual And Compassionate Lincoln Autograph Note,<br />

In Exceptional Autograph Album Of Dolley Madison’s Cousin With Over 250 Historic Signatures<br />

9. (LINCOLN, Abraham). Autograph note signed (27 July 1863), 11 lines recto and verso of card (3-3/8 by 2 inches), from<br />

Abraham Lincoln to Mrs. John Wethered with additional card signed (“A. Lincoln”) as President. WITH: (MADISON, Dolley)<br />

Two-page autograph letter signed (3 June 1844), tipped-in at rear. IN: Autograph album of Mrs. John Wethered. Generic<br />

engraved “Album” title leaf and five engraved plates interspersed. Washington, circa 1844. Square octavo, original black blindstamped<br />

morocco rebacked with original spine laid down, custom chemise and slipcase. $55,000.<br />

Very unusual autograph note signed by Lincoln from 1863 authorizing the bearer, a “Quakeress,” to tend to Confederate<br />

prisoners of war, whom he here describes as “secession prisoners.” The recipient tipped this note into her original mid 19thcentury<br />

autograph album that contains more than 250 original historic signatures, including those of Presidents Martin Van<br />

Buren, James Buchanan, Andrew Johnson and John Quincy Adams, as well as many other figures important in politics leading<br />

up to and during the Civil War. Also with a warm letter from the owner’s cousin, Dolley Madison, tipped in.<br />

Lincoln’s note to Mrs. Wethered grants permission to tend to injured Confederate soldiers in Baltimore. The note reads: “The<br />

lady-bearer of this—a Quakeress—wishes to do some acts of humanity for secession prisoners now at Baltimore. Surgeon<br />

General please see & hear her & and allow her such authority in the premises, as is consistent with humanity, & not inconsistent<br />

with the public service. A. Lincoln. July 27, 1863.” The accompanying album also includes a letter from Mrs. Wethered’s cousin,<br />

Dolley Madison. As the wife of John Wethered, a U.S. Representative from Maryland, Mrs. Wethered had this album signed by<br />

scores of politicians, providing a near-comprehensive portrait of the 1844 election season. Binding with expert restoration to<br />

extremities. A few instances of foxing, chiefly to engraved plates. An impressive and exceptional album; a most desirable<br />

addition to any Civil War collection.


mckenney & hall<br />

“Truly A Landmark In American Culture”:<br />

McKenney & Hall’s Indian Tribes Of North America,<br />

With 120 Splendid Hand-Colored Plates<br />

10. MCKENNEY, Thomas and HALL, James. History of the Indian Tribes of<br />

North America. Philadelphia, 1848-50. Three volumes. Royal octavo, contemporary<br />

three-quarter black morocco gilt expertly rebacked with original spines laid<br />

down. $35,000.<br />

First octavo edition of one of the most recognized and desirable American color<br />

plate books produced in the 19th century, illustrated with 120 splendid fully handcolored<br />

lithographic plates after Charles Bird King’s original oil paintings, “the<br />

most colorful portraits of Indians ever executed” (Howes).<br />

In commissioning the Indian Tribes of North America, McKenney aimed to<br />

educate the American public about these greatly exotic warriors and chiefs and to<br />

preserve them for posterity in a series of beautiful portraits. Most of the original<br />

oil portraits were painted from life in the studio of Charles Bird King, to whom<br />

McKenney brought many of the subjects. The rest were copied from watercolors<br />

executed in the field by a young frontier artist named James Otto Lewis. The<br />

finished portraits resided in the Smithsonian until 1865, when fire consumed the<br />

institution and destroyed most of the paintings. As a result, the folio and octavo<br />

editions are particularly vital in their “faithful recording of the features and dress<br />

of celebrated American Indians who lived and died long before the age of<br />

photography” (McKenney-Hall Portrait Gallery, 23). This first octavo edition is<br />

notable for the richness of its coloring and quality of printing. Howes M129. Sabin<br />

43411. Field 992. Plates bright and beautiful, coloring vivid and fresh, with only<br />

sparse patches of foxing to text, contemporary bindings lightly rubbed. A rare and<br />

most desirable work, in excellent condition.<br />

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american revolution<br />

“The Best Contemporary Account Of The Revolution From The British Side”:<br />

Stedman’s History Of The American War, 1794, With 15 Large Maps (11 Folding)<br />

Of “Great Interest And Value”<br />

11. STEDMAN, Charles. History of the Origin, Progress, and Termination of the American War. London: Printed for the<br />

Author and Sold by J. Murray, et al., 1794. Two volumes. Tall quarto (9 by 11 inches), contemporary full brown tree calf<br />

rebacked with original elaborately gilt-decorated spines laid down. $23,000.<br />

First edition, wide-margined copy, of Stedman’s massive contemporary two-volume History of the American Revolution—“the<br />

standard work on the subject”—containing 15 military maps and plans (11 folding, the largest nearly 20 by 30 inches), handsomely<br />

bound in contemporary tree calf.<br />

Philadelphia-born military historian Charles Stedman was a Loyalist who served with the British at Lexington and Bunker Hill,<br />

later became commissary to the army of Sir William Howe, and was with Cornwallis in the South. Taken prisoner by American<br />

forces, he was sentenced to be hanged as a rebel but escaped. At war’s end Stedman moved to England where he authored this<br />

authoritative two-volume History, “considered the best contemporary account of the Revolution from the British side” (Sabin<br />

91057). As “the standard work on the subject,” Stedman’s History especially benefits from eyewitness accounts of many campaigns<br />

(DNB). In addition, “the military maps and surveys in the History are of great interest and value” (Allibone, 2231). Ultimately, he<br />

concludes that the American Revolution “came as a surprise to the world… no invading army, in the present enlightened period,<br />

can be successful, in a country where the people are tolerably united” (449). These two volumes feature folding strategic plans of<br />

the Battle of Bunker Hill, attacks on Forts Clinton and Montgomery, and the Sieges of Charleston, Savannah and Yorktown, along<br />

with maps of Long Island and the Catawba River. Both volumes with half titles. Howes S914. Sabin 91057. Lowndes, 2504. Text and<br />

maps generally fresh with light scattered foxing, occasional faint offsetting, expert archival repair to closed tear in folding Plan…<br />

at Bunkers Hill (I), closed marginal tear to one leaf not affecting text (II:239), very lightest edge-wear to boards. A highly desirable<br />

near-fine copy, especially scarce complete and in contemporary calf.


harry truman<br />

“The Western World Has Been Freed Of Evil Forces”:<br />

Truman’s Proclamation At Nazi Germany’s Surrender, Boldly Signed By Him<br />

12. TRUMAN, Harry. A Proclamation. Washington, DC, May 8, 1945. Large official broadside (11 by 16 inches, matted), framed<br />

with an original 5 by 7 inch photograph of Truman (entire piece measures 19-1/2 by 34 inches). $25,000.<br />

Large elaborate signed three-color broadside of President Truman’s proclamation upon the Nazi surrender to the allied forces,<br />

praising the armed forces and designating a day of prayer to offer “joyful thanks to God for the victory we have won and to pray<br />

that He will… guide us into the ways of peace.” Handsomely set in Gothic type and boldly signed in ink “Harry Truman.”<br />

“On the day before Hitler’s suicide, all German<br />

troops in Italy laid down their arms. On May 4th,<br />

German forces in Holland, Denmark and northwest<br />

Germany surrendered to British Field Marshall<br />

Montgomery. On the 6th, Donitz authorized<br />

General Alfred Jodl to ‘conclude an armistice agreement’<br />

with General Eisenhower. The Germans<br />

wanted a separate peace with the allied troops in the<br />

West in order to continue their battle with the<br />

Russians in the East. Eisenhower would have none<br />

of it. He ordered the Germans to surrender unconditionally<br />

the next day. The Germans acquiesced,<br />

signing the surrender document on May 7th… The<br />

cessation of fighting took effect at 11:01 P.M. on May<br />

8th” (Georges Blond). In this triumphal proclamation<br />

President Truman gives special praise to the<br />

armed forces: “The Allied armies, through sacrifice<br />

and devotion and with God’s help, have wrung from<br />

Germany a final and unconditional surrender. The<br />

western world has been freed of the evil forces which<br />

for five years and longer have imprisoned the bodies<br />

and broken the lives of millions upon millions of<br />

free-born men. They have violated their churches,<br />

destroyed their homes, corrupted their children,<br />

and murdered their loved ones. Our Armies of<br />

Liberation have restored freedom to these suffering<br />

peoples, whose spirit and will the oppressors could<br />

never enslave.” Truman read this proclamation at a<br />

news conference held in his office at the White<br />

House on Tuesday, May 8, 1945. Before reading, he<br />

remarked: “This is a solemn but glorious hour.<br />

General Eisenhower informs me that the forces of<br />

Germany have surrendered to the United Nations.<br />

The flags of freedom fly all over Europe.” An aboutfine<br />

copy, with only a few minor crease lines, handsomely<br />

framed.<br />

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alexander wilson/american ornithology<br />

“The First Truly Great American Ornithology And The First Truly Outstanding American<br />

Color Plate Book Of Any Type; Absolutely Basic As A Collector’s Item”<br />

13. WILSON, Alexander. American Ornithology. New York and Philadelphia, 1828-29. Four volumes: three quarto text<br />

volumes, one folio plate volume. Contemporary marbled boards rebacked and recornered in diced calf gilt. $25,000.<br />

Preferred 1828-29 large-paper edition, with 76 brilliantly hand-colored large folio engraved plates printed from the original<br />

copper-engraved plates and “colored anew from fresh or preserved material, with pigments which seem to have been of better<br />

quality than those used by Wilson,” several heightened with gum arabic (Ayer/Zimmer).<br />

Alexander Wilson’s American Ornithology is “the first truly great American ornithology and also the first truly outstanding American<br />

color plate book of any type; absolutely basic as a collectors’ item” (Bennett). “This book antedates Audubon by some years and is the<br />

first American bird book with colored plates published in America. Catesby’s Natural History of Carolina, London 1731-43, and<br />

Levaillant’s Oiseaux de l’Amerique, Paris 1801-02, are both less comprehensive” (Sitwell, 155). “The first new edition of Wilson’s entire<br />

work, arranged in the systematic sequence of the species, not in the irregular order of the original” (Ayer/Zimmer, 681-2). Widely held<br />

as the pioneer of American nature literature, Wilson emigrated from Scotland to America in 1794, traveling on foot to Philadelphia.<br />

A naturalist by inclination but not by training, Wilson was fascinated with the American landscape and seemingly endless varieties<br />

of birds he had never seen before. A schoolmaster, in 1802 Wilson became a neighbor to naturalist William Bartram, who encouraged<br />

him to cultivate his strong interest in nature and art. Upon securing an editorial position in 1807 with Philadelphia publisher Samuel<br />

Bradford, Wilson persuaded Bradford to finance his monumental American Ornithology, the first significant study of birds in the New<br />

World. Many of the plates from Wilson’s drawings were engraved by fellow Scotsman Alexander Lawson. Wilson is often called the<br />

father of American ornithology. Wilson covered only the eastern United States, but over the next 100 years, ornithologists were able<br />

to add only 23 more indigenous land birds to his list. First published 1808-14. Anker 533. Ayer/Zimmer, 681-82. Sitwell, Fine Bird<br />

<strong>Books</strong>, 155. Nissen IVB992. McGill/Wood 630. Sabin 104598. Plates quite bright and beautiful with light expert cleaning; small bit of<br />

marginal dampstaining and faint foxing not affecting images; small tape repair to upper verso of plate 67. Text volumes with lightest<br />

scattered foxing, minor dampstaining; one expertly repaired closed tear to text leaf (II:329). Handsome period-style bindings. Fine.


“A Vast Influence Both In England And America”:<br />

First American Edition Of Blackstone’s Commentaries—<br />

Original Subscriber’s Copy<br />

14. BLACKSTONE, William. Commentaries on the Laws of England.<br />

Philadelphia, 1771-72. Four volumes. Octavo, contemporary full dark brown<br />

sheep (Volume IV tan sheep); each volume housed in custom cloth chemise and<br />

slipcase. $22,000.<br />

First American edition, first issue, of this monumental treatise that greatly influenced<br />

the development of the American legal system, this distinctive association<br />

copy with the 22-page subscribers list, rarely found, which names leading<br />

Revolutionary figures such as John Adams, Federalist co-author John Jay, John<br />

Dickinson, and this set’s original owner Samuel McDowell, of Augusta County,<br />

Virginia (signed by him and with his bookplates).<br />

“To American lawyers of the late colonial period and the early years of the<br />

Republic, no legal textbook was more important than the Commentaries by<br />

British jurist William Blackstone… Jefferson, himself, when suggesting books to<br />

be read by young men desirous of studying law, confined his choices to English<br />

texts, led by those of Coke and Blackstone” (Schwartz, The Law in America). “Had a vast influence both in England and America”<br />

(Holdsworth, 22). Early printed bookplates of original subscriber Samuel McDowell and of his oldest son, John in Volumes I-III.<br />

Volumes I & II additionally signed by Samuel; Volume III signed by William McDowell (b. 1762) who became a judge. Volume IV<br />

from another set of the same first American edition, with discrete morocco owner label to foot of spine and owner ink stamp to front<br />

pastedown. Front joint of Volume II split, cords holding firm. Rear joint of Volume III repaired, with restoration to spine. Minor<br />

browning and occasional staining. Overall a very desirable set in contemporary American sheep, complete with the rare subscriber’s<br />

list, and with distinguished provenance.<br />

“Here Began The Horrid Practice Of Forcing<br />

Africans Into Slavery”: Scarce First Edition Of<br />

Clarkson’s History, 1808, With Famous Folding<br />

Plate Of The Slave-Ship Brookes<br />

15. CLARKSON, Thomas. The History of the Rise, Progress and<br />

Accomplishment of the Abolition of the African Slave-Trade by<br />

the British Parliament. London, 1808. Two volumes. Octavo,<br />

contemporary full brown polished calf. $5200.<br />

First edition of Clarkson’s classic history of the slave trade, with the<br />

famous large folding engraving of the arrangement of slaves on<br />

decks of the slave-ship Brookes according to the “humane” Dolben<br />

Bill of 1788, scarce in contemporary calf.<br />

Thomas Clarkson, who was “the heart and soul of the campaign for<br />

abolition,” led a handful of fervent activists working to untie slaveholding<br />

from the fabric of British life (Thomas, 495). His History<br />

would prove a vital document in the abolitionist struggles of Britain<br />

and America. The famous folding engraved plate of slaves closely fitted on decks of the slave-ship<br />

Brookes is one of the most powerful and influential images in the history of the anti-slavery<br />

movement. The Dolben Bill of 1788 had exacted a limit of the number of slaves per ship’s<br />

tonnage at five slaves per three tons. Anti-slavery activists obtained the measurements of the Brookes and imposed slaves on its decks<br />

in the ratio required by the “humane” Dolben Bill with stupefying results. Sabin 13486. Kress B5319. Goldsmiths 19725. McCulloch<br />

316. Interiors generally fresh with light scattered foxing, occasional minor dampstaining, early expert archival reinforcement to verso<br />

of Brookes folding plate (II); handsome contemporary calf with expert restoration. An extremely good copy of this major work.<br />

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“Swallow Up All Us Little Folks, Like The Great Leviathan”<br />

17. (CONSTITUTION). Debates, Resolutions and other Proceedings, of the<br />

Convention of the Commonwealth of Massachusetts… Boston, 1788. Small<br />

octavo, contemporary full brown sheep, custom clamshell box. $7500.<br />

First edition of the important Massachusetts Constitutional debates, containing<br />

lively, passionate arguments on ratification that spoke to issues of slavery, religion,<br />

the military and the judiciary.<br />

“Congress Shall Make No Law”: First Collected<br />

Printing Of The U.S. Constitution And 12 Proposed<br />

Amendments, The Declaration Of Independence,<br />

And 14 State Constitutions<br />

16. (CONSTITUTION) U.S. CONGRESS. The Constitutions<br />

of the United States… Philadelphia, 1791. 12mo, contemporary<br />

full tree sheep rebacked in period style. $12,000.<br />

1791 edition of the Constitutions, very scarce first collection of<br />

state constitutions published after the ratification of the U.S.<br />

Constitution, the first to assemble a printing of the U.S.<br />

Constitution together with 12 proposed amendments, and the<br />

first to include the constitution of Vermont along with those of<br />

the 13 original states, including that of Massachusetts—“the<br />

oldest functioning written constitution in the world”—especially<br />

scarce in contemporary boards.<br />

Writing from Paris in December 1787, Thomas Jefferson<br />

responded to a letter from Madison that outlined the newly<br />

constructed federal Constitution. Though unhappy with its “omission of a bill of rights,” Jefferson approved of this “government<br />

which should go on of itself peaceably” (LOA, Constitution I:210). This scarce volume is the first to assemble the U.S. Constitution<br />

and the constitutions of the original 13 states. It notably “contains the constitution of Vermont, not in any previous edition” (Matyas<br />

91-01), as well as the 1780 Massachusetts constitution authored by John Adams—“one of the great, enduring documents of the<br />

American Revolution… the oldest functioning written constitution in the world” (McCullough, John Adams, 225). Evans 23887.<br />

Howes C716. Sabin 16097. Contemporary owner signature above title page. Text generally fresh with minimal embrowning to edges<br />

of a few leaves, light marginal expert restoration to title page and last leaf, expert restoration to contemporary boards. A very good<br />

copy of this most important constitutional volume.<br />

On January 9, 1788, the Massachusetts convention met in Boston to debate<br />

ratification of the Constitution. Unlike other states “where the Constitution was<br />

heavily favored” and discussions remained perfunctory, “in Massachusetts,<br />

which had the largest number of delegates, the record of the debates is almost as<br />

voluminous as those of the federal convention itself” (Smith, Constitution, 239).<br />

Antifederalists were initially led by Samuel Adams and fiery arguments, here<br />

recounted, aired concerns over slavery, the judiciary, a standing army, religion,<br />

and fears that federal legislators “will get all the power and all the money into<br />

their own hands, and then they will swallow up all us little folks, like the Great<br />

Leviathan” (132). “Despite all the heavy artillery that the Federalists mustered<br />

for their cause, the vote itself was nerve-wrackingly close. The final tally was<br />

yeas 187, nays 168—a difference of 19 votes out of 355 cast… Had Massachusetts rejected the Constitution, it is certainly the case<br />

that… the chances of [Virginia and New York] ratifying would have been seriously diminished” (Smith, Constitution, 239-246).<br />

Contemporary owner signature. Light scattered foxing and faint marginal dampstaining, some age-wear to contemporary sheep.<br />

An extremely good copy of a fascinating and key document.


“The Indian… On The Point Of Passing Away”:<br />

Volume VII Of Curtis’ The North American Indian,<br />

One Of Only About 30 Copies With The Plates<br />

On Japanese Tissue<br />

18. CURTIS, Edward. The North American Indian. Volume<br />

VII. Norwood, Massachusetts, 1911. Folio, publisher’s threequarter<br />

brown morocco gilt. $27,000.<br />

Volume VII of this monumental twenty-volume work, number 239<br />

of 500 copies (but probably only 272 copies), with 75 sepia<br />

photogravures finely printed on delicate Japanese tissue and<br />

mounted. This is the rarest and most desirable state of the gravures,<br />

allowing the subtle tones of Curtis’ images to be seen to their best<br />

effect; it is believed that only around 30 such copies were produced.<br />

“Edward Curtis was not like most photographers. He was not the<br />

first person to photograph American Indians, or the last…<br />

However, there can be no doubt that he was the most prolific, the<br />

most dedicated, and the most influential” (Pritzker, Edward S.<br />

Curtis, 6). The 20 volumes of Curtis’ epic series are “without a<br />

doubt… jewels of 20th-century bookmaking, hailed as ‘the most<br />

gigantic undertaking in the making of books since the King<br />

James edition of the Bible’” (Roth, 4-5). This volume of Curtis’<br />

beautiful and important work is dedicated to the Yakima,<br />

Klickitat, Interior Salish, and Kutenai tribes. The area inhabited by these tribes includes present-day Montana, Idaho, Washington<br />

and British Columbia. Sets were more commonly issued with the photogravures printed on Japanese vellum and on Dutch Van<br />

Gelder paper. Printing the plates on delicate Japanese tissue and mounting them would have been a painstaking and expensive<br />

process, but truly does lend the images a depth and dimensionality not quite captured on paper. A splendid volume in fine<br />

condition, plates exceptionally fresh and beautiful.<br />

Signed By Amelia Earhart, With An Original Voice Recording Of<br />

Her Account Of Her Famous Transatlantic Flight<br />

19. EARHART, Amelia. The Fun of It. New York, 1932. Octavo, original<br />

brown cloth. $3600.<br />

First edition, first printing, signed by Earhart, with original silvertone<br />

phonograph recording of her internationally broadcast speech given the day<br />

she completed her solo transatlantic flight.<br />

Subtitled “Random Records of My Own Flying and of Women in Aviation,”<br />

The Fun of It covers Earhart’s life through May 20-21, 1932, “when Miss<br />

Earhart, alone in a Lockheed Vega monoplane with a single Wasp engine,<br />

negotiated 2,026 miles through storm and fog from Harbor Grace,<br />

Newfoundland, to a cow pasture on the outskirts of Londonderry, Ireland.<br />

The flight set a transatlantic record of 14 hours, 56 minutes… and stirred<br />

such public adulation that she confided, ‘I’ll be glad when the zoo part is<br />

over’” (ANB). With frontispiece portrait and 30 additional photographic<br />

illustrations. Original record stored, as issued, in pocket on rear pastedown<br />

endpaper. Without original dust jacket. A U.S. Air Mail postage stamp,<br />

issued in 1963 and depicting Earhart standing before her Lockheed Electra<br />

plane, is affixed below her signature. Interior fine, small ink mark to bottom<br />

edge of text block, faint offsetting to leaf with signature. Record fine, twoinch<br />

open tear to record sleeve. A fine signed copy.<br />

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“Profits Good Even Now”:<br />

Scarce 1924 Typed Letter Signed By Thomas Alva Edison<br />

20. EDISON, Thomas Alva. Typed letter signed. Orange, New Jersey,<br />

August 29, 1924. Single original letterhead leaf (measures 8-1/2 by 11<br />

inches), typescript on recto. WITH: Printed business card (2 by 3-1/2<br />

inches). $12,000.<br />

Scarce 1924 typed letter signed by Thomas Alva Edison, discussing his<br />

attempts to improve the marketing of his phonograph and records by<br />

renting them to dealers as an aid to sales, also with the Edison Laboratory<br />

printed business card of his correspondent.<br />

Edison’s letter is typed on his company letterhead, and reads in part:<br />

“Dear Mr. Heald… At present time phonographs in large cities in the East<br />

cannot be sold to any extent except by planting them in homes, not in the<br />

homes of rich people, but in the homes of those in moderate circumstances.<br />

The profit will be doubtful just now, but when the same scheme is tried in<br />

the country with a good canvasser, the results are still good and profits<br />

fair… This plan is being worked by several dealers in New England. The<br />

factory rents the machines and records to the dealer at $4.00 per month<br />

for each sub-dealer. The sub-dealer had no expenses, but if a prospect sent<br />

to the dealer results in the canvasser making a sale, the sub-dealer gets<br />

about 10% commission on the list price… We only introduce this system<br />

among dealers who canvass by truck. Yours very truly, [signed] Thos A. Edison.” As a concession to the competitive marketplace<br />

and to maintain his phonograph’s positioning, Edison offered attachments to his phonographs so they could play the records of<br />

competitors. Included is an Edison Laboratory business card with the printed name of correspondent P.B. Heald. Fine condition.<br />

First Edition Of Finley’s Great 1824 New General Atlas,<br />

With 58 Hand-Colored Engraved Maps Featuring American States<br />

21. FINLEY, Anthony, publisher. A New General Atlas.<br />

Philadelphia, 1824. Folio (11 by 14 inches), publisher’s threequarter<br />

red morocco rebacked. $16,500.<br />

First edition of Anthony Finley’s first publication, his popular<br />

General Atlas, about half of which features maps of America and<br />

American states. Complete with 58 hand-colored engraved maps<br />

and two hand-colored engraved tables.<br />

During the first half century after the Revolution there was<br />

considerable American interest in the production of atlases. In the<br />

four-year period beginning in 1822, six large atlases were published<br />

in the United States, of which Finley’s was perhaps the most<br />

notable. This General Atlas is Finley’s first publication. “All of the<br />

atlas’ 60 plates were engraved by Young & Delleker… It contains<br />

60 maps, about half of which are devoted to the American<br />

continent, and the remainder to other parts of the world, chiefly to<br />

Europe… The engraving is done almost uniformly with<br />

remarkable distinctness and the face of the maps is frequently<br />

beautiful, not overloaded with a confusion of useless names”<br />

(Ristow, 268-269). The interesting map of Mexico depicts the<br />

North American southwest from what would become Texas to<br />

California. Phillips Atlases 4314. Shoemaker 16146. Owner pencil<br />

signature. Maps in excellent condition with only a few small<br />

marginal stains, hand-coloring bright and fine. A fine copy.


enjamin franklin<br />

“Luminous Bodies, Of Magnitudes Inconceivable”:<br />

First Edition Of Benjamin Franklin’s Poor Richard’s Improved… Almanack For 1754<br />

22. (FRANKLIN, Benjamin). Poor Richard Improved… for the Year of Our Lord 1754. Philadelphia: B. Franklin and D. Hall,<br />

1753. 12mo (4 by 7 inches), modern three-quarter red calf, uncut; pp. [36]. $30,000.<br />

<strong>Rare</strong> first edition of Franklin’s famed Poor Richard’s Improved… Almanack for the year 1754, featuring “An Idea of the Creator from<br />

his Works”—an eloquent extended essay by Franklin’s close friend James Burgh, who later authored, with Franklin as his editor, a<br />

powerful and highly influential defense of the colonies, Political Disquisitions (1774-5). With the famed woodcut of anatomical man<br />

“govern’d” by constellations and 12 woodcut panels, rarely found complete and uncut.<br />

Franklin’s scientific curiosity is especially clear in this volume’s “Idea of the<br />

Creator from his Works,” the near-verbatim reprint of a work by Franklin’s<br />

close friend, British political reformer and colonial sympathizer James Burgh.<br />

This extensive essay eloquently cites Isaac Newton on gravity, the scientific<br />

value of telescopes, the orbits of the planets and the life of comets, and the<br />

wonder of the “glorious Sun, a stupendous World of Light and Heat.” Like<br />

other colonial almanacs, Franklin’s Almanacks were “compact little wonders,<br />

they were printed on cheap paper and had no real binding. They were meant<br />

for daily use, and surviving examples are often… torn apart” (Chaplin, 62).<br />

Sabin 25567. Miller 570. Contemporary owner inscriptions to title page. Text<br />

generally quite fresh with only light scattered foxing, a bit of faint marginal<br />

embrowning, leaves uncut with small loss to terminal text leaf affecting a few<br />

words. A highly desirable near-fine copy, rare complete and uncut.<br />

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“Discourage The Practice Of Making Slaves Of Our Fellow Creatures”: 1760 Quaker Epistle<br />

Published By Franklin & Hall, A Foundational Document In The American Abolitionist Movement<br />

23. (FRANKLIN, Benjamin) (QUAKERS). The Epistle From Our Yearly-<br />

Meeting… 1760. Philadelphia: Benjamin Franklin and David Hall, 1760. Folio,<br />

single leaf (8-1/2 by 13 inches folded); pp. 4; custom clamshell box. $7500.<br />

<strong>Rare</strong> 1760 Epistle of the Yearly-Meeting of Pennsylvania and New Jersey Quakers,<br />

published by the firm of Benjamin Franklin and David Hall, a seminal antislavery<br />

document by Philadelphia-area Quakers who would form the “first<br />

abolitionist group in America”—the Society for Promoting the Abolition of<br />

Slavery—which in 1787 named Franklin its president.<br />

This rare 1760 Epistle on the “Yearly-Meeting” of Pennsylvania and New Jersey<br />

Quakers calls on the Society of Friends to continue efforts against “the Practice of<br />

making Slaves of our Fellow Creatures… we earnestly exhort that Friends do not<br />

abate of their Diligence in this weighty Matter.” Published by the firm of Benjamin<br />

Franklin and David Hall, this Epistle marks a foundational anti-slavery effort in<br />

the American colonies, urging continued pressure on all those who “in any<br />

Manner, by buying, selling or keeping them, countenance the Trade.” “Ascribed to<br />

the Franklin and Hall press on the evidence of this entry (Nov. 6, 1760): ‘Mr. James<br />

Pemberton Dr for printing 5000 Yearly Epistles I Sheet small Folio’” (Miller 746).<br />

Evans 8603. With institutional inkstamp, deaccession inkstamp. Text fresh with<br />

lightest foxing, expert archival repair to seam, foldlines minimally affecting text,<br />

minor edge-wear. An extremely good copy.<br />

Among The Most Important Early<br />

19th-Century Western Explorations<br />

24. JAMES, Edwin. Account of an Expedition from<br />

Pittsburgh to the Rocky Mountains. London, 1823.<br />

Three volumes. Octavo, contemporary three-quarter<br />

black morocco, elaborately gilt-decorated spines. $9200.<br />

First English edition, issued the same year as the first<br />

American edition, of this account—along with the accounts<br />

of Lewis and Clark and Pike, widely acclaimed<br />

one of the three key narratives of early Western exploring<br />

expeditions. Illustrated with one large folding map, eight<br />

full-page aquatints (three hand-colored—the English<br />

edition is the first with hand-colored plates) and one folding<br />

topographic elevation.<br />

Stephen Long’s landmark expedition, more ambitious<br />

than any previous American expedition to the Trans-Mississippi West, resulted in a number of<br />

historical firsts. James was Colorado’s first botanist; the first to ascend a 14,000-foot peak in North<br />

America (James’ Peak, later renamed Pike’s Peak); and the first to relate a journey up the Platte and<br />

down the Canadian and Arkansas rivers from above Fort Smith. His findings supplemented the explorations of Pike and Lewis and<br />

Clark in the areas of geography, botany, natural history, and the customs, manners, and rites of a number of Indian tribes. “One of the<br />

best books on the Mississippi Valley and its inhabitants” (Stevens 1741). First published earlier the same year in Philadelphia. Streeter<br />

1784. Howes J41[b]. Sabin 35683. Armorial bookplates. Bibliographic annotation to front pastedown of Volume I. Occasional light<br />

foxing and offsetting, as usual. Minor abrasions to boards. A very nearly fine set in handsome contemporary bindings.


“We Come As Conquerors, But Not As Oppressors”:<br />

Extremely Scarce 1944 Eisenhower WWII Broadside<br />

Announcing The End To Nazi Rule Within The<br />

Occupied Territory<br />

25. (PRESIDENTS) EISENHOWER, Dwight D. Proclamation No. 1.<br />

Military Government—Germany. No place, 1944. Printed broadside<br />

(17 by 21 inches). Floated and framed, entire piece measures 25 by 26<br />

inches. $5000.<br />

1944 World War II broadside of Proclamation No. 1, General<br />

Eisenhower’s powerful message to the German people announcing the<br />

Allied Forces’ arrival in Germany, their intent to “overthrow Nazi rule,<br />

dissolve the Nazi Party and… eradicate that German Militarism which<br />

has so often disrupted the peace of the world,” text printed in both<br />

German and English.<br />

On September 28, 1944, two weeks after U.S. troops cross the Siegfried<br />

line and entered Germany, Eisenhower issued Proclamation No. 1. This momentous document proclaims a turning point in history<br />

with its immortal line: “We come as conquerors, but not as oppressors.” Eisenhower’s Proclamation further reads, in part: “We shall<br />

obliterate Naziism and German Militarism. We shall overthrow the Nazi rule, dissolve the Nazi Party and abolish the cruel,<br />

oppressive and discriminatory laws and institutions which the Party has created. We shall eradicate that German Militarism which<br />

has so often disrupted the peace of the world Military and Party leaders, the Gestapo and others suspected of crimes and atrocities<br />

will be tried and, if guilty, punished as they deserve.” With printed September 1944 date “(9/44)” present in the lower left corner;<br />

future printings did not have a date. Text clean and crisp, a few small holes at faint foldlines, minor tape reinforcement to verso, mild<br />

edge-wear to this near-fine broadside.<br />

“A Landmark In History, Not Just American History”<br />

26. (PRESIDENTS) (JEFFERSON, Thomas) U.S. CONGRESS. Journal of the House of<br />

Representatives of the United States… City of Washington, 1802. Thick octavo,<br />

contemporary three-quarter brown sheep, marbled boards. $2500.<br />

First edition of the House of Representatives Journal of the First Session of the Seventh<br />

Congress, the first to convene in Jefferson’s presidency—representing a turning point in<br />

American politics—featuring a printing of Jefferson’s First Annual Message and key congressional<br />

actions. Association copy, with the signatures of “Eben. Elmer” possibly those of<br />

Jeffersonian congressman Ebenzer Elmer, New Jersey congressman (1801-7), in contemporary<br />

sheep.<br />

As America entered its first new century<br />

in 1800, two fiercely opposed ideologies—<br />

Federalist vs. Jeffersonian Republican—<br />

collided in an Electoral College deadlock that named Jefferson as America’s third<br />

president. That election “was a landmark in history, not just American history but<br />

world history. It marked the first peacetime transfer of power in a republic from<br />

one ‘party’ to another” (Bernstein, Thomas Jefferson, 133). This first edition of the<br />

official Journal for the First Session of the new Republican-controlled House<br />

records its resolutions, laws and actions from December 7, 1801 to May 3, 1802,<br />

and leads with a printing of Jefferson’s First Annual Message (13-25). With both<br />

Jefferson and Congress focused on a limited federal government, this Journal<br />

notably contains House actions on restricting the size of a peacetime military,<br />

taxation, establishing a uniform rule of naturalization, the use of the Library of Congress, territorial lands and relations with Indians,<br />

and a war with Tripoli. Interior generally fresh with light scattered foxing, slight edge-wear, rubbing to contemporary boards. A highly<br />

desirable association copy in extremely good condition.<br />

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26<br />

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“This Work Will Protect The Public Industry From The Parasite<br />

Institutions Now Consuming It…” (Jefferson)<br />

27. (PRESIDENTS) (JEFFERSON, Thomas, translator) DESTUTT DE<br />

TRACY, Antoine Louis Claude. A Treatise on Political Economy…<br />

Georgetown, 1817. Octavo, period-style full tree calf gilt. $6000.<br />

First edition, translated from the unpublished French manuscript by Jefferson<br />

and with an introductory letter and five-page preface written by him.<br />

This first edition preceded the publication of the original French text by<br />

seven years. Destutt de Tracy was a member of the constituent assembly in<br />

France and was imprisoned during the Reign of Terror. Jefferson had earlier<br />

assisted in the publication of Tracy’s commentary on Montesquieu.<br />

When Tracy sent Jefferson the original French manuscript of his new work<br />

“Jefferson himself translated [it] in due course and eventually caused [it] to be<br />

published… His efforts in connection with this work provide an admirable<br />

illustration of his industry, zeal, and patience as a promoter of learning…<br />

For publication in the book he wrote a letter that acknowledged his connection<br />

with it. He said: ‘The merit of this work will, I hope, place it in the<br />

hands of every reader in our country… it will protect the public industry<br />

from the parasite institutions now consuming it’… He paid his respects to Adam Smith and Jean Baptiste Say in the introduction<br />

he wrote to Destutt de Tracy’s treatise” (Malone, VI:210, 305-6). Goldsmith 21709. Sabin 96415. Faint scattered foxing to text,<br />

only slight wear to uncut page edges. Beautifully bound.<br />

“If The Union Is Once Severed…<br />

The Controversies… Will Then Be Tried In<br />

Fields Of Battle And Determined By The Sword”:<br />

Large Silk Broadside Printing Of<br />

President Andrew Jackson’s Farewell Address<br />

28. (PRESIDENTS) JACKSON, Andrew. Farewell Address.<br />

Ithaca, 1837. Broadside printed in six columns on silk, measuring<br />

19 by 24 inches, closely framed. $8200.<br />

Extremely rare early printing of Jackson’s Farewell to office, in<br />

which he appeals for unity of North and South and predicts that<br />

“if the Union is once severed, the line of separation will grow<br />

wider and wider, and the controversies which are now debated<br />

and settled in the halls of legislation will then be tried in fields of<br />

battle and determined by the sword.”<br />

In his Farewell Address, written with the help of Chief Justice<br />

Roger B. Taney and delivered March 4, 1837, Jackson reviewed<br />

the accomplishments of his administration and reiterated his<br />

signature themes: condemnation of monopolies, speculation and<br />

paper money; and above all, unity of North and South in pledging<br />

loyalty to the Union. As if prophesizing the Civil War,<br />

Jackson predicted: “If the Union is once severed, the line of separation<br />

will grow wider and wider, and the controversies which<br />

are now debated and settled in the halls of legislation will then be<br />

tried in fields of battle and determined by the sword.” It was customary in the early 19th century to print a small quantity of a<br />

President’s address on silk or satin “as an ornament, to adorn the parlor, while affording a rich treasure of instruction for budding<br />

offspring” (The [Boston] Democrat). Fine condition, handsomely framed.


john f. kennedy<br />

First Edition Of Kennedy’s Profiles In Courage, Inscribed By Him<br />

29. (PRESIDENTS) KENNEDY, John F. Profiles in Courage.<br />

New York, (1956). Octavo, original half black cloth, dust jacket,<br />

custom clamshell box. $16,000.<br />

First edition, first printing, of Kennedy’s Pulitzer-winning<br />

examination of “that most admirable of human virtues,” with<br />

eight pages of black-and-white photogravures, in scarce original<br />

dust jacket, inscribed by the author, “To Dick Record with very<br />

good wishes, John Kennedy.”<br />

In Profiles in Courage, “a series of sketches of American politicians<br />

who risked their careers in the cause of principle… ‘A man does<br />

what he must,’ Kennedy wrote, ‘in spite of personal consequences,<br />

in spite of obstacles and dangers and pressures—and that is the<br />

basis of all human morality’… The book was popular history of<br />

high order, and it received the Pulitzer Prize for biography in<br />

1957” (ANB). <strong>Books</strong>eller’s small ticket. Jacket with small<br />

inkstamp to front flap. Book fine. Original dust jacket with<br />

expert restoration.<br />

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“President Kennedy Was Shot Today”:<br />

Historic Breaking News Of The Kennedy<br />

Assassination On Original 15 Rolled AP,<br />

UPI And Dow Jones Teletype Sheets<br />

From That Fateful Day<br />

30. (KENNEDY ASSASSINATION) Original<br />

Associated Press, United Press International and<br />

Dow Jones teletype reports of the Kennedy<br />

assassination. Dallas, November 22, 1963. Three<br />

items. Original typescript in blue ink on recto. One<br />

document with 15 rolled teletype sheets measuring 6<br />

inches wide, with varying lengths from 3-33 inches,<br />

staple bound; two loose teletype rolled sheets each<br />

measuring 6 by 18 inches. $16,500.<br />

Original Associated Press, United Press International<br />

and Dow Jones teletype bulletins with breaking news<br />

of the Kennedy assassination, beginning with coverage<br />

of Kennedy’s speeches in Fort Worth and Dallas, Texas, followed by the headline, “President Kennedy shot” as news reached<br />

the wire only minutes after AP Photographer James W. Altgens “said he heard two shots” followed by a report of the First Lady<br />

reaching for the President and crying “Oh no,” as “pandemonium broke loose around the scene.” Subsequent items record the<br />

shooting of Governor Connally, confirmation of the President’s death, witness accounts of a gun emerging from “an upper story of<br />

a warehouse” and reports of “three rifle shots,” the FBI search for a suspected gunman and the arrest of Lee Harvey Oswald, the<br />

swearing-in of Lyndon B. Johnson as the nation’s 36th President, and early plans for President Kennedy’s funeral.<br />

With 17 teletype sheets of varying lengths: 15 consecutively ordered and staple bound, and two additional teletype sheets with<br />

ongoing news of the search Oswald and the closing of the Stock Exchange. Additionally included are the Dow Jones teletypes<br />

reflecting the effects of the news on the Stock Exchange. Only light edge-wear to rolled sheets. A near-fine, rare and chilling record<br />

of the earliest accounts by witnesses and reporters of the Kennedy assassination.<br />

Deluxe Signed Limited Edition Of<br />

President Reagan’s Autobiography,<br />

In Original Oak Presentation Chest,<br />

With Six Audio Tapes Of His Speeches<br />

31. (PRESIDENTS) REAGAN, Ronald. An American<br />

Life. New York, 1990. Octavo, original full blue morocco<br />

gilt, oak presentation case with mounted presidential<br />

seal. WITH: Six cassette tapes of Reagan’s addresses and<br />

speeches. $6800.<br />

Signed limited first edition of President Reagan’s autobiography,<br />

number 1417 of 2000 copies signed by Reagan<br />

for Easton Press subscribers on a tipped-in limitation<br />

page, bound in elaborately gilt-decorated morocco and<br />

presented in a handsome publisher’s wooden chest, with<br />

drawer containing audio recordings of the speeches<br />

from Reagan’s 1989 book, Speaking My Mind. A<br />

distinctive production.<br />

A distinguished commemoration of one of the 20th<br />

century’s most remarkable and influential American<br />

presidents. With original shipping material. Fine<br />

condition.


abraham lincoln<br />

Very <strong>Rare</strong> Unengrossed Ship’s Papers Signed By Abraham Lincoln As President And<br />

Secretary Of State William Seward—One Of Very Few Unengrossed Examples Known<br />

32. (PRESIDENTS) LINCOLN, Abraham. Printed document signed: unengrossed ship’s papers. Washington, DC, circa 1861-65.<br />

Broadside, measures 21-1/2 by 16-1/2 inches, partially printed, original white wafer seal of the Presidency affixed. Handsomely framed,<br />

entire piece measures 28 by 23 inches. $25,000.<br />

A remarkable ship’s passport signed by President Lincoln and his Secretary of State William Seward, very rarely found in this<br />

“unengrossed” (i.e., uncompleted) state—the very existence of which, during the Civil War, would have constituted a breach of<br />

National Security. A fine signed document dating from the Civil War, handsomely framed.<br />

Written authorization to sail the high seas and dock at the country’s harbors, in the form of presidentially signed ship’s papers, was a<br />

valuable and desirable privilege. Before conferring such a license, officials were charged with establishing the legitimacy of a vessel, its<br />

cargo and its personnel, and the ship’s papers were intended to authorize a craft’s mission and purpose. In the wrong hands, especially<br />

during the tense and vulnerable conditions of wartime, fraudulent or forged approval could be dangerous. The present unengrossed<br />

ship’s passport, signed by Lincoln and Seward but left completely blank elsewhere, represents what was essentially an act of treason in<br />

its time. This exceedingly rare artifact is one of only two or three unengrossed examples known to exist. Minor, faint storage folds (as<br />

always with ship’s papers). Signatures bold and clear. Fine condition, far better than ship’s papers are generally found. Very rare.<br />

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30<br />

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abraham lincoln<br />

Envelope In Lincoln’s Hand With His Free Franking Signature<br />

33. (PRESIDENTS) LINCOLN, Abraham. Autograph envelope signed.<br />

Washington, August 24, 1863. Original envelope measures 5-1/2 by 3<br />

inches. Handsomely framed with portrait. $9000.<br />

Autograph envelope (complete) with President Lincoln’s free franking<br />

signature, addressed in his hand to the Assistant Secretary of the Interior:<br />

“Hon. W.J. Otto 308 F. Street Washington.”<br />

As a franking signature, the Lincoln signature must date from his presidency.<br />

Although the envelope is neither postmarked nor docketed, it was<br />

address by President Lincoln on August 24, 1863. The original enclosure was<br />

a short dated note (not present) to Assistant Secretary of the Interior William<br />

T. Otto, in which Lincoln requested “the name of the boy you wish to go to<br />

West Point.” This item remained in the Otto family for almost 150 years.<br />

Envelope with original opening tears, not affecting Lincoln’s handwriting or<br />

signature. An exceptional Lincoln free frank.


“The Most Important Series Of American<br />

Political Debates”: First Edition, First Issue,<br />

Of The Lincoln-Douglas Debates, 1860<br />

34. (PRESIDENTS) LINCOLN, Abraham. Political<br />

Debates Between Hon. Abraham Lincoln and Hon.<br />

Stephen A. Douglas… Columbus, 1860. Octavo, original<br />

brown cloth, custom chemise and slipcase. $8200.<br />

First edition, first issue, of the most famous debates in<br />

American history, the event that transformed Lincoln<br />

into a national presidential candidate, scarce in<br />

original cloth.<br />

Running as a little-known candidate for the Illinois<br />

senatorship in 1858, Lincoln challenged incumbent and<br />

Democratic leader Stephen Douglas to a series of<br />

debates. The result was a memorable chain of lively<br />

arguments in front of cheering crowds. Though Lincoln lost the senatorial race, “he<br />

began collecting a scrapbook of his best speeches, particularly those from the justconcluded<br />

campaign against Douglas, for possible inclusion in a book… Somewhat<br />

surprisingly for an attorney, Lincoln did not seek Douglas’ permission to publish a<br />

book of their combined speeches, although Douglas was later given the last-minute<br />

opportunity—he declined—to make corrections to his own remarks” (Morris, 121).<br />

Wessen, Debates of Lincoln and Douglas, 91-106. Interior generally fresh with light<br />

scattered foxing. Expert restoration to cloth and front inner hinge.<br />

“The Mystic Chords Of Memory,<br />

Stretching From Every Battlefield, And Patriot Grave,<br />

To Every Living Heart And Hearthstone”<br />

35. (PRESIDENTS) LINCOLN, Abraham. Inaugural Address. Washington,<br />

March 8, 1861. Slim octavo, disbound; pp. 10; custom clamshell box. $6000.<br />

<strong>Rare</strong> second printing of Lincoln’s important first inaugural address, printed by<br />

order of the Senate four days after its delivery.<br />

“The address was a document of inspired statesmanship. He reminded the<br />

South of his pledge not to interfere with slavery, but he firmly rejected secession—the<br />

Union was ‘unbroken.’ Finally he issued a grave warning: ‘In your<br />

hands, my dissatisfied fellow-countrymen, and not in mine, is the momentous<br />

issue of civil war… You have no oath registered in Heaven to destroy the government,<br />

while I shall have the most solemn one to preserve, protect and defend<br />

it.’ Abraham Lincoln was resolved to be President of the whole Union” (Bruce<br />

Catton). The address contains some of Lincoln’s most famous words: “The<br />

mystic chords of memory, stretching from every battlefield, and patriot grave,<br />

to every living heart and hearthstone, all over this broad land, will yet swell the<br />

chorus of the Union, when again touched, as surely they will be, by the better<br />

angels of our nature.” This rare second printing was preceded only by that of<br />

March 4th, which was handed out at the inauguration. Monaghan 102. Text<br />

fresh with only very lightest foxing, three tiny marginal pinholes from original<br />

stitching. A highly desirable fine copy.<br />

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Inscribed By FDR Aboard The “Floating White House”<br />

To His Personal Physician<br />

36. (PRESIDENTS) (ROOSEVELT, Franklin D.) GOWANLOCH, James Nelson.<br />

Fishes and Fishing in Louisiana. New Orleans, February 1933. Octavo, original<br />

pictorial stiff paper wrappers, contemporary full limp black morocco gilt. $7500.<br />

First edition of this report on the fresh and saltwater fish of Louisiana, presentationassociation<br />

copy, specially bound for Franklin D. Roosevelt and inscribed by the<br />

president to his personal physician, “For Ross T. McIntire, on board U.S.S. Potomac,<br />

May 1, 1937, Franklin D. Roosevelt.”<br />

Gowanloch—“poet, stamp collector, a considerable researcher and a splendid teacher”<br />

and chief biologist of Louisiana’s Department of Conservation (Waite, 39)—presents<br />

“this account of our fresh and salt water fishes… [to] emphasize the charm and pleasure<br />

that Louisiana affords the angler as well as the remarkable richness of the commercially<br />

important fish life of our State.” This copy was specially bound for Roosevelt’s<br />

April 1937 fishing trip to Louisiana. “Roosevelt was an avid, lifelong fisherman… Dr.<br />

Ross McIntire, Roosevelt’s personal physician when he was President”—and the person<br />

to whom FDR inscribed this copy—“advised Roosevelt to go on as many vacations<br />

as possible to improve his health” (Franklin D. Roosevelt Presidential Library and Museum). McIntire<br />

rose to the rank of Vice Admiral and Surgeon General of the Navy. Interior clean, front inner hinge<br />

expertly reinforced. Light rubbing to spine head. Gilt bright. A near-fine copy, very desirable with<br />

Roosevelt’s inscription.<br />

Signed By Franklin D. Roosevelt As President<br />

37. (PRESIDENTS) ROOSEVELT, Franklin D. The<br />

Democratic Book 1936. No place, 1936. Large folio (12 by<br />

14-1/2 inches), original full brown morocco gilt. $6200.<br />

Signed limited first edition, number 343 of an unknown limitation<br />

signed by President Roosevelt, with illustrated title and<br />

limitation pages, 19 full-page portraits, dozens of in-text halftones<br />

and illustrations, and a facsimile of the Constitution.<br />

Sold to Democratic donors at $250 each to pay off the 1936<br />

re-election debt, The Democratic Book 1936 contains information<br />

such as the party’s platform, election results, and statements<br />

from the President, his cabinet members,<br />

the first lady, and other important members of his<br />

administration. With dozens of contemporary<br />

advertisements, many in color. This copy giltstamped<br />

“Eugene R. Hoffman” on the front<br />

board. Very occasional soiling to text, including<br />

to signed limitation page, only a bit of wear to<br />

morocco. A near-fine copy.


“First In War, First In Peace, And First In The Hearts Of His Countrymen”<br />

38. (PRESIDENTS) (WASHINGTON, George) LEE, Henry. Funeral Oration on the Death<br />

of General Washington. London, 1800. Slim octavo, later full brown blind-ruled calf, uncut<br />

and partially unopened; pp. 28. $5000.<br />

Scarce 1800 edition, first London printing issued the same year as the exceedingly rare<br />

Philadelphia first edition, of Henry Lee’s immortal oration on the death of George<br />

Washington, which contains for the first time in print the famous phrase, “first in war, first<br />

in peace, and first in the hearts of his countrymen,” together with Judge Minot’s January<br />

1800 Boston Eulogy, “considered to be the most meritorious” (Sabin).<br />

Of the many funeral orations delivered at Washington’s death, Henry Lee’s official oration, delivered<br />

before Congress, is the most famous and memorable. Lee, known as “Light-Horse<br />

Harry” Lee, was personally summoned by Washington in 1776 to join the Continental Army,<br />

in which he served Washington faithfully. At Washington’s death Lee, then a Federalist<br />

Representative from Virginia, was charged with drafting a congressional resolution commemorating<br />

the great leader. In the resolution and, a few days later, in this address delivered before the<br />

Congress on December 26, 1799 in Philadelphia, Lee called Washington “first in war, first in<br />

peace, and first in the hearts of his countrymen.” This exceptionally scarce first London edition is preceded the same year by the<br />

Philadelphia first edition. Stillwell, Washington Eulogies 137, 174. Owner inscription. Text generally fresh with lightest scattered foxing,<br />

occasional faint marginal dampstaining, slight edge-wear, rubbing to boards. A most desirable extremely good copy.<br />

Superb Double Elephant Folio Copperplate Engraving<br />

Of Washington’s Farewell Address, Circa 1821<br />

39. WASHINGTON, George. Washington’s Farewell Address<br />

to the People of the United States. Philadelphia, circa 1821.<br />

Large copper-engraved broadside, 28 by 38 inches. Handsomely<br />

framed, entire piece measures 45-1/2 by 33-1/2 inches. $17,500.<br />

Large, finely engraved broadside of Washington’s famous valedictory,<br />

embellished with Thomas Sully’s “Liberty Displaying<br />

the Arts and Sciences.” A magnificent piece.<br />

Resulting from a close collaboration between Washington,<br />

Madison and Hamilton (who recognized the need to make<br />

the President’s announcement of retirement “importantly<br />

and lastingly useful”), the Farewell Address, as it came to be<br />

known, served Washington as his valedictory, as well as his<br />

vehicle for imparting advice to succeeding generations.<br />

“Washington’s thoughts on unity, on the love of power, on the<br />

impact of partisan strife, on the importance of focusing on<br />

our common interests, on avoiding entanglements with other<br />

nations, on religion and morality, on the public credit, and on<br />

freedom of trade have worn well when they have been observed”<br />

(Clarence B. Carson). This masterful calligraphic<br />

engraving of Washington’s text by Charles Toppan from the<br />

script of Charles Parker is embellished by a vignette at the<br />

bottom, “Liberty Displaying the Arts and Sciences,” engraved<br />

by Gideon Fairman from a drawing by Thomas Sully. Charles<br />

Parker was regarded as the “best engraver of script, maps and<br />

ornament of his time” (Stauffer, 200; Fielding, 269). An empty space at the top is for Fairman’s engraving of Gilbert Stuart’s<br />

portrait of Washington, within a frame of oak leaves (See Stauffer 995). A bright, fine impression, expert repairs to a number<br />

of short closed marginal tears (none affecting image). Very scarce.<br />

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34<br />

autumn 2011 | modern Firsts, 1900-1992<br />

<strong>Section</strong> 2: modern Firsts, 1900-1992


jack london<br />

“You Have Always Loved Your Son And Things With Us Always Will Be Well”:<br />

First Edition Of The Call Of The Wild, Warmly Inscribed By London To His Mother<br />

In The Week Of Publication, In Scarce Original Dust Jacket<br />

40. LONDON, Jack. The Call of the Wild. New York and London, 1903. Octavo, original pictorial<br />

green cloth, dust jacket, custom cloth chemise and half morocco clamshell box. $125,000.<br />

First edition, first printing, of one of the most desirable copies in American literature, inscribed from Jack<br />

London to his mother within four days of publication, one of the earliest known inscriptions: “Dear Mother,<br />

You have always loved your son, and things with us always will be well. Jack. July 22, 1903,” in scarce<br />

original dust jacket.<br />

“One of the first American novels to examine the quest of the pioneering individual who breaks away from<br />

the sheltered environment of civilization and is romantically compelled to find freedom in nature. In the<br />

early part of the century this was considered the American dream” (Parker, 16). London dated his inscription<br />

to his mother only four days after the book’s publication on July 18, 1903. The relationship between Jack<br />

London and his mother, Flora Wellman, was a complicated one. When Wellman became pregnant in 1875,<br />

Wellman’s husband insisted that she have an abortion. In response, Wellman went temporarily insane and<br />

shot herself in the head (a grazing wound). By the time she gave birth, Wellman was unable to care for the<br />

child and gave Jack to a Virginia Prentiss, an ex-slave who had just had a stillbirth. It was over a year before<br />

she remarried and could reclaim Jack. In that time, he had come to view Prentiss as a second mother. Yet,<br />

for the rest of his childhood it was Wellman who would cook for Jack and clean the home. She also taught<br />

him piano and taught him to read by the age of four. She functioned in most ways as a typical mother of the<br />

era. In 1897, while enrolled at the University of California, Berkeley, London came across a newspaper item<br />

related to his mother’s attempted suicide and uncovered the name of his biological father. Ultimately,<br />

London was unable to forgive his mother for lying to him about his paternity, though she had encouraged<br />

his writing when everyone else had told him to get a job at the post office. Disconsolate, London quit school<br />

and went to the Klondike.<br />

Yet, the connection between London and his mother remained. When London finally made money off his<br />

writing, he bought his then-widowed mother a house and provided her with financial support. He inscribed<br />

this copy to her, with a spirit of warmth, conviction in her love, and hope for their future. Their relationship,<br />

though, remained strained, with Wellman disapproving of her son’s wife and London constantly criticizing<br />

her appearing in the newspapers for her involvement with séances and other attention-grabbing endeavors.<br />

BAL 11876. Morocco bookplate in chemise. Book lovely and near-fine, with inscription bold, only a few faint<br />

spots of soiling to interior, minor rubbing to extremities, and gilt bright. Scarce dust jacket with expert<br />

restoration to extremities. A most exceptional copy, quite rare and desirable with such an important<br />

association and inscribed at such an early date.<br />

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autumn 2011 | modern Firsts, 1900-1992


36<br />

autumn 2011 | Literature<br />

j.d. salinger<br />

An Exceptional Rarity: Catcher In The Rye,<br />

Inscribed By J.D. Salinger To The Mother Of His Fiancée<br />

41. SALINGER, J.D. The Catcher in the Rye. Boston, 1951. Octavo, original black cloth, dust jacket, custom chemise and clamshell<br />

box. $85,000.<br />

Book club edition of Salinger’s seminal classic, inscribed by the famously reclusive writer in the year of publication, “To Marian<br />

B.—Just that I’m pleased that you thought of asking me to sign your book. With affection, Jerry Salinger.” He has also dated the<br />

inscription “Dec. 23, 1951.” Signed or inscribed copies of this classic are exceedingly rare.<br />

“In American writing, there are three perfect books, which seem to speak to every reader and condition: Huckleberry Finn, The<br />

Great Gatsby and The Catcher in the Rye. Of the three, only Catcher defines an entire region of human experience: it is… the<br />

handbook of the adolescent heart” (New Yorker). Catcher in the Rye “captured the hearts of several generations… with its very first<br />

sentence, the book, which came out in 1951, introduced a brand-new voice in American writing” (New York Times). “A 20th-century<br />

classic… Salinger’s novel was, and continues to be, a phenomenal success” (Parker, 300). “This novel is a key-work of the 1950s in<br />

that the theme of youthful rebellion is first adumbrated in it, though the hero, Holden Caulfield, is more a gentle voice of protest,<br />

unprevailing in the noise, than a militant world-changer… The Catcher in the Rye was a symptom of a need, after a ghastly war and<br />

during a ghastly pseudo-peace, for the young to raise a voice of protest against the failures of the adult world. The young used many<br />

voices—anger, contempt, self-pity—but the quietest, that of a decent perplexed American adolescent, proved the most telling”<br />

(Burgess, 99 Novels, 53-4). Book of the Month Club printing, with dot on lower board of rear panel. See Starosciak A30, Bixby A2,<br />

Naparsteck, 37. Mary Bayes was a student at Sarah Lawrence College in Bronxville, NY, when she met and became engaged to J.D.<br />

Salinger. Salinger inscribed this copy to her mother, Marian Bayes, near the time of their engagement and in time for the winter<br />

holidays. Interior clean; minor discoloration to front cover, minuscule rubs to lower corners. Unrestored dust jacket with shallow<br />

chipping, particularly to spine ends. An extremely good copy, most desirable inscribed and with a significant personal association.


ernest hemingway<br />

“That Musical Crystal-Clear Style, Blown Like Glass From The White-Heat Of Violence”:<br />

Signed Limited Edition Of Hemingway’s A Farewell To Arms,<br />

The Only One Of His Works So Issued, In Scarce Original Slipcase<br />

42. HEMINGWAY, Ernest. A Farewell to Arms. New York, 1929. Tall octavo, original white parchment spine<br />

and corners, slipcase, custom clamshell box. $22,000.<br />

Signed limited first edition, one of 510 copies signed by Hemingway. A beautiful copy in very scarce original slipcase.<br />

“Probably [Hemingway’s] best… Its success was so enormous… After it one could no more imitate that musical<br />

crystal-clear style; blown like glass from the white-heat of violence… the beginning, like all his beginnings, seems<br />

effortless and magical” (Connally 60). “A Farewell to Arms was the novel<br />

that placed Hemingway, early, among the American masters… [it is], in<br />

fact, the most satisfying and most sustained, the consummate masterpiece,<br />

among Hemingway’s novels. It bears the mark of Hemingway’s best gifts<br />

as a writer” (Mellow, 377-79). The only signed limited first edition of any of<br />

Hemingway’s works. Hanneman A8b. Book exceptional, with none of the<br />

usual soiling to vellum and only a big of light toning to paper boards.<br />

Minor expert repair to bright original slipcase. A fine copy.<br />

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f. scott fitzgerald<br />

“Bibliophile, Drunkard And Good Egg”: Wonderful Presentation Copy Of<br />

The Beautiful And Damned, Warmly Inscribed By Fitzgerald In The Year Of Publication<br />

43. FITZGERALD, F. Scott. The Beautiful and Damned. New York, 1922. Octavo,<br />

original green cloth, dust jacket, custom clamshell box. $75,000.<br />

First edition, first issue, an exceptional presentation copy whimsically inscribed in the<br />

year of publication by Fitzgerald, “For Wilbur Judd, Parisien [sic], Critic, Playrite [sic],<br />

Bibliophile, Drunkard and Good Egg, From F. Scott Fitzgerald, St. Paul 1922,” in scarce<br />

second-issue dust jacket (issued within months of the first-issue jacket).<br />

“The Beautiful and Damned brought Fitzgerald accolades from those whose opinions he<br />

valued. Mencken congratulated him for staking out new ground… Fitzgerald was<br />

aiming high; he only wanted to be the best novelist of his generation” (Turnbull, 130-<br />

31). Fitzgerald wrote to Zelda in 1930, “I wish The Beautiful and Damned had been a<br />

maturely written book because it was all true. We ruined ourselves… I have never<br />

honestly thought that we ruined each other” (Bruccoli, 180). First issue, with “Published<br />

March, 1922” on copyright page; second-issue dust jacket with letters on front panel in<br />

black and bolder orange circle, issued within months of the first issue to meet demand for<br />

the book. Bruccoli A8.1.a. Text fine, only very light edge-wear to original cloth; slight<br />

chipping, small closed tears, mild soiling to scarce unrestored dust jacket. A wonderful<br />

extremely good copy, scarce inscribed.


f. scott fitzgerald<br />

“For Pete Compton, A Wild Man If There Ever Was One”: F. Scott Fitzgerald’s First Book,<br />

This Side Of Paradise, Wonderfully Inscribed By Him One Day After Publication<br />

44. FITZGERALD, F. Scott. This Side of Paradise. New York, 1920. Octavo, original green cloth, custom half morocco<br />

clamshell box. $63,000.<br />

First edition, first printing of Fitzgerald’s first novel, inscribed one day after publication, “For Pete Compton, A wild man if<br />

there ever was one — F. Scott Fitzgerald, Princeton, NJ, March 27th 1920.”<br />

Although the inscription was written just one day after the publication of This Side of Paradise, Fitzgerald was already fast on<br />

his way to becoming the new literary sensation: the entire first printing of 3000 copies had already sold out (ultimately requiring<br />

two more printings in April alone). On March 30, 1920, Fitzgerald sent Zelda a telegram proposing that they should marry now:<br />

“Talked with John Palmer and Rosalind and we think best to get married Saturday noon we will be awfully nervous until it is<br />

over and would get no rest by waiting until Monday first edition of the book is sold out address Cottage until Thursday and<br />

Scribner’s after that Love Scott.” On April 3rd they were married at St. Patrick’s Cathedral in New York. The parties in Princeton<br />

apparently continued: “In April they went to Princeton to ‘chaperon’ houseparties. ‘We were there three days,’ Fitzgerald wrote<br />

a friend. ‘Zelda and five men in Harvey Firestone’s car and not one of us drew a sober breath… It was the damndest party ever<br />

held in Princeton & everyone in the University will agree’” (Turnbull, 107). The inscription is particularly appropriate in that<br />

This Side of Paradise is a romantic evocation of Fitzgerald’s Princeton days, begun while he himself was still an undergraduate<br />

there. “This Side of Paradise achieved immense social impact. Daring and bold for its time, the novel projected new freedom—<br />

to flirt, smoke, pet, drink and dance. It functioned as a kind of bible for the Jazz Age among the nation’s youth, catapulting<br />

Fitzgerald to overnight fame” (Nolan, 37-38). First issue, with all points listed in Bruccoli. Early printings of this novel (April<br />

1920) are exceedingly difficult to obtain. Without exceedingly scarce original dust jacket. Bruccoli A5.1.a. Bruccoli & Clark<br />

I:131. A bit of light dampstaining to top margin of some leaves, one-inch open tear to bottom margin of page 177. Some light<br />

spotting to original cloth. An exceptionally rare inscribed copy.<br />

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henry james<br />

“Left To Me By Walker When He Died” (Shelby Foote): Wonderful Association Copy Of Henry James’ Works,<br />

With Famed Coburn Photographs, One Of Only 156 Copies Of The Limited First New York Edition,<br />

This Copy From The Estate Of Civil War Historian Shelby Foote, Received By Him<br />

At The Death Of His Lifelong Friend, Walker Percy, And Extensively Annotated<br />

45. JAMES, Henry. The Novels and Tales. New York, 1907-17. Twentysix<br />

volumes. Octavo, original three-quarter navy morocco gilt. $26,000.<br />

Limited first edition of the important 26-volume “New York Edition”<br />

of Henry James’ Works, one of only 156 copies, an exceedingly rare<br />

association copy from the library of Walker Percy, with his bookplates,<br />

and inscribed in Vol. I by Percy’s lifelong friend, award-winning<br />

historian Shelby Foote: “Shelby Foote—set left to me by Walker when<br />

he died in Covington, 10 May 1990.” With 26 beautiful frontispiece<br />

photogravures by Alvin Langdon Coburn and prefaces prepared by<br />

James specifically for this edition. Extensively annotated by Foote<br />

throughout.<br />

This magnificent limited edition of Henry James’ Works comes directly<br />

from the estate of novelist and historian Shelby Foote, who received it<br />

from his lifelong friend, award-winning novelist Walker Percy, at<br />

Percy’s death in 1990. It contains Foote’s extensive marginalia throughout, and his poignant inscription in Volume I that pays homage<br />

to his friendship with Percy. Foote was “at his friend’s bedside at his death in New Orleans in 1990… In their six-decade friendship,<br />

Foote and Percy exchanged scores of letters about their work.” Foote is best remembered for his magnum opus, a three-volume history<br />

of the Civil War that is “a model of what military history can be… His mission was to tell what he considered America’s biggest story<br />

as a vast, finely detailed, deeply human narrative… Foote created a history as written by a novelist” (New York Times). A shared<br />

capacity for psychological insight and regard for the power of elegant prose unites Foote, Percy and James in this copy of James’<br />

writings, which is also hailed for his special prefaces and the photogravures and portraiture of Coburn, a co-founder of the famed<br />

Photo-Secession Group. Volumes I through XXIV, meticulously revised by James for this edition, include special prefaces, also<br />

prepared by James specifically for this edition. With two of James’ shorter works (Fordham Castle and The Jolly Corner) appearing here<br />

for the first time in book form. Supino 64.2.0; see Supino 64.1.0. BAL 10665. Phillips 120. With bookplates of Walker Percy. Inscribed<br />

by Foote in Vol. I and with his extensive marginalia in nearly every volume. Interiors fresh and clean with only light scattered<br />

foxing, minor edge-wear to boards. An especially memorable set in about-fine condition, especially scarce in publisher’s morocco.


“That Gasp Of Wonder That<br />

Was The Asimovian Grail”:<br />

First Editions Of The Original<br />

Foundation Trilogy, Signed By<br />

Asimov In Foundation And Empire<br />

46. ASIMOV, Isaac. Foundation. WITH:<br />

Foundation and Empire. WITH: Second<br />

Foundation. New York, 1951-53. Together three<br />

volumes. Octavo, original half blue cloth, dust<br />

jackets, custom clamshell box. $8800.<br />

First editions of “one of the most influential<br />

works of modern science fiction” (Chronology<br />

of American Literature), signed in the second<br />

novel by Asimov on the title page.<br />

Winner of a special 1966 Hugo Award for “Best All-Time Series”—an award even Asimov believed was<br />

created solely to honor Tolkien’s Lord of the Rings—this epic saga transposes Gibbon’s Decline and Fall<br />

of the Roman Empire into a futuristic key. Critic and fellow science fiction writer Thomas Disch praises<br />

the Foundation books for powerfully evoking the “gasp of wonder [that] was the Asimovian grail.” The original trilogy, based on<br />

stories published in Astounding Science Fiction between 1942-50, not only set the standard for all “future histories” to follow but also<br />

helped secure Asimov’s status as a giant in the genre. All books of the original trilogy in “A” bindings and dust jackets (Currey, 12-13,<br />

15). See Anatomy of Wonder II-46. Owner inscription to front pastedown of Foundation and Empire. <strong>Books</strong> extremely good<br />

(Foundation), near-fine (Foundation and Empire) and fine (Second Foundation). Foundation with expert restoration to bright, lovely<br />

dust jacket, Foundation and Empire dust jacket quite bright with light rubbing, mild soiling; Second Foundation jacket price-clipped<br />

with slight rubbing, light soiling.<br />

“Don’t Forget. Please Feed The Cat”: Breakfast At Tiffany’s,<br />

In Exquisite Diamond-Encrusted Binding<br />

47. CAPOTE, Truman. Breakfast at Tiffany’s. New York, 1958. Octavo,<br />

modern full polished pink morocco, black morocco spine label, inlaid black<br />

morocco silhouette, inlaid real diamonds, all edges silver-gilt; housed in a<br />

custom black velvet bag. $5000.<br />

First edition of the adventures of free-spirited Holly Golightly, in beautiful<br />

custom jeweled binding that includes six genuine diamonds, by the Chelsea<br />

Bindery.<br />

“If you want to capture a period in New York, no other book has done it so<br />

well… He could capture period and place like few others” (Norman Mailer).<br />

With three other stories: “House of Flowers,” “A Diamond Guitar” and “A<br />

Christmas Memory.” This beautiful custom binding features an inlaid black<br />

morocco silhouette of Audrey Hepburn as Holly Golightly, wonderfully<br />

accented with genuine diamonds in her hair, and a diamond necklace and<br />

earrings. A fine copy.<br />

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“So, Gentlemen, Consider All The Cocktails<br />

Mentioned In This Book Drunk By Me As A Toast…”:<br />

Signed First Edition Of Fitzgerald’s First Book,<br />

This Side Of Paradise<br />

48. FITZGERALD, F. Scott. This Side of Paradise. New York,<br />

1920. Octavo, original green cloth, custom half morocco clamshell<br />

box. $13,200.<br />

First edition, third printing (issued the same month as the first, and<br />

the only printing with Fitzgerald’s signature) of Fitzgerald’s first<br />

novel, one of approximately 500 copies with the tipped-in “Author’s<br />

Apology” leaf boldly signed in pen, “Sincerely, F. Scott Fitzgerald.”<br />

Third printing (the only issued with the tipped-in “Apology”),<br />

published in the same month as the first. Prepared for an American<br />

<strong>Books</strong>ellers Association convention, Fitzgerald’s signed “Apology”<br />

reads: “I don’t want to talk about myself because I’ll admit I did that<br />

somewhat in this book. In fact, to write it took three months; to<br />

conceive it—three minutes; to collect the data in it—all my life. The<br />

idea of writing it came on the first of last July: it was a substitute<br />

form of dissipation. My whole theory of writing I can sum up in one<br />

sentence: An author ought to write for the youth of his own<br />

generation, the critics of the next, and the schoolmasters of ever afterward. So, gentlemen, consider all the cocktails mentioned in this<br />

book drunk by me as a toast to the American <strong>Books</strong>ellers Association. May, 1920.” Contrary to his claim, Fitzgerald began writing the<br />

novel in 1917, revising it several times until Scribner’s accepted it for publication in 1919. Blank front free endpaper excised. Without<br />

rare original dust jacket. Bruccoli A5.I.c. Owner signature. Only lightest scattered foxing to preliminary and final leaves, light wear to<br />

cloth. An extremely good copy.<br />

“Death Is Forever. But So Are Diamonds”<br />

49. FLEMING, Ian. Diamonds Are Forever. London, 1956. Octavo, original<br />

black paper boards, dust jacket. $6000.<br />

First edition of Fleming’s fourth James Bond thriller, a fast-paced, globespanning<br />

race through the deadly world of diamond smuggling.<br />

“In the 1950s, the mystique of America as a land of wealth and excitement held<br />

great sway in a Britain still in the grips of austerity,” and this mystique influenced<br />

Fleming’s fourth Bond thriller, in which the super-spy visits the States to battle<br />

diamond-smuggling gangsters and once again meets you with his arch-nemesis<br />

Blofeld (Black, 25). Made into the1971 film of the same title starring Sean<br />

Connery as Bond and Jill St. John as Tiffany Case. Biondi & Pickard, 42. Interior<br />

fine; expert repair to front inner paper hinge. Expert restoration to original dust<br />

jacket with mild soiling to rear panel. An extremely good copy.


ian fleming<br />

“He Must Play The Role… The Man Who Was Only A Silhouette”<br />

50. FLEMING, Ian. Moonraker. London, 1955. Octavo, original black paper boards, dust jacket, custom<br />

clamshell box. $11,000.<br />

Scarce first edition of Fleming’s third novel, in which Bond must foil the attempt of a British industrialist to<br />

destroy London with a nuclear weapon, in first-issue dust jacket.<br />

Considered by many to be one of the best of the Bond books, Moonraker afforded Fleming “an opportunity to wax<br />

lyrical about the England he loved—the ‘panorama full of color and excitement and romance’… [Fleming also]<br />

skillfully reintroduced notes of ambiguity and realism into the life of his globe-trotting hero… Noël Coward read<br />

Moonraker in proof in Jamaica and pronounced, ‘It is the best thing he has done yet, very exciting… His<br />

observation is extraordinary and his talent for description vivid’” (Lycett, 253-54, 269). The early Bond novels are<br />

quite scarce. “This title is extremely rare in fine condition” (Biondi & Pickard, 42). Made into the 1979 film of the<br />

same title with Roger Moore as Bond and Lois Chiles as Dr. Holly Goodhead. Book near-fine, with only light<br />

foxing to endpapers and edges of text block. Dust jacket with expert restoration.<br />

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“The Scent Of Bitter Almonds Always Reminded Him Of<br />

The Fate Of Unrequited Love”: Love In The Time Of Cholera,<br />

Signed Limited First Edition In English<br />

“His Masterpiece”: First Edition Of A Passage To India,<br />

Signed By Forster, One Of Only 200 Large-Paper Copies<br />

51. FORSTER, E.M. A Passage to India. London, 1924. Octavo, original half brown<br />

cloth, gray paper spine label. $5200.<br />

Signed limited first edition, one of only 200 large paper copies signed by Forster.<br />

52. GARCIA MARQUEZ, Gabriel. Love in the Time of Cholera. New York, 1988.<br />

Octavo, original half pink cloth, printed acetate dust jacket, slipcase. $5200.<br />

Signed limited first edition in English, one of only 350 copies “printed on special<br />

paper and specially bound,” of García Márquez’s “shining and heartbreaking<br />

novel” (Thomas Pynchon), signed by him.<br />

“Suppose… it were possible not only to swear love ‘forever,’ but actually to follow<br />

through on it…? This is the extraordinary premise of Gabriel Garcia Marquez’s<br />

new novel Love in the Time of Cholera, one on which he delivers, and triumphantly”<br />

(Thomas Pynchon, New York Times). García Márquez’s first major work<br />

after winning the Nobel Prize in 1982, this romantic tale of the enduring love between<br />

the aging Florentino Ariza and Fermina Daza often ranks, among the author’s<br />

fans, second only to One Hundred Years of Solitude. First published as El<br />

Amor en los Tiempos de Cólera in Colombia and Mexico in 1985. Fine condition.<br />

Forster’s 1921 return trip to India “had the effect of releasing what was to be<br />

judged his masterpiece, A Passage to India” (DNB). Andre Gide praised<br />

Forster’s last novel as “a miracle of intelligence, tact, irony, prudence and ability”<br />

(Connolly, The Modern Movement 45). Without publisher’s slipcase.<br />

Kirkpatrick A10. A few small chips to lower edge of boards, minor soiling. A<br />

near-fine copy.<br />

“Community, Identity, Stability”:<br />

Signed Limited First Edition Of Huxley’s Brave New World<br />

53. HUXLEY, Aldous. Brave New World. London, 1932. Octavo, original yellow cloth,<br />

custom full morocco clamshell box. $8000.<br />

Signed limited first edition, large paper issue, one of only 324 copies signed<br />

by Huxley.<br />

Huxley’s influential Utopian vision is a “brilliantly plausible fantasy… of which<br />

the horror is always credible” (Connolly, 75). Without scarce plain dust jacket,<br />

rarely found. Eschelbach & Shober 10. A bright, fine copy.


“The Clenched Fist Of Republican Spain”:<br />

The Very <strong>Rare</strong> First Issue Of The Spanish Earth,<br />

One Of Fewer Than 100 Copies, Extraordinary Copy In Original Glassine<br />

54. HEMINGWAY, Ernest. The Spanish Earth. Cleveland, 1938. Slim octavo, original<br />

tan cloth printed in black and orange, glassine. $7500.<br />

Limited first edition, number 130 of 1000 copies—one of fewer than 100 first-issue<br />

copies released with pictorial endpapers. An exceptionally fine copy in original<br />

glassine.<br />

Intended to help raise money for the Loyalist cause, this book contains a transcript of<br />

Hemingway’s narration for the sound track for the film ‘The Spanish Earth.’ Upon<br />

seeing the first issue from the press, Hemingway wired Jasper Wood objecting to<br />

Wood’s introduction because it gave him credit for the film which he felt belonged to<br />

Joris Ivens and John Ferno. He also objected to the large F.A.I. (Federacion Anarquista<br />

Iberica) banner on the endpapers. A second issue was then bound with plain tan<br />

endpapers and a printed statement from Wood on the rear pastedown referring to<br />

Hemingway’s objections. This is the scarce first issue, with pictorial endpapers showing<br />

the F.A.I. banner flying over the heads of advancing soldiers. “In a letter to the<br />

bibliographer, Jasper Wood estimated that there were between 50 and 100 copies of the<br />

first issue” (Hanneman A15a). Book fine; fragile original glassine, almost never present,<br />

fine. An exceptionally fine copy of the rare first issue.<br />

Signed By Matisse:<br />

The First Illustrated Edition Of Ulysses<br />

55. JOYCE, James and MATISSE, Henri. Ulysses. New York,<br />

1935. Large quarto, original brown cloth, slipcase , custom clamshell<br />

box. $9000.<br />

First illustrated edition of Joyce’s landmark Ulysses, one of 1500<br />

copies signed by Matisse. One of the 20th-century’s most desirable<br />

illustrated books, combining the work of two great modern artists.<br />

One of the most arresting collaborations in 20th-century literature.<br />

“It was a great idea to bring them together; celebrities of the same<br />

generation, of similar virtuosity” (Wheeler, 15). The 26 beautiful<br />

full-page illustrations by Matisse accompany the text of Joyce’s<br />

Ulysses, including six soft-ground etchings with reproductions of the<br />

sketches on blue and yellow paper.<br />

“One of the very few American<br />

livres de peintres issued before<br />

World War II. According to George<br />

Macy [this work’s designer], who<br />

undertook this only American<br />

publication of Matisse’s illustrations, he asked the artist how many etchings the latter could provide<br />

for $5000. The artist chose to take six subjects from Homer’s Odyssey. The preparatory drawings reproduced<br />

with the soft-ground etchings (Matisse’s only use of this medium) record the evolution of<br />

the figures from vigorous sketches to closely knit compositions” (Artist and the Book 197). Without<br />

original acetate. Slocum & Cahoun A22. LEC 71. Interior fine; marginal expert paper repair to page<br />

345; inner hinges with expert reinforcement. Expert restoration to original slipcase.<br />

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“There Was A Moocow Coming Down Along The Road…”:<br />

Lovely First Edition Of Joyce’s<br />

Portrait Of The Artist As A Young Man<br />

56. JOYCE, James. A Portrait of the Artist as a Young Man. New York,<br />

1916. Octavo, original blue cloth, custom clamshell box. $16,000.<br />

First edition of Joyce’s classic stream-of-consciousness work, published in<br />

New York against numerous attempts to remove “offending passages”—a<br />

defining moment in the history of free expression and the emergence of the<br />

modern novel. A beautiful copy.<br />

New York publisher B.W. Huebsch was the only publisher “venturesome<br />

enough in 1916 to publish Joyce’s [novel] unexpurgated… In England, 12<br />

publishers had refused to set [it] up the way Joyce wrote it, and Harriet<br />

Weaver, who had published parts of the work serially in her avant-garde<br />

magazine The Egoist, would not go along with Ezra Pound’s proposal that<br />

blank spaces be left and, after printing, the offending passages be filled in<br />

with a typewriter. The difficulty was exacerbated because, as everyone knew,<br />

only a year earlier, in England, the entire edition of D.H. Lawrence’s novel<br />

The Rainbow had been destroyed by the police. Publishers and printers on<br />

both sides of the Atlantic were intimidated” (de Grazia, 18). The novel was not published in England until 1917. Without extraordinarily<br />

rare dust jacket. Slocum & Cahoon A11. Interior fresh and fine, only most minor wear to spine ends of bright publisher’s<br />

cloth. An about-fine copy, very desirable in such lovely condition.<br />

“Passages Of Unearthly Beauty”:<br />

Fine Signed Limited First Edition Of Finnegans Wake<br />

57. JOYCE, James. Finnegans Wake. London, 1939. Large octavo, original<br />

red cloth, cloth slipcase. $23,000.<br />

First edition, one of only 425 large-paper copies signed by Joyce.<br />

Joyce began writing Finnegans Wake in 1922, the same year Ulysses was published.<br />

Compared to that book, Finnegans Wake “took longer to write… was<br />

conceived and executed under a greater range of symbolic and mythic<br />

guidelines, was dictated to more famous amanuenses, among them<br />

Samuel Beckett, was used as a weapon of revenge by Joyce, who mocked<br />

in it the people who had offended him… In short, it was the inscription<br />

on the walls of eternity of James Joyce’s feelings, his prejudices and his<br />

obsessions” (The Scandal of Ulysses, 55). “Joyce insisted that each word,<br />

each sentence had several meanings and that the ‘ideal lecteur’ should<br />

devote his lifetime to it, like the Koran” (Connolly, The Modern<br />

Movement, 81). Slocum & Cahoon 49. Original slipcase with usual light wear<br />

and soiling. A fine uncut and unopened copy.


“He Found Himself Changed In His Bed To Some Monstrous Kind Of Vermin”:<br />

First Edition In English Of Kafka’s Metamorphosis<br />

58. KAFKA, Franz. The Metamorphosis. London, 1937. Slim octavo,<br />

original half blue cloth, custom clamshell box. $5500.<br />

First edition in English of one of Kafka’s most important works.<br />

“While critics have interpreted this chilling story variously as a description of<br />

despair in a meaningless world, as a reaction to institutional authoritarianism,<br />

and as an expression of conflict between the author and his father, its power<br />

seems to rest in its resistance to explanation. W.H. Auden has said of it, ‘Had one<br />

to name the author who comes nearest to bearing the same kind of relation to<br />

our age as Dante, Shakespeare and Goethe bore to theirs, Kafka would be the<br />

first one would think of’” (New York Public Library’s <strong>Books</strong> of the Century, 13).<br />

“Kafka published few works in his lifetime and left a testamentary direction that<br />

his unpublished writings should be destroyed, which was disregarded by his<br />

friend and executor Max Brod,” who published The Trial (1925) and The Castle<br />

(1926) after Kafka’s death in 1924 (Garland & Garland, 466). Kafka himself<br />

published The Metamorphosis in German in 1915. Translated by A.L. Lloyd.<br />

Without scarce original glassine. Bookplate; owner initials. A beautiful copy in<br />

original paper boards.<br />

First Edition Of ’Salem’s Lot, Inscribed By Stephen King<br />

59. KING, Stephen. ’Salem’s Lot. Garden City, 1975. Octavo, original half<br />

black cloth, dust jacket. $5200.<br />

<strong>Rare</strong> first edition of King’s second novel, inscribed: “For Tim—Best, Stephen<br />

King, 9/9/79,” in second-issue dust jacket, as always (virtually no first-issue<br />

jackets exist).<br />

King’s breakthrough second novel “gave birth not only to gaggles of vampire<br />

stories… but also all kinds of creepy works in general… ’Salem’s Lot, because of<br />

its genuineness, its verve, its originality, its willingness to reflect, expand and<br />

celebrate its sources, and, most importantly, its establishment of Stephen King…<br />

as a pioneer in a field ripe for re-invention, was germinal and originative of the<br />

entire boom in horror fiction” (Horror 100 Best 72). First issue dust jackets (of<br />

which only a very few are known to exist) had the incorrect printed price of<br />

$8.95 and the incorrect “Father Cody”<br />

on the front flap. The price mistake was<br />

quickly caught while still at the printer,<br />

and prices were clipped off these early<br />

dust jackets. A new price of $7.95 was<br />

added but the incorrect “Father Cody”<br />

remained, making them second-issue jackets. Third-issue jackets were completely reprinted,<br />

with the correct price and the priest’s name corrected to “Father Callahan.” Fantasy and<br />

Horror 6-203. Underwood & Miller 14. Minor rubbing to edges of bright, about-fine dust<br />

jacket. A beautiful copy, desirable inscribed by King.<br />

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Advance Review Presentation Copy Of<br />

Elmer Gantry, 1927<br />

60. LEWIS, Sinclair. Elmer Gantry. New York, 1927. Octavo,<br />

original blue cloth, dust jacket. $6000.<br />

First edition, first issue of Lewis’s “extravagantly comic<br />

satirical attack on the Protestant ministry” (Stringer, 392), an<br />

advance review copy with publisher’s slip laid in and printed<br />

presentation slip signed by the author tipped in.<br />

“Advance copies of the book were sent to clergymen all over<br />

the country. Needless to say, the reaction was predictable<br />

and commercially inspirational. The novel was universally<br />

condemned by every religious body in the United States;<br />

better publicity could not be had at any cost. Donald Brace,<br />

in anticipation of the demand for the book that attacked the<br />

‘high collar,’ ordered the printer to produce 140,000 copies<br />

of the first edition, the largest initial printing ever made in the history of book printing” (Pastore 13). Elmer Gantry enhanced<br />

its author’s reputation among critics and thus contributed to his reception of the Nobel Prize for Literature in 1930—the first<br />

American writer to do so. First issue, with “Cantry” on book spine. Bruccoli & Clark, 214. The printed note tipped in (by means<br />

of a two-cent stamp) to the front free endpaper reads, “I am sorry that I am going abroad before there are completed copies of<br />

‘Elmer Gantry’ to inscribe, and I am asking my publishers to send you this copy with my warmest greetings,” and is signed<br />

“Sinclair Lewis.” Book near-fine with very mild rubbing to spine. Original dust jacket exceptionally bright and fresh with<br />

expert restoration. A bright, lovely copy.<br />

“A Miracle In Prose,<br />

An American Original”:<br />

First Editions Of The Border<br />

Trilogy, Each Volume Signed By<br />

Cormac McCarthy<br />

61. MCCARTHY, Cormac. All the Pretty<br />

Horses. WITH: The Crossing. WITH:<br />

Cities of the Plain. New York, 1992-98.<br />

Octavo, original half black cloth, dust<br />

jackets. $8200.<br />

Scarce first editions of the three novels in<br />

McCarthy’s acclaimed “Border Trilogy,” in<br />

original dust jackets, each signed on the<br />

half title by the author.<br />

According to The New York Times, Cormac<br />

McCarthy’s Border Trilogy is “a miracle in prose, an American original.” Composed of three<br />

works—All the Pretty Horses, The Crossing, and Cities of the Plain—the trilogy traces the lives of two young men coming into adulthood<br />

in the changing Southwest. “A taut, poetic evocation of the remote backcountry of south Texas and northern Mexico, [All the Pretty<br />

Horses is] strongly imagined and beautifully rendered by a very fine writer—one of our best—who deserves far more renown” (Peter<br />

Matthiessen). “More discursive than All the Pretty Horses, [The Crossing] presents a sharp-eyed revision of the meaning of the West in<br />

the American consciousness” (Chronology of American Literature). “Told in both McCarthy’s signature lyrical style and his dead-on<br />

ranchero dialogue, Cities of the Plain ends the trilogy at the height of McCarthy’s storytelling skill” (Stacey Peebles, Cormac<br />

McCarthy Society). Issued the same year as a signed limited edition, no priority has been established with regard to The Crossing.<br />

Additionally, signed copies of the first trade edition of Cities of the Plain are considerably scarcer than those belonging to the signed<br />

limited edition of the same year. With “First Edition” on copyright pages of all three volumes. Faintest trace of remainder mark to<br />

lower edge of All the Pretty Horses. A fine signed set.


Inscribed First Edition Of The Heart Is A Lonely Hunter<br />

62. MCCULLERS, Carson. The Heart Is a Lonely Hunter. Boston, 1940. Octavo,<br />

original tan cloth, dust jacket, custom clamshell box. $16,000.<br />

<strong>Rare</strong> signed first edition of McCullers’ first novel, inscribed: “For A.B. Hanson Jr.,<br />

With All Good Wishes, Carson McCullers, January 14, 1942.” With laid-in letter by<br />

Marguerite W. Smith, McCullers’ mother.<br />

It was with this novel of a deaf mute that the young Carson McCullers “immediately<br />

achieved great critical prominence” (Hart, 242). “No matter what the age of its<br />

author, The Heart Is a Lonely Hunter would be a remarkable book. When one<br />

reads that Carson McCullers is a girl of 22 it<br />

becomes… something beyond that, something<br />

more akin to the vocation of pain to<br />

which a great poet is born” (New York<br />

Times). Bruccoli II:251. With laid-in letter<br />

and envelope from Marguerite W. Smith,<br />

McCullers’ mother, dated 1941 and addressed<br />

to the book’s recipient, reading, “Dear Mr. Hanson: Carson McCullers has asked me,<br />

her mother, to write and tell you, she so appreciates your good letter and is glad you like ‘The<br />

Heart—.’ She is ill at home here for the time, but I trust and hope it won’t be long before she is<br />

well again— With best wishes to you and Mrs. Hanson. Cordially yours, Marguerite W. Smith.”<br />

In February 1941, only a month before her mother’s letter, McCullers suffered the first of a series<br />

of cerebral strokes; it “temporarily impaired her vision and caused debilitating head pains”<br />

(ANB). These strokes eventually led to her death in 1967. Inscribed copies of The Heart Is a<br />

Lonely Hunter are most uncommon. Book fine. Minor edge-wear and lightest toning to spine of<br />

bright, about-fine dust jacket.<br />

“This Would Be Ten Times As Good If I Could’ve Used 1% Of The<br />

Real Stories…”: Tales Of The South Pacific, Michener’s First Book,<br />

Inscribed By Him To A Colleague At Macmillan<br />

63. MICHENER, James. Tales of the South Pacific. New York: 1947. Octavo, original<br />

pale orange cloth, dust jacket. $8000.<br />

First edition, presentation/association copy of Michener’s first—and Pulitzerwinning—professional<br />

writing effort, the basis of the classic musical “South Pacific,”<br />

inscribed by the author to a colleague at Macmillan: “Dear Van: This would be ten<br />

times as good if I could used [sic] 1% of the real stories you’ve told me in the last few<br />

years. Jim Michener.”<br />

“In 1940 Michener began a nine-year association, interrupted by World War II, with<br />

the Macmillan publishing firm as a social-science editor. In October 1942 Michener<br />

enlisted in the U.S. Navy reserve… and in April 1944 was sent to the Pacific theater of<br />

operations. He was partly an aviator inspector but mostly a publications officer. His<br />

visits to some 50 islands inspired his Tales<br />

of the South Pacific (1947)… Although the book won a Pulitzer Prize for fiction, it remained<br />

little known until South Pacific, the 1949 musical by Richard Rodgers and Oscar<br />

Hammerstein II, made him famous” (ANB). “Macmillan apparently had little faith in the<br />

book, because the first edition was cheaply produced, with a flimsy dust wrapper and a<br />

high-acid-content text stock that has browned badly over the years” (Groseclose, 21).<br />

Groseclose A.003. Inscribed to George Lippincott Van Curan, colleague and good friend<br />

of Michener in the school textbook division of Macmillan in the late 1940s. Book with<br />

slight rubbing to spine ends and extremities. Dust jacket lightly rubbed with three tape<br />

repairs to verso. A near-fine inscribed presentation/association copy.<br />

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“This Is A Love Story—Except There Isn’t Much Love In It”:<br />

Inscribed First Edition Of Toni Morrison’s First Book,<br />

The Comstock Copy<br />

64. MORRISON, Toni. The Bluest Eye. New York, Chicago, San<br />

Francisco, 1970. Octavo, original half blue cloth, dust jacket, custom<br />

clamshell box. $9500.<br />

First edition of this Nobel Prize-winner’s scarce first book, “an eloquent<br />

indictment of some of the more subtle forms of racism in American<br />

society,” inscribed to renowned book collector Rolland Comstock: “For<br />

Rolland Comstock, Regards, Toni Morrison.”<br />

“This tragic study of a black adolescent girl’s struggle to achieve white<br />

ideals of beauty and her consequent descent into madness was acclaimed<br />

as an eloquent indictment of some of the more subtle forms of<br />

racism in American society” (Encyclopedia of Literature, 150). Rolland<br />

Comstock, to whom this copy was<br />

inscribed, was an avid collector of<br />

modern first editions. At the time of<br />

his tragic murder, he reportedly<br />

owned an estimated 40,000 books, many of which he managed to get signed and<br />

inscribed by flying around the country to signings or engaging in extensive correspondence<br />

with authors. Book with minor toning and faint dampstaining to binding,<br />

dust jacket with very faint dampstaining. A near-fine inscribed copy, with an<br />

exceptional provenance.<br />

“This Novel Is Like No Other”: Scarce First Edition Of<br />

Flannery O’Connor’s Brilliant First Novel, Wise Blood<br />

65. O’CONNOR, Flannery. Wise Blood. New York, 1952. Octavo,<br />

original yellow cloth, dust jacket. $7000.<br />

Scarce first edition (one of only 3000 copies) of Flannery O’Connor’s<br />

powerful first novel, “a comic masterpiece.”<br />

O’Connor’s extraordinary first book exemplifies her characteristically<br />

sharp satire and gothic sensibility, deftly blending humor and the<br />

grotesque. “This novel is like no other—the individuality is intense, the<br />

comedy fierce, the truth undeniable” (Burgess, 99 Novels, 62). “A comic<br />

masterpiece, Wise Blood focused on Hazel Motes, the would-be founder of<br />

a ‘church without Christ, where the blind stay blind, the lame stay lame,<br />

and them that’s dead stays that way’” (Davis, 1955). “Her doctrinally strict,<br />

mordantly funny stories and novels are as close to perfect as writing gets”<br />

(New York Times). Farmer A1.I.a.1. Bruccoli & Clark I:281. Dust jacket<br />

near-fine with small closed tear to front panel, small chip to rear panel.<br />

Book fine. A desirable copy. Scarce.


Presentation/Association Copy Inscribed By<br />

John O’Hara To His Close Friend,<br />

New York Post Columnist Leonard Lyons<br />

66. O’HARA, John. Butterfield 8. New York, 1935. Octavo, original black<br />

cloth, dust jacket, custom clamshell box. $6200.<br />

First edition, presentation copy, of O’Hara’s third book and second novel,<br />

inscribed to his longtime friend, New York Post gossip columnist and<br />

theater critic Leonard Lyons: “To Len—and when they make it a 26-em<br />

measure I’ll like it even better. Sincerely John O’Hara. New York. February<br />

10, 1936.”<br />

To Ernest Hemingway, O’Hara was<br />

always a “man who knows exactly<br />

what he is writing about and has written<br />

it marvelously well.” Inspired by a<br />

news article about the discovery of a<br />

young woman’s body washed up on<br />

Long Island, O’Hara’s Butterfield 8<br />

became an immediate bestseller with<br />

its well-crafted story of “the sordid and sensational lives of people on the fringe of café<br />

society and the underworld” (Hart, 553). Elizabeth Taylor’s performance as Gloria won her<br />

an Oscar. With a column circulation of four million before the age of 35, the recipient of<br />

this copy, Leonard Lyons, was one of the finest newspaper writers of his day. Lyons and<br />

O’Hara were close friends and their correspondence was rife with witty asides and inside<br />

jokes; this inscription undoubtedly refers to one. Near-fine book with bookplate residue on<br />

inscription page, wear to spine ends. Fragile dust jacket quite nice with light wear to extremities<br />

and mild toning to spine, split to flap joint. A near-fine inscribed copy with a<br />

wonderful association.<br />

First Edition Of O’Hara’s First Novel<br />

67. O’HARA, John. Appointment in Samarra. New York, 1934. Octavo,<br />

original black cloth, dust jacket. $5500.<br />

First edition of O’Hara’s first novel.<br />

John O’Hara’s acclaimed first novel was “an instant success when it was<br />

published in 1934… tightly constructed and fast-paced, it detailed the threeday<br />

slide to self-destruction of a young man named Julian English… A<br />

meticulous craftsman,” O’Hara was hailed as “‘one of the most underrated<br />

authors in America’” by Bennett Cerf, who said that “O’Hara belongs right<br />

up there with William Faulkner and Ernest Hemingway” (New York Times).<br />

With publisher’s errata slip tipped in after title page, as called for. Bruccoli<br />

Clark I:285. Owner inscription. Book fine; some chipping, soiling to scarce,<br />

very good dust jacket.<br />

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“To Read It Is To Forget We Are Earthbound”:<br />

Saint-Exupéry’s Wind, Sand And Stars,<br />

Inscribed Presentation First Edition<br />

Signed By Walker Percy<br />

69. SAINT-EXUPERY, Antoine de. Wind, Sand and Stars. New<br />

York, 1939. Octavo, original half blue cloth, dust jacket. $5600.<br />

First American trade edition, inscribed by Saint-Exupéry, in French:<br />

“Pour Laura Ingalls, Camarade de l’air. Avec toute l’aimitié d’un camarade<br />

francais, Antoine Saint-Exupéry” (For Laura… friend of the wind,<br />

With all the friendship of a french comrade), in original dust jacket.<br />

68. PERCY, Walker. The Moviegoer. New York, 1961. Octavo, original<br />

half red cloth, dust jacket. $7500.<br />

First edition of Percy’s first book, winner of the 1961 National Book<br />

Award, signed by him.<br />

“In his first two novels—The Moviegoer (1961) and The Last Gentleman<br />

(1966)—Walker Percy’s characters reflect the sensibility of the Delta people.<br />

Unlike Flannery O’Connor’s characters, they have a societal context<br />

and awareness; yet like hers they are an odd assortment of marginal grotesques,<br />

whose motives are developed primarily within the drama of a<br />

quest for salvation… Percy has not separated his imagination as a storyteller<br />

from the southern community of memory and its fate in the modern<br />

world. For this reason he is far more successful than Flannery<br />

O’Connor in depth and delicacy of character depiction” (Hoffman,<br />

181). Book with only minor wear to front corners. Price-clipped<br />

dust jacket with faint dampstaining mainly to rear panel and wear<br />

to extremities. A rare signed copy in extremely good condition.<br />

“Everything went into Wind, Sand and Stars: the Saharan flights and<br />

crashes; the South American flights and near-crashes; the Libyan adventure;<br />

Guillaumet in the Andes; the enchanted evenings… Combinedwith<br />

a dash of mysticism and a generous sprinkling of hymns to fraternity-those<br />

writings make for some of the most glorious descriptions of<br />

flight ever published…. ‘To read it is to forget we are earthbound,’ raved<br />

the Atlantic reviewer” (Schiff, 306-8). The American <strong>Books</strong>ellers<br />

Association voted Wind, Sand and Stars the best non-fiction work of<br />

1939 while the French version, Terre des hommes, received the Academie<br />

Francaise’s prize for best novel of the year. Preceded in the U.S. by a signed limited edition of 500 copies. Interior generally<br />

fresh with tiny closed marginal tear to title page not affecting text, small stain to rear board, lightest edge-wear to spine of<br />

near-fine book. Original dust jacket with expert restoration.


First English Edition Of One Day In The Life Of Ivan<br />

Denisovich, Inscribed By Alexander Solzhenitsyn<br />

71. SOLZHENITSYN, Alexander. One Day in the Life of Ivan Denisovich.<br />

London, 1963. Octavo, original red cloth, dust jacket. $12,000.<br />

First English edition of Solzhenitsyn’s first published work, inscribed in<br />

English and signed in Cyrillic.<br />

Causing an immediate scandal when published in the Soviet Union in 1962<br />

for its frank portrayal of life under Soviet rule, this novel propelled its<br />

author to international fame. It is the first and perhaps the best example of<br />

this Nobel laureate’s belief in “the indivisibility of truth and ‘the perception<br />

of world literature as the one great heart which beats for the concerns and<br />

misfortunes of our world’” (Solzhenitsyn, Nobel acceptance speech, 1970).<br />

This London edition published the same year as the American, which<br />

preceded it by only a few months. Only slightest rubbing to extremities of<br />

fragile dust jacket. A most exceptional inscribed copy.<br />

Extraordinarily <strong>Rare</strong> Inscribed First Edition Of<br />

A Tree Grows In Brooklyn<br />

70. SMITH, Betty. A Tree Grows in Brooklyn. New York, 1943. Octavo,<br />

original green cloth, dust jacket, custom clamshell box. $16,500.<br />

First edition of Betty Smith’s scarce first novel, inscribed: “To Bill with love,<br />

Betty Smith, June 1960, Chapel Hill, N. Car.”<br />

Betty Smith credited Thomas Wolfe’s 1935 novel Of Time and the River<br />

with releasing her childhood memories of tenement life in turn-of-thecentury<br />

Brooklyn. Her first novel, A Tree<br />

Grows in Brooklyn, was published in 1943.<br />

“At the time of Smith’s death, six million<br />

copies had been produced in 37 printings,<br />

and it had been translated into 16 languages.<br />

The novel itself is beautifully written<br />

and unpretentious, a powerful evocation of<br />

a time and place” (DAB). Bruccoli & Clark<br />

III:296. New York Public Library <strong>Books</strong> of<br />

the Century, 207. Owner signature. Interior fine; light rubbing to cloth extremities, fading<br />

to spine. Mild wear, shallow chipping to extremities of bright dust jacket. An extremely<br />

good copy, scarce inscribed.<br />

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Signed By Hunter S. Thompson And Ralph Steadman:<br />

First Edition Of Fear And Loathing In Las Vegas<br />

72. THOMPSON, Hunter S. Fear and Loathing in Las Vegas. New York, 1971.<br />

Octavo, original half black cloth, dust jacket, custom clamshell box. $8500.<br />

First edition of Thompson’s edgy journey into the American dream, boldly signed<br />

by him in blue ink in his characteristic “H.S. Thompson,” additionally signed by<br />

Ralph Steadman, in scarce dust jacket.<br />

Fear and Loathing in Las Vegas “cemented Mr. Thompson’s place as a singular<br />

presence in American journalism or, as he once called himself, ‘a connoisseur of<br />

edge work’” (New York Times). Thompson’s second book, the embodiment of<br />

Gonzo journalism, “is a custom-crafted study of<br />

paranoia… a desperate and important book, a wired<br />

nightmare, the funniest piece of American prose<br />

since Naked Lunch” (<strong>Books</strong> of the Century, 278-80).<br />

Illustrated by Ralph Steadman, Thompson’s hallucinogenic<br />

saga became “a metaphor for the state of the<br />

American nation” (Stringer, 666). Made into the<br />

movie of the same title in 1998, directed by Terry<br />

Gilliam and starring Johnny Depp. With “First Edition” on copyright page; first issue dust jacket with<br />

$5.95 price. Interior fine; light foxing to text block edges. Light toning to book edges; dust jacket bright<br />

and fine with a small stain to foot of spine panel. A near-fine signed copy.<br />

Inscribed By Evelyn Waugh To His Sister-In-Law In The Year Of<br />

Publication, First Edition Of Unconditional Surrender<br />

73. WAUGH, Evelyn. Unconditional Surrender. London, 1961. Octavo, original<br />

blue cloth, dust jacket, custom clamshell box. $7600.<br />

First edition of the final work in Waugh’s Sword of Honour trilogy, inscribed in the<br />

year of publication to his sister-in-law: “For Bridget, With love from Evelyn,<br />

October 1961.”<br />

The Sword of Honour trilogy, a fictionalized account of Waugh’s WWII experience,<br />

is often considered his best work, and is counted among the finest depictions of the<br />

war. Unconditional Surrender, the last volume in the series, is based on Waugh’s<br />

participation in Randolph Churchill’s mission to aid Tito’s Communist partisans<br />

in Yugoslavia—a situation rich in irony for the<br />

Catholic Waugh, who was painfully aware that<br />

he was helping to insure the ultimate rule of a<br />

communist regime hostile to the faith of<br />

Yugoslavia’s Catholic Croats and Slovenes. In a<br />

review of this work, Gore Vidal called Waugh<br />

“Our time’s first satirist,” writing “in a prose so<br />

chaste that at time one longs for a violation of syntax to suggest that its creator is fallible, or at least<br />

part American” (quoted in Hastings, 599). The inscribee was Bridget Grant, Waugh’s sister-in-law.<br />

Book fine; light soiling to rear panel of bright dust jacket. A near-fine copy, scarce inscribed.


“A Woman Must Have Money And A Room Of Her Own<br />

If She Is To Write Fiction”: Signed Limited First Edition<br />

Of Virginia Woolf’s Classic<br />

74. WOOLF, Virginia. A Room of One’s Own. New York and London, 1929.<br />

Tall octavo, original red cloth, custom clamshell box. $15,000.<br />

Signed limited first edition, one of 492 copies distinctively signed by Woolf in<br />

her characteristic purple ink.<br />

Woolf’s foundational essay on women and writing has become a classic<br />

feminist text: Woolf’s “aim was to establish a woman’s tradition, recognizable<br />

by its circumstances, subject-matter, and its distinct problems…<br />

A Room of One’s Own charted this vast territory with an air of innocent<br />

discovery which itself sharpens the case against induced ineffectiveness<br />

and ignorance that for so long clouded the counter-history of<br />

women” (Gordon, 182). “A woman must have money and a room of her<br />

own if she is to write fiction,” said Woolf, “and that, as you will see,<br />

leaves the great problem of the true nature of woman and the true nature<br />

of fiction unsolved.” Printed in the U.S. by Robert Josephy and published<br />

on October 21, 1929, this edition preceded the English edition (both trade and<br />

signed) by three days. Without glassine wrapper, rarely found. Kirkpatrick<br />

A12. Woolmer 215A. Text fine; slight rubbing to extremities, very mild toning<br />

to cloth. A near-fine signed copy.<br />

First Edition Of Virginia Woolf’s Early Short Story Collection<br />

Monday Or Tuesday, With Four Woodcuts By Vanessa Bell<br />

75. WOOLF, Virginia. Monday or Tuesday. With Woodcuts by Vanessa Bell.<br />

London: The Hogarth Press, 1921. Octavo, original half brown cloth, custom<br />

clamshell box. $5500.<br />

First edition, one of only 1000 copies printed.<br />

Includes “A Haunted House,” “A Society,” “An Unwritten<br />

Novel,” “The String Quartet,” “Blue and Green,” “Kew<br />

Gardens” and “The Mark on the Wall.” Illustrated with<br />

four woodcuts by Vanessa Bell. Kirkpatrick A5. Woolmer<br />

18. Usual light offsetting from woodcuts. Spine and boards<br />

lightly rubbed. A near-fine copy.<br />

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“To Cheryl With My Heart’s True Love”: The Rose Tattoo, Inscribed<br />

By Tennessee Williams To The Play’s Producer, Cheryl Crawford<br />

76. WILLIAMS, Tennessee. The Rose Tattoo. New York, 1951. Octavo, original rose<br />

cloth, dust jacket, custom clamshell box. $9200.<br />

First edition, inscribed by the playwright to Cheryl Crawford, who produced the<br />

play’s first run: “To Cheryl with my heart’s true love—Tennessee.” Laid in is a flyer<br />

for Crawford’s 1977 memoir, One Naked Individual: My Fifty Years in the Theatre,<br />

with notes on the verso in Crawford’s hand about Camino Real and a prop list for<br />

Rose Tattoo.<br />

Williams wrote of his play, “The Rose Tattoo is the<br />

Dionysian element in human life… the lyric as well<br />

as the Bacchantic impulse… the transcendence of<br />

life over the instruments it uses… a celebration of<br />

the inebriate god” (Spoto, The Kindness of Strangers,<br />

170). In his Memoirs he called it “my love-play to<br />

the world.” He wrote the play following his 1948 trip to Italy. It opened in New York on February<br />

3, 1951 and ran for 306 performances, starring Eli Wallach, Don Murray and Maureen Stapleton.<br />

Crawford was the producer for the play’s 1950 Chicago premiere and for the play’s 1951<br />

Broadway run. Crawford was one of the founders of The Group Theatre in 1931; in 1947, she<br />

was a co-founder of The Actor’s Studio. Her first successful production was Clifford Odet’s<br />

1937 play Golden Boy; Crawford produced Odet’s Awake and Sing! two years later. In 1959, she<br />

produced Williams’ Sweet Bird of Youth. Crandell A10.I.a. With calculations in Crawford’s hand<br />

on the rear free endpaper. Book fine. Some splitting along folds and one tape repair to verso of<br />

bright dust jacket with light toning to spine. A near-fine copy with excellent provenance.<br />

Of Time And The River, First Edition,<br />

Warmly Inscribed By Thomas Wolfe In The Year Of Publication<br />

77. WOLFE, Thomas. Of Time and the River. New York, 1935. Thick octavo,<br />

original black cloth, dust jacket. $5200.<br />

First edition of the sequel to Look Homeward, Angel, inscribed in the year of<br />

publication: “For Stephanie Skrent. Sincerely, with best wishes, Thomas Wolfe. Sept.<br />

21, 1935.”<br />

“On the night of the 14th of December [1933], at about half-past eleven, Wolfe arrived<br />

customarily late for his appointment with [editor Max] Perkins… [and] unloaded a<br />

heavy bundle on his editor’s desk. It was wrapped in brown paper, twice tied with<br />

string, and stood two feet high. Perkins opened it and found it packed with<br />

typescript—more than 3000 rough-draft pages, the first part of the novel. The sheets,<br />

all different kinds of paper, were not consecutively numbered, since the sections had<br />

not been consecutively written… ‘You have<br />

often said that if I ever gave you something<br />

that you could get your hands on and weigh in its entirety from beginning to end, you could<br />

pitch in and help me to get out of the woods,’ Wolfe wrote Perkins the following day. ‘Well<br />

now here is your chance… I don’t envy you the job before you’” (Berg, Max Perkins, 235).<br />

Thus the editing of Wolfe’s Of Time and the River began. Upon its highly-anticipated<br />

publication two years later, the New York Times called the novel “a magnificent epic of<br />

American life” and Malcolm Crowley named Thomas Wolfe “the only contemporary<br />

American writer who can be mentioned in the same breath with Dickens and Dostoevsky”<br />

(New Republic). Johnston A3.1.a. Book fine, only very lightest rubbing to edges of fine bright<br />

dust jacket. A fine inscribed copy, most unusual in this condition.


“A Peak Of English Poetry”:<br />

First Edition Of The Winding Stair, Signed By Yeats<br />

78. YEATS, William Butler. The Winding Stair. New York, 1929.<br />

Slim octavo, original gilt-stamped dark blue cloth. $3800.<br />

Signed limited first edition, one of only 642 copies, signed by Yeats.<br />

The Winding Stair, along with The Tower (published in 1928), contain<br />

“the greatest poetry of Yeats in his difficult later manner… a peak in<br />

English poetry” (Connolly 56B). “Many critics have felt that Yeats’<br />

greatest achievement was the development of a symbolic language to<br />

express an equilibrium between the conflicting demands on the poet<br />

of the outside world and his art… This theme is central to the two<br />

volumes which are often thought to be Yeats’ best, The Tower (1928)<br />

and The Winding Stair (1929)” (Hamilton, 595). Both titles refer to<br />

Thoor Ballylee, the Norman tower that Yeats purchased, restored<br />

and dedicated to his wife Georgie Hyde-Lees. The Winding Stair<br />

includes one of Yeats’ most resonant and best-known poems, “A<br />

Dialogue of Self and Soul.” Book designed by Frederic Warde and<br />

printed by William Edwin Rudge for the Fountain Press. Without<br />

scarce original glassine, slipcase. Wade 164. Roth 213. See Ransom, 283-84. Bookplate. Light offsetting to half title and<br />

facing page; Yeats’ bold signature clearly visible. Spine lightly toned and rubbed, a few minor blemishes to boards, small<br />

dampstain, front inner hinge expertly reinforced.<br />

“For The World’s More Full Of Weeping Than He Can<br />

Understand”: Yeats’ Early Poems And Stories, 1925,<br />

One Of Only 250 Copies Signed By Yeats<br />

79. YEATS, William Butler. Early Poems and Stories. New York,<br />

1925. Octavo, original half blue cloth. $4500.<br />

Signed limited first American edition, one of only 250 copies<br />

signed by Yeats.<br />

Contains the poems and stories from his early books, including<br />

The Celtic Twilight, The Secret Rose, Stories of Red Hanrahan<br />

and others. Preceded by the British first edition of the same<br />

year. Wade 148. Bookplates. Text fine, faint toning to paper<br />

spine label of about-fine book.<br />

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<strong>Section</strong> 3: Literature<br />

william shakespeare<br />

“Incomparably The Most Important Work In The English Language”:<br />

The Fourth Folio Of Shakespeare’s Plays, 1685<br />

80. SHAKESPEARE, William. Mr. William Shakespeare’s Comedies, Histories, and Tragedies. Published<br />

according to the true Original Copies. Unto which is added, Seven Plays, Never before Printed in Folio… The<br />

Fourth Edition. London, 1685. Folio, 19th-century burgundy crushed full morocco gilt. $225,000.<br />

<strong>Rare</strong> 1685 Fourth Folio of Shakespeare’s plays, first issue, with the engraved frontispiece portrait of Shakespeare by<br />

Droeshout, the ten-line poem by Ben Jonson and John Milton’s first poem. The folios are “incomparably the most<br />

important work in the English language” (William A. Jackson). Because of their incalculable impact on the language,<br />

thought and literature of our world, they are among the most desirable of all English language books, the prizes of any<br />

collection. Handsomely bound by Maltby of Oxford.<br />

The “four folios of Shakespeare” are the first four editions of Shakespeare’s collected plays, which were the only collected<br />

editions printed in the 17th century. At that time, plays were not considered “serious literature” and thus they were not<br />

routinely printed and often survived only in manuscript form. Hence, the first collected edition of Shakespeare’s works<br />

did not appear until seven years after his death, and 17 of the 36 plays included had never been published before (and<br />

might have been lost had the folios not been printed). This Fourth Folio “contains the additional seven plays that first<br />

appeared in the 1663 [third folio] edition [only one of which, “Pericles, Prince of Tyre,” is now attributed to Shakespeare],<br />

as well as a good deal of correction and modernization of the text designed to make it easier to read and understand”<br />

(Folger’s Choice 6). It was the last edition of Shakespeare’s plays printed in the 17th century—last to appear before the<br />

editorial onslaught of the next hundred years. Because the Fourth Folio had been “modernized,” it was therefore nearer<br />

a modern text than either the Second or Third, and became the edition of choice for future editors. Shakespeare’s first<br />

acknowledged editor, Nicholas Rowe, for example, used the Fourth as the basis for his famous 1709 edition. The Fourth


was printed on Dutch Demy Royal sheets, a larger format than any of its predecessors, and the type “is in a larger font than the<br />

three earlier editions, and more liberally spaced” (Jaggard, 497). In addition to Ben Jonson’s famous epitaph, this edition also<br />

includes the unsigned “An Epitaph on the admirable Dramatick Poet, William Shakespear,” regarded as John Milton’s first<br />

published poem, written when he was a student at Cambridge and appearing for the first time in the Second Folio (1632). First<br />

issue, without Richard Chiswell listed in the imprint statement, as in the second issue (a third issue lists Herringman alone).<br />

For this fourth edition, Shakespeare’s text was cast off to three different printers (one of whom has been identified as Robert<br />

Roberts), who typeset their sections simultaneously, thus shortening the time it took to bring the edition to market (and tying<br />

up as little type as possible from any one printer). When the work was finished and the three sections of printed sheets collated,<br />

there was a shortage of 17 sheets from the second section, which were then hastily reprinted without the characteristic borders<br />

around the text. Copies have been found with these second state sheets. All of the relevant sheets in this present copy, however,<br />

are the original settings, with the page-borders. A second anomaly distinguishes this edition: in<br />

collating the sheets it was also discovered that text had been omitted from the first section, so<br />

that leaf L1 had to be reset in a smaller point-size to accommodate the missing text. Although<br />

there is no accurate census of the number of folios still extant today, it is believed that copies of<br />

each printing number only in the hundreds. Shakespeare’s portrait is in the third state, as<br />

issued, with extensive additional crosshatching in his hair and in the shadow on his ruff (see<br />

Blayney, 19). Leaf 2C1 (King John) misbound between 2C6 and 2D1 (Richard II); all text<br />

present. Greg III, 1119-1121. Wing S2915. Jaggard, 497. Pforzheimer 910 (second issue). Bartlett<br />

123. Miller, 138-39. Dawson, “Some Irregularities in the Shakespeare Fourth Folio” (Studies in<br />

Bibliography, 1951). Armorial bookplate of English physician Paulin Martin (1842-1929),<br />

Abingdon; recent leather booklabel of Lucy [Doheny] Smith Battson, daughter-in-law of the<br />

noted book collector Estelle Doheny. A few marginal pencil notations, misprinted headline for<br />

The Tempest corrected in early manuscript. Portrait leaf trimmed and skillfully mounted,<br />

with partial loss of first letter of engraver’s name only; small hole to 1C5 affecting letters but<br />

not the sense of text on recto; a few minor paper repairs without loss, occasional minor soiling.<br />

Binding very handsome. A very good complete copy, with no facsimile leaves.<br />

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john donne<br />

“For Godsake Hold Your Tongue, And Let Me Love”:<br />

Exceedingly Scarce 1633 First Edition Of John Donne’s Poems<br />

81. DONNE, John. Poems, By J.D. With Elegies on the Authors Death. London, 1633. Small quarto, early full speckled brown<br />

calf. Collation: [A2]-A4 B-Z4 Aa-Zz4 Aaa-[Fff4]. $65,000.<br />

First edition of the collected poems of the greatest of the metaphysical poets, a handsome wide-margined copy, with “Epistle” leaves,<br />

often lacking.<br />

Although his poetry was circulated in small bundles of manuscript copies among the cultured circles of Elizabethan and Jacobean<br />

society, Donne deliberately kept most of it out of print, fearing to tarnish his reputation in the religious establishment. Thus almost<br />

none of his poetry appeared in print during his lifetime. “The poetry of Donne represents a sharp break with that written by his<br />

predecessors and most of his contemporaries… Donne’s particular blend of wit and seriousness, of intense feeling, darting thought,<br />

and vast erudition, creates a fascination quite beyond the reach of easier styles and less strenuous minds” (Adams). This edition is “the<br />

first collected edition of Donne’s poems, derived according to current scholarly thinking from manuscript sources in direct descent<br />

from the author’s papers. It has been the basis of all scholarly editions since then, including the Grolier Club edition of 1895” (Pirie 81).<br />

This copy with page 273 (Nn1) in the uncorrected state (without running title and with 35 lines of text), and with mispaginations as<br />

in Pforzheimer. Bound with “Epistle” (A3-A4), rarely found; without “Printer to the Understanders,” “Hexastichon Bibliopolae” and<br />

blank [A1], as often. Several lines in the Satyres on pages 330, 331 and 341, originally containing lines offensive to the king and church,<br />

are left blank. Donne bibliographer Sir Geoffrey Keynes concludes that various corrections in the text do not differentiate earlier from<br />

later states, but were random in the preparation of the text. Keynes 78. STC 7045. Grolier 100 25. Pforzheimer 296. Hayward 54.<br />

Armorial bookplate of Henry Champernowne, whose family line is traceable back to William the Conqueror, and his wife Charlotte.<br />

Bookplate of noted bibliophile Walter Hirst. Interior fresh and lovely, very minor expert restoration to top of spine and small area on<br />

rear board, mild dampstaining to boards. A very handsome and desirable copy.


william shakespeare<br />

“How Many Ages Hence Shall This Our Lofty Scene Be Acted Over”:<br />

1691 Second Quarto Edition Of Shakespeare’s Julius Caesar<br />

82. SHAKESPEARE, William. Julius Caesar. A Tragedy. As it is Now Acted At The Theatre Royal. London, 1691. Quarto,<br />

modern three-quarter burgundy morocco, custom clamshell box. $40,000.<br />

<strong>Rare</strong> 1691 second quarto edition of Shakespeare’s Julius Caesar, with a brilliance fully realized in “the extraordinary lines of Brutus,<br />

deep in thought, as he sets in motion one of the most consequential events in Western history. It’s one of Shakespeare’s first great<br />

soliloquies,” handsomely bound.<br />

“Something extraordinary was beginning to happen as Shakespeare wrote Julius Caesar in the spring of 1599… as if all his energies<br />

were self-consciously focused on a new and different kind of invention… The result was a significant breakthrough” (Shapiro, 134-5)<br />

“This was the first play by Shakespeare founded on Sir Thomas North’s translation of Plutarch’s Lives, which appeared in 1579 and<br />

was reprinted in 1595. Shakespeare used portions of the lives of Caesar, Antony and Brutus and followed Plutarch very closely”<br />

(Bartlett, Mr. William Shakespeare: 112n). Julius Caesar is thought to have been first performed in 1599 and was first printed in the<br />

1623 First Folio. The quarto editions were the first separate printings of the play and are enormously desirable, as very few copies exist<br />

in private hands. Sixteen of Shakespeare’s plays were first printed in quarto form (1594 to 1622) before they were collected in the 1623<br />

First Folio; of the 20 plays that made their first appearance in the First Folio, only three appeared in quarto form during the 17thcentury:<br />

Taming of the Shrew, Macbeth, and Julius Caesar (its six quarto editions being a clear indication of its immense popularity).<br />

Four undated quarto editions were formerly thought to have been printed shortly after 1684 and before this 1691 edition; it is now<br />

believed that they were probably printed between 1695 and 1700. The first and second 1691 quarto editions have “1691” printed on the<br />

title page. This, the earlier of those two editions, has a comma after “Herringman” in the title page imprint statement, while the later<br />

1691 edition does not. Wing S2922. Jaggard, 319. Bartlett 117. Spot of sticker residue to front endpaper. Early ink bracket and ink stain.<br />

A few short closed marginal tears to title page. Tiny hole to B2 affecting two words, upper margin slightly worn affecting just a few<br />

page numbers, mild embrowning to text. An exceptional and most desirable copy. <strong>Rare</strong>.<br />

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giovanni boccaccio<br />

Boccaccio’s Decameron, The First English Translation, 1620 And 1625, Handsome In Contemporary Calf<br />

83. BOCCACCIO, Giovanni. The Modell of Wit, Mirth, Eloquence and Conversation. Framed in Ten Dayes, of an Hundred<br />

Curious Pieces. BOUND WITH: The Decameron. London, 1625, 1620. Quarto, contemporary full brown calf rebacked with<br />

original spine laid down, custom clamshell box. $20,000.<br />

First complete translation into English of Boccaccio’s sparkling portrait of love, lust and exuberant life, even in the face of death—<br />

the second edition of Volume I and the first of Volume II, as virtually always. Illustrated with an elaborate woodcut title page in<br />

each volume as well as numerous in-text woodcuts, decorated initials and ornamental head- and tailpieces throughout.<br />

Boccaccio composed his masterpiece sometime between 1348 and 1352. “This is the first complete translation of the Decameron<br />

into English. The woodcut vignettes which form the title are interspersed throughout the two volumes, one being given to each<br />

separate novel. A second edition of the first volume was issued in 1625 [here present]. The name of the translator is unknown”<br />

(Wither to Prior 250), although some authorities suggest John Florio, who prepared an important Italian-English dictionary in 1598<br />

and who tutored Queen Anne in Italian. “No complementary edition of the second volume was published, possibly because, when<br />

the present was called for, Jaggard was still able to supply copies of the first edition” (Pforzheimer 72). Jaggard is also remembered<br />

as joint publisher and printer of Shakespeare’s First Folio. Boccaccio’s influence on Shakespeare is most evident in “Troilus and<br />

Cressida.” This is the first edition (1620) of Volume II (The Decameron) and the second edition (1625) of Volume I, as is usual. Without<br />

initial blank in first volume and final blank in second volume. Two preliminary leaves in the second volume (the dedicatory epistle<br />

to Sir Phillip Herbert and “To the Reader”) bound in between the eighth and ninth leaves of the Table. STC 3173, 3172. Pforzheimer<br />

72, 71. Lowndes, 224. Faint armorial inkstamp, old ink inscriptions, occasional old marginalia. Mild marginal dampstaining to first<br />

several gatherings. Minor loss to extreme fore-edge of leaves P1-S1. Minor marginal loss to bottom corner of [2B5], not affecting<br />

text. Marginal wormholing toward the gutter of leaves 2M4-[2T3] in second volume. Contemporary calf quite handsome. A<br />

desirable copy in excellent condition.


samuel johnson<br />

“The Most Amazing, Enduring And Endearing One-Man Feat”:<br />

1755 First Edition Of Johnson’s Landmark Dictionary, In Contemporary Boards<br />

84. JOHNSON, Samuel. A Dictionary of the English Language. London, 1755. Two volumes. Thick folio, contemporary full<br />

brown calf sympathetically rebacked. $41,000.<br />

First edition of the first great dictionary of the English language, Johnson’s “audacious attempt to tame his unruly native tongue…<br />

combining huge erudition with a steely wit and remarkable clarity of thought” (Hitchings, 3), in contemporary boards. An<br />

exceptionally clean copy.<br />

“Johnson’s Dictionary made him a superstar. To be sure, there had been dictionaries before his. The difference<br />

is that, while these were compiled, Johnson’s was written… The glory of the book is that it is also a<br />

compendium of English literature, reprinting fine examples of words from the masters, often Shakespeare<br />

or Sir Francis Bacon. Johnson sought to ‘intersperse with verdure and flowers the dusty desarts of barren<br />

philology’” (Smithsonian Book of <strong>Books</strong>). “Dr. Johnson performed with his Dictionary the most amazing,<br />

enduring and endearing one-man feat in the field of lexicography… The preface ranks among Johnson’s<br />

finest writings… It is the dictionary itself which justifies Noah Webster’s statement that ‘Johnson’s<br />

writings had, in philology, the effect which Newton’s discoveries had in mathematics’” (PMM 201). Title<br />

pages printed in red and black. Courtney & Smith, 54. Grolier 100. Rothschild 1237. Early armorial<br />

bookplates. Text quite fresh and clean. Only a bit of pinprick marginal wormholing to first several<br />

gatherings of Volume I. Contemporary calf boards with light expert restoration to corners and edges. An<br />

exceptionally handsome and very desirable copy of a true linguistic and literary landmark.<br />

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emily dickinson<br />

“Tiny Ecstasies Set In Motion”:<br />

<strong>Rare</strong> First Editions Of Emily Dickinson’s First Three <strong>Books</strong> Of Poetry<br />

85. DICKINSON, Emily. A collection of first editions: Poems. [First Series]. WITH: Poems. Second Series. WITH:<br />

Poems. Third Series. Boston, 1890, 1891, 1896. Together, three volumes. 12mo, First Series in original silver-stamped ivory<br />

boards, grey cloth spine; Second Series in original gilt-stamped gray cloth; Third Series in original gilt-stamped ivory boards,<br />

green cloth spine. $23,500.<br />

<strong>Rare</strong> Emily Dickinson collection, consisting of first editions, first printings of the first three books of her poetry. Only 500 copies of<br />

the First Series were printed, 960 copies of the Second Series, and 1000 copies of the Third Series. All three volumes are in original<br />

publisher’s bindings.<br />

Emily Dickinson published only 11 poems during her lifetime; but after her death in 1886, her sister Lavinia discovered a locked box<br />

containing 1,775 manuscript poems. Mabel Todd edited and published the three series of these poems until a quarrel between the<br />

Dickinson and the Todd families led to a division of the manuscripts, preventing the publication of complete and authoritative<br />

editions of Dickinson’s poetry until 70 years after her death. Dickinson’s poems are her “‘letter to the world,’ records of the life about<br />

her, of tiny ecstasies set in motion by mutations of the seasons or by home and garden incidents… Her artistry in the modulation<br />

of simple meters and the delicate management of imperfect rhymes was greater than [Emerson’s]” (Hart, 108-9). Each book is a first<br />

printing; the First Series is in binding B, Second Series in binding B and Third Series in binding A (no priority established in Second<br />

and Third Series). Myerson A1.1a, A2.1a, A4.1. BAL 4655, 4656, 4661. Grolier American 100, 91. First editions of Dickinson’s Poems<br />

are quite scarce; the First Series is particularly rare. Bookplates (First Series) of Carroll Atwood Wilson, the prominent literature<br />

bibliographer and book collector, and Mary Elisabeth Hudson, the author. All three volumes with expert reinforcement to text<br />

blocks and inner hinges. First Series with mild toning to extremities and slight rubbing to spine ends; Second Series with only slight<br />

rubbing to edges of boards; Third Series with expertly repaired small closed tear to last leaf of text; minor foxing and soiling to cloth<br />

and only slight rubbing and toning to spine. Overall, a rare and unusually lovely near-fine set.


mary wollstonecraft shelley<br />

“All Men Hate The Wretched; How Then, Must I Be Hated, Who Am Miserable Beyond All Living Things!<br />

Yet You, My Creator, Detest And Spurn Me, Thy Creature!”: One Of The Most Important And Desirable<br />

Works In English Literature: Extremely <strong>Rare</strong> First Edition Of Mary Shelley’s Frankenstein<br />

86. SHELLEY, Mary Wollstonecraft. Frankenstein; Or, The Modern Prometheus. London, 1818. Three volumes. 12mo, modern<br />

full brown calf, custom clamshell box. $168,000.<br />

Exceedingly rare first edition of Mary Shelley’s horror masterpiece, handsomely bound.<br />

One stormy June evening in 1816, while the 19-year-old Mary Shelley was in Geneva with her husband Percy, her step-sister Claire<br />

Clairmont, Claire’s lover Lord Byron and Byron’s physician John Polidori, the group’s discussion turned to the supernatural. Byron<br />

proposed that all members of the party write a romance or tale dealing with the subject. In the days that followed, Polidori and Byron<br />

both produced vampire stories (The Vampyre and an unfinished narrative, respectively), Claire and Percy Shelley wrote nothing, and<br />

Mary Shelley conceived the novel Frankenstein. Frankenstein was Mary Shelley’s first published work. “Frankenstein is a mystical<br />

morality tale about what happens when man dares to transgress the limits of knowledge… [It] is Mary Shelley’s conscious or<br />

unconscious parable of the Romantic sensibility” (Stephen King). It is no wonder that Frankenstein has become “the most famous<br />

English horror novel… a defining model of the Gothic mode of fiction, and… the first genuine science fiction novel, the first significant<br />

rendering of the relations between mankind and science through an image of mankind’s dual nature appropriate to an age of science”<br />

(Clute & Nicholls, 1099). This first edition, published anonymously, includes Percy Shelley’s Preface, written as the author. Mary<br />

Shelley was not to add her own introduction until the 1831 third edition. Without half titles in Volumes I and III, often absent. Bound<br />

with one half title in Volume II and advertisements in Volumes II and III, rarely found. Wise, 8. Wolff 6280. Only most minor<br />

scattered foxing to text. A beautiful copy in fine condition of an extraordinarily rare and desirable first edition.<br />

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bram stoker<br />

“The Thing In The Coffin Writhed; And A Hideous, Blood-Curdling Screech Came From The Opened Red<br />

Lips”: First Edition Of Bram Stoker’s Dracula, Inscribed By Stoker To Mrs. W.S. Gilbert<br />

87. STOKER, Bram. Dracula. Westminster, 1897. Octavo, original yellow cloth, custom cloth clamshell box. $205,000.<br />

First edition, scarce first issue, presentation copy to Mrs W.S. Gilbert, with the author’s signed autograph inscription: “To Mrs W.S.<br />

Gilbert with Bram Stoker’s very warm regards, 12/7/97.”<br />

Contemporary reviews compared Stoker’s masterpiece favorably to Mary Shelley’s Frankenstein, Emily Bronte’s Wuthering Heights,<br />

and Poe’s The Fall of the House of Usher. Since then it has engendered “arguably the most potent literary myth of the twentieth century”<br />

(Leatherdale, 11). Scarce first issue published in May 1897, with no advertisements as issued and printed on slightly thicker stock Dalby<br />

10a. An excellent association: Mrs Gilbert, née Lucy Agnes Blois Turner, was the wife of William Schwenck Gilbert, of Gilbert &<br />

Sullivan fame. Each a theatrical man with some legal training, Gilbert and Stoker were close friends. They had worked together when<br />

Gilbert’s short Comedy and Tragedy proved an admirable vehicle for the beautiful American actress Mary Anderson at the Lyceum<br />

Theatre in 1884. Before settling in London, Stoker had married Florence Anne Lemon Balcombe, a Dublin beauty who was also being<br />

courted by Oscar Wilde. Gilbert, who gently twitted Wilde in Patience (1881), always had an eye for the ladies (he was to die of heart<br />

failure after swimming too rapidly to save a girl who mistakenly supposed she was drowning in his artificial lake) and he inspired<br />

some society gossip by being seen very often in the company of the attractive Florence Stoker while her husband was busy in his job<br />

as Henry Irving’s business manager at the Lyceum Theatre. Just a hint of fading to the spine, the cloth very slightly finger-marked,<br />

wafer-thin crack to front inner paper hinge, a sprinkle of foxing to endpapers only. A superb copy of a book very rarely found in such<br />

fine condition, with a very desirable inscription and association.


mark twain<br />

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

First Issue Of Huckleberry Finn, A Beautiful Copy<br />

88. TWAIN, Mark. Adventures of Huckleberry Finn (Tom Sawyer’s Comrade). New York, 1885. Octavo, original gilt- and<br />

black-stamped green pictorial cloth, custom clamshell box. $18,500.<br />

First edition, first issue, of “the most praised and most condemned 19th-century American work of fiction” (Legacies of Genius, 47),<br />

with 174 illustrations by Edward Kemble. A fresh, beautiful copy in fine condition.<br />

Written over an eight-year period, Twain’s Adventures of Huckleberry Finn endured critical attacks from the moment of publication,<br />

standing accused of “blood-curdling humor,” immorality, coarseness and profanity. The book nevertheless emerged as one of the<br />

defining novels of American literature, prompting Hemingway to declare: “All modern literature comes from one book by Mark<br />

Twain. It’s the best book we’ve had. All American writing comes from that.” This copy has all of the commonly identified first issue<br />

points (the printer assembled copies haphazardly; bibliographers do not yet agree as to the priority of many points). First issue points:<br />

page [9] with “Decided” remaining uncorrected (to “Decides”); page [13], illustration captioned “Him and another Man” listed as on<br />

page 88; page 57, 11th line from bottom reads “with the was.” Debate continues over the priority of other points of issue and state. This<br />

copy contains the following points of bibliographical interest: frontispiece portrait, bearing the Heliotype Printing Co. imprint, has a<br />

cloth table cover under the bust; copyright page dated 1884; page 143 with “l” missing from “Col” and broken “b” in “body” on line<br />

seven; page 155 with the final “5” in a slightly larger font; page 161, no signature mark “11”; pages 283-84 is a cancel (Kemble’s<br />

illustration with straight pant-fly) as described by Johnson (page 48) and MacDonnell (pages 32-33). BAL 3415. Johnson, 43-50.<br />

MacDonnell, 29-35. McBride, 93. Grolier American 87. A fine copy, text remarkably clean, cover gilt quite bright, with only minute<br />

rubbing to extremities of original cloth, minor expert reinforcement to rear inner paper hinge.<br />

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wilkie collins<br />

Author Of The First Detective Novels: Extraordinary Collection Of First Editions Of<br />

Wilkie Collins’ Works, 84 Beautifully And Uniformly Bound Volumes,<br />

Including First Editions Of The Woman In White And The Moonstone<br />

89. COLLINS, Wilkie. Collection of uniformly bound first editions. London, 1848-90. Eighty-four volumes. Octavo, late 19thcentury<br />

full blue calf gilt. $38,500.<br />

First editions in book form of 37 of Collins’ works, many with lovely engraved frontispieces, including important first editions of<br />

The Woman in White and The Moonstone, beautifully and uniformly bound by Riviere and Son. Including his first published book,<br />

all 23 novels published during his lifetime, his short story collections, essays, plays, etc. Including virtually every Collins first<br />

edition save one minor work of short stories.<br />

“Collins is considered by some to have been the first English author of bona fide detective and mystery novels” (Benet, 201) and set<br />

the template for that genre, which has lasted for at least a century. This set includes Collins’ first published book (a biography of his<br />

father published just after his death), all 23 of the novels Collins published during his lifetime (as well as a posthumously published<br />

one), his short story collections, essays, and five plays, including the rare dramatization of The Moonstone, privately published for<br />

Collins by his good friend Charles Dickens. Collins had “one of the longest and most distinctive literary careers of the nineteenth<br />

century… In the course of nearly half a century’s writing [he] tried many new ways of reaching and expanding his audience.<br />

Dickensian Christmas books, short stories, three-decker novels, magazine and newspaper serializations flowed from his pen with<br />

a productivity unchecked” (Bowen 4-5). Sadleir, 142. CBEL III:480-482. Calf-gilt lovely, with several spine labels professionally<br />

restored or replaced. An extraordinary collection of Collins’ first editions, in about-fine condition.


joseph conrad<br />

Splendidly Bound “Sun-Dial” Edition Of Conrad’s Works,<br />

Signed By Him<br />

90. CONRAD, Joseph. The Works. Garden City, 1920-26. Twenty-two volumes.<br />

Octavo, contemporary full red morocco gilt. $16,500.<br />

Signed limited “Sun-Dial Edition” of Conrad’s works, one of 735 sets, signed in the<br />

first volume by Conrad, splendidly bound in elaborately full morocco-gilt with<br />

morocco doublures and silk endpapers. An exceptional uncut copy.<br />

“Conrad’s work at its best achieved a synthesis of theme, treatment and language of<br />

a kind without precedent in English literature… To a degree beyond the ordinary, he<br />

owed his fame to the good fortune of a remarkable life-story which enabled him to<br />

use as material for fiction many strange and picturesque experiences” (DNB). With<br />

photographic frontispiece portrait of Conrad in Almayer’s Folly. Fine condition.


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The Novels Of Jane Austen,<br />

The Noted Winchester Edition,<br />

Beautifully Bound By Zaehnsdorf<br />

91. AUSTEN, Jane. The Novels. Edinburgh,<br />

1911-12. Twelve volumes. Octavo, contemporary<br />

three-quarter dark tan calf gilt. $7500.<br />

“Winchester edition” of Jane Austen’s works, in<br />

beautiful contemporary bindings by Zaehnsdorf.<br />

“The fact that she wrote comparatively little and<br />

that that little is almost always of the highest<br />

quality has resulted in the unique distinction<br />

which her reputation now enjoys, that she is the<br />

only author of her period whose works can be<br />

read, and are read, today with delight in their<br />

entirety” (Baugh et al., 1206). Includes Pride and Prejudice, Sense and Sensibility, Emma, Northanger Abbey,<br />

Mansfield Park, Persuasion, Lady Susan (her epistolary novel), The Watsons (unfinished at her death) and her letters<br />

(edited by her nephew). With frontispiece portrait in Volume I. Austen’s novels were first published 1811-18. The Winchester<br />

edition of Austen’s novels was first published in 1898; this Edinburgh publication of the edition was the first to include Austen’s<br />

letters. Gilson E91. A lovely set in fine condition.<br />

“The <strong>Rare</strong> Imaginative Power Of William Blake”:<br />

Blake’s Illustrations For Blair’s Grave,<br />

One Of Only 589 Copies Of The First Edition,<br />

For Subscribers Only<br />

92. (BLAKE, William) BLAIR, Robert. The Grave. London,<br />

1808. Folio, original gray-brown boards sympathetically<br />

respined, custom clamshell box. $7500.<br />

First edition to be illustrated by William Blake of Blair’s singular<br />

poetic achievement, with 12 wonderful plates by Blake<br />

and engraved frontispiece portrait of Blake. One of only 589<br />

copies published by subscription.<br />

In October 1805, Blake was commissioned to prepare 40<br />

drawings for Robert Blair’s Grave, from which the publisher<br />

planned to select 20 for this deluxe edition of the poem. While<br />

The Grave had originally appeared in 1743, this 1808 edition<br />

was to become famous for its illustrations, demonstrating “the rare imaginative power of William Blake” (Magnusson, 162). This 1808<br />

first edition was printed in 589 copies on Whatman paper for subscribers only. It contains the famous Phillips portrait of Blake, Blake’s<br />

dedicatory poem “To the Queen,” a prefatory comment on the designs by Henry Fuseli, and a concluding section “Of the Designs.”<br />

Also present is the four-page prospectus for Stothard’s Canterbury Pilgrims at the rear, often lacking. Keynes 81. Bentley, Blake <strong>Books</strong><br />

435B. Ray 6. Lowndes, 215. Moderate soiling to fore-edge margins, small closed tear and crease to page [vii], marginal minor<br />

dampstaining to a few plates (not affecting image). A wonderful about-fine large, uncut copy in about-fine condition.


“That Dialogue Of Mind, Heart And Voice”:<br />

Handsome First Issue Of Boswell’s Life Of Johnson<br />

93. BOSWELL, James. The Life of Samuel Johnson,<br />

LL.D. London, 1791. Two volumes. Tall quarto, contemporary<br />

full brown tree calf rebacked. $11,000.<br />

First edition of the greatest of literary biographies, handsomely<br />

bound in contemporary tree calf.<br />

“The fascination of their dialogue, that dialogue of mind,<br />

heart and voice round which Boswell organized his great Life,<br />

is that it is not merely between two very different men but<br />

between two epochs. In its pages, Romantic Europe speaks to<br />

Renaissance Europe, and is answered” (Wain, 229). Volume I<br />

is second state, with “gve” corrected to “give” on page 135,<br />

line 10 (a change made before publication); cancel present at<br />

Volume II, Qq3. Vol. II without blank A1, as often. With the<br />

engraved portrait of Johnson by James Heath after Sir Joshua<br />

Reynolds in Volume I and two engraved plates in Volume II.<br />

Rothschild 463. Grolier 100. Early armorial bookplates.<br />

Interiors generally quite fresh with only light scattered foxing.<br />

contemporary tree calf boards with expert restoration.<br />

“We Are Spell-Bound, We Cannot Choose But Read”:<br />

First American Edition Of Wuthering Heights,<br />

Published Only Five Months After The Virtually<br />

Unobtainable London First Edition<br />

94. BRONTE, Emily. Wuthering Heights. New York, 1848. 12mo (5 by 7-1/2<br />

inches), modern full red morocco gilt, custom slipcase. $12,000.<br />

First American edition (published less than five months after the virtually<br />

unobtainable London first edition) of Emily Brontë’s passionate masterpiece,<br />

beautifully bound by Felton.<br />

“Like Poems, Wuthering Heights was presented to an uncomprehending<br />

public without preface, introduction or explanation and it was left to<br />

Charlotte, ever her sister’s apologist, to insist that it was simply a tale of ‘the<br />

wild moors of the north of England’” (Barker, 502, 539-40). One year after<br />

the book’s publication, Emily Bronte was dead of consumption. “Wuthering<br />

Heights stands alone as a monument of intensity owing nothing to tradition,<br />

nothing to the achievement of earlier writers. It was a thing apart, passionate,<br />

unforgettable, haunting in its grimness… Bronte has a sure and certain<br />

place for all time” (Britannica). First published December 4, 1847; this<br />

edition published April 21, 1848. Smith, 74-75. Scattered foxing throughout.<br />

A beautifully bound copy of this scarce classic.<br />

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72<br />

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“Realizes Cervantes’ Manner More Nearly Than Any Successor”:<br />

1675 Third Edition Of Shelton’s Translation Of Don Quixote,<br />

Handsomely Bound<br />

95. CERVANTES SAAVEDRA, Miguel de. The History of The Valorous<br />

and Witty Knight Errant, Don Quixote, Of the Mancha. London, 1675.<br />

BOUND WITH (as issued): The Second Part of the History of the Valorous<br />

and Witty Knight-Errant. London, 1672. Quarto, modern full polished<br />

brown calf. $11,000.<br />

Scarce third edition of Thomas Shelton’s complete English translation of the<br />

first modern novel—“one of those universal works which are read by all ages at<br />

all times” (PMM 111).<br />

The first edition appeared in two parts in 1605 and 1614. Don Quixote first saw<br />

English translation in 1612 (the first part) and 1620 (the second part) by<br />

Thomas Shelton—indeed, “not only the first English translation, but the first<br />

translation in any language” (Library of Robert Hoe 670). This third edition<br />

largely reproduces the second edition of 1652, with changes confined largely to<br />

the second part (Río y Rico 441). Decorated with woodcut initials, ornamental<br />

head- and tailpieces. Leaves 2K2 and 2K3 reversed (but complete). Wing<br />

C1777 (part one). Escuerdo 1155. Mas I 107, 104. Iconografia de las Ediciones del Quijote (English) 400. Armorial bookplate. Scattered<br />

light foxing and faint dampstaining. Occasional minor closed tears and loss to lower corners, not affecting text. Title page with<br />

minor marginal restoration at the gutter. An excellent copy, handsomely bound. Scarce.<br />

“Foremost Among Writers In The English Language”:<br />

Important First Speght Edition Of Chaucer, 1598<br />

96. CHAUCER. The Workes of our Antient and Learned English<br />

Poet, Geffrey Chaucer, newly Printed. London, 1598. Folio, contemporary<br />

blind-stamped contemporary brown calf sympathetically rebacked<br />

and recornered with original spine laid down, custom clamshell<br />

box. $19,000.<br />

First edition of Chaucer to be edited by Thomas Speght, the<br />

sixth overall and last of the 16th century, and the most recent<br />

Chaucer edition available when Shakespeare was adapting<br />

Chaucer’s Troilus to his own Troilus and Cressida (1601-2).<br />

Featuring the first inclusion of two works, “Chaucer’s<br />

Dream” and “The Flower and the Leaf,” now considered<br />

apocryphal, along with the engraved title page and the oftenmissing<br />

“first engraved portrait of Chaucer” (Grolier,<br />

Langland to Wither 43). An exceptional, complete copy in<br />

contemporary calf.<br />

With double-column gothic type text, scarce copper-engraved<br />

frontispiece portrait of Chaucer after Hoccleve.<br />

The tales preceded by the full-page woodcut of Chaucer’s<br />

arms, and woodcut-engraving of “The Knight.” Second<br />

issue of this edition, according to STC. First four leaves of<br />

Romant of the Rose (116-119) bound in inverted sequence.<br />

Half of initial blank excised. STC 5079. Rosenbach 45:166. Early owner signature and inscription of George Mason of Oxford.<br />

Owner signatures to general title page, terminal blank leaf, rear free endpaper. Interior fresh with a bit of faint occasional<br />

marginal dampstaining, title page, dedication leaf and a few text leaves with small marginal tears. An exceptional copy in<br />

nearly fine condition in contemporary calf.


With 24 Large Folio Wood-Engravings By Gustave Doré:<br />

Poe’s Classic “The Raven,” In Original Cloth—<br />

An Exceptional Copy<br />

97. (DORÉ, Gustave) POE, Edgar Allan. The Raven. New York, 1884.<br />

Slim folio (14-1/2 by 18-1/2 inches), original gilt-stamped pictorial gray<br />

cloth, printed cardboard box. $5500.<br />

Splendid first edition of Doré’s final illustrated book, his only commissioned<br />

by an American publisher and illustrating an American work, with 24<br />

full-page folio wood-engravings and two vignettes by Doré. An exceptional<br />

copy in original pictorial cloth and publisher’s box.<br />

“One can hardly deny that Doré is not merely one of the most popular but<br />

also one of the greatest of all illustrators” (Ray, 327-29). This edition was<br />

published simultaneously in England and America in December of 1883.<br />

The British edition lists the date as 1883 on its title page and the present<br />

Harper & Brothers American edition lists 1884, but the American edition<br />

is preferred. The New York edition also features an elaborate cover<br />

illustration by Dora Wheeler and a title page illustration by Elihu Vedder<br />

depicting Poe and Doré, neither of which is included in the London<br />

edition. Malan, 297. Interior and plates fresh and crisp with only lightest scattered marginal foxing; cloth clean, gilt exceptionally<br />

bright; box with expert restoration. An about-fine copy of a work often found in poor condition, with rarely found publisher’s box.<br />

Elegant Extracts, Handsomely Bound By Edwards Of Halifax<br />

With 18 Lovely Fore-Edge Paintings,<br />

The Estelle Doheny-Dorothy Jayne Pedrini Shea Set<br />

98. (FORE-EDGE PAINTING) (EDWARDS OF HALIFAX) [KNOX, Vicesimus].<br />

Elegant Extracts: from the Most Eminent Prose Writers; Elegant Epistles: from<br />

the Most Eminent Epistolary Writers; Elegant Extracts: from the Most Eminent<br />

British Poets. London, circa 1810. Eighteen volumes. 16mo, contemporary full<br />

straight-grained beige morocco gilt, custom morocco-covered wooden cabinet<br />

(measuring 7 by 18 inches). $17,000.<br />

Early 19th century editions, elegantly bound by Edwards of Halifax, with 18 charming<br />

fore-edge paintings. From the important fore-edge painting collection of celebrated<br />

bibliophile Estelle Doheny, with her morocco-gilt bookplates; also with the bookplates of<br />

collector Dorothy Jayne Pedrini Shea. Housed in a handsome morocco-covered wooden<br />

cabinet with glass door.<br />

Weber attributes the 18 fore-edge paintings (and therefore the bindings) to Thomas<br />

Edwards of Halifax, who “perfected the technique of fore-edge painting” (Weber, John T.<br />

Beer, xiv). Gift inscriptions. Bookplate of noted book collector Estelle Doheny. Starting in<br />

1926, Doheny “was drawn to examples of the delicate art of fore-edge painting… This<br />

collection grew to be one of the most important in the world.” Doheny eventually expanded<br />

her collecting foci: “With innate good taste, Doheny formed one of the most impressive<br />

rare book and manuscript libraries in the United States” (Dickinson, 95). Also with<br />

bookplates of California collector and philanthropist Dorothy Jayne Pedrini Shea. Light<br />

foxing to additional engraved title pages. Occasional light rubbing to joints, a few inner<br />

hinges split or cracked; a few covers lightly soiled, gilt generally bright. A fine set, elegantly<br />

bound and handsomely presented, with exceptionally distinguished provenance.<br />

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henry fielding<br />

“One Of The First And Most Influential Of English Novels”:<br />

1749 First Issue Of Fielding’s Masterpiece, From The First Printing Of Only 2000 Copies,<br />

Exceptional In Full Contemporary Calf<br />

99. FIELDING, Henry. The History of Tom Jones, A Foundling. London, 1749. Six volumes. 12mo, contemporary full<br />

brown calf gilt rebacked with original spines laid down, custom slipcase. $22,000.<br />

First edition, first issue, of this classic English novel, one of a first printing of only 2000 copies, in exceptional contemporary<br />

calf gilt binding.<br />

“The book is generally regarded as Fielding’s greatest, and as one of the first and most influential of English novels” (Drabble,<br />

988). Prepublication demand for Tom Jones was so great that the first printing of 2000 copies was immediately snapped up<br />

by London booksellers; a second printing was completed before the official date of publication (February 28). This is a first<br />

issue set, with the errata leaf in Volume I (c8 r ) and the errata uncorrected in the text. The second printing was issued with<br />

the errors corrected in the text, and therefore required no errata leaf. Other first-issue points include cancels to N12 of<br />

Volume II; H8, H9, H10, M3, and Q11 of Volume III, and N8 of Volume V; B5 in Volume VI is unsigned. Without rear free<br />

endpapers to Volume II and IV. Rothschild 850-51. Grolier 100 English, 97. Bookplates. Interiors generally quite clean, with<br />

only a bit of occasional light foxing. Only very light expected age wear to contemporary calf bindings. A wonderful copy of<br />

a literary landmark, most scarce in full contemporary calf.


The Scarce 1692 First Complete Collected Edition Of Ben Jonson’s Works<br />

100. JONSON, Ben. The Works of Ben Jonon, Which were formerly<br />

Printed in Two Volumes, are now Reprinted in One. To which is<br />

added a Comedy called the New Inn. London, 1692. Folio, periodstyle<br />

full speckled calf gilt. $9000.<br />

First edition of the scarce “first complete collected edition” of Jonson’s<br />

Works, with engraved frontispiece portrait and the first collected<br />

printing of The New Inn, handsomely bound.<br />

Ben Jonson was “dramatist, friend and contemporary of Shakespeare,<br />

and perhaps the only one worthy to rank with him” (Hartnoll, 446).<br />

This is the “first complete collected edition… and the last of the folio<br />

editions” of Jonson’s Works (Pforzheimer 561), assembling in one<br />

volume the 1640-41 edition and featuring the first collected printing<br />

of The New Inn. Complete with The Devil is an Ass (from 1631 not<br />

1641); The New Inn, printed from the separate edition of 1631. As<br />

always with this edition, sheets Ccc and Zz2-3 are browned, attributed<br />

to the use of a different paper. Mispagination of 369-70 as issued.<br />

With engraved frontispiece portrait. Text in double columns. Greg<br />

III:1692. Lowndes, 1230. Pforzheimer 561. Wing J1006. “Catalogue”<br />

(Pt. I) with light marginalia. Occasional inked annotations. Interior<br />

quite fresh with light scattered foxing, single closed tear to page 613<br />

minimally affecting text. A scarce folio volume in near-fine condition.<br />

“The Beginning Of The ‘Foreign’ Spy’<br />

Convention In English Literature”:<br />

1694 Edition Of Letters Writ By A Turkish Spy<br />

101. MARANA, Giovanni Paolo. Letters Writ by a Turkish Spy,<br />

Who lived Five and Forty Years, Undiscover’d, at Paris. London,<br />

1694. Four volumes. 12mo, contemporary full paneled brown calf<br />

gilt sympathetically rebacked. $16,000.<br />

First edition of the collected volumes in this premiere narrative of a<br />

spy for the Ottoman emperor that originated “the ‘foreign spy’<br />

convention in English literature”—prompting similar tales by<br />

Montesquieu, Goldsmith and Defoe, this extremely scarce 1694<br />

edition handsomely bound in contemporary paneled calf. An exceptional<br />

copy.<br />

This exceptionally scarce four-volume edition brings together the<br />

complete eight books of Letters Writ by a Turkish Spy, “best known<br />

as the work which inspired Montesquieu’s Lettres persanes [1721]” and Goldsmith’s Chinese Letters (1760-61). Widely considered<br />

“the beginning of the ‘foreign spy’ convention in English literature,” the popularity of Letters Writ led to its being frequently<br />

“imitated, augmented and continued by both French and English authors” (McBurney, 915). All eight volumes of the Letters<br />

published in English from 1691-94 assembled in this first collected edition. Wing M565EA, M565EB. Armorial bookplates. Light<br />

marginalia. Text generally quite fresh, Volume II with minor expert repair to one leave (Q5). Contemporary calf boards handsome.<br />

An exceptional copy.<br />

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76<br />

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“Chaucer, Shakespeare And Donne All<br />

Owe A Debt To Petrarch”: Fine Incunable<br />

Edition Of Petrarch’s I Trionfi, 1478<br />

102. PETRARCH, Francesco. [I Trionfi con<br />

commentio di Bernardo Glicini da Siena]. Venice,<br />

February 6, 1478. Small, thick folio, later full vellum<br />

rebacked, custom clamshell box. Collation: a10, b8, c6,<br />

e8, f10, g8, h-i6, k-J8, l6, m8, n6, o8, p-s6, t10, aa8, bbff6,<br />

gg10. $12,000.<br />

Early edition of the Trionfi, a touchstone for the<br />

literature and art of Renaissance Europe, containing<br />

Bernardo Lapini’s influential commentary, with<br />

extensive references to Filelfo’s commentary of 1446.<br />

Petrarch was crowned poet laureate of Rome in 1341<br />

and is generally considered the poet who ushered in<br />

the Renaissance. Trionfi is an allegorical cycle<br />

composed in terza rima, the metrical form devised by Dante for his comedy. This early incunable edition of Trionfi contains the most<br />

influential of the commentaries, that of Bernardo Lapini da Siena, with references to Filelfo’s commentary of 1446. First circulated in<br />

manuscript form and finally published in 1470. In this 1478 edition, “the printers established a form followed in all later editions of<br />

separating the portions of [Petrarch’s] text in rectangular spaces, the commentary filling the rest of the page” (Fiske Petrarch<br />

Collection). Rubricated throughout with initial letters and section marks. Without first blank leaf a1; gathering k bound before<br />

gathering J. Texts in Italian. Proctor 4429. Goff P381. Thacher 297. Running titles supplied by a later hand; a few annotations.<br />

Occasional scattered light foxing to interior, with small worm-holes to first leaf and occasional worm-holing to inner margin, plus<br />

occasional light dampstaining. Paper repairs to inner margins of first two gatherings and to leaves k3 and k7. A lovely incunable, in<br />

excellent condition.<br />

“The First Vampire Story In English Literature”:<br />

Polidori’s Vampyre, 1819<br />

103. POLIDORI, John William. The Vampyre; A Tale. London, 1819. Octavo,<br />

later drab boards, custom cloth chemise and half morocco slipcase. $5200.<br />

First edition of “the first vampire story in English literature”—first issue to<br />

remove Lord Byron’s name from the title page, practically the earliest obtainable<br />

issue and the first issue widely available to the public (all earlier issues having<br />

been successfully suppressed to remove the fraudulent attribution of authorship<br />

to Byron).<br />

The Vampyre reached print in the April 1, 1819 issue of the New Monthly Magazine<br />

as “The Vampyre: A Tale by Lord Byron.” This conscious fraud was perpetuated<br />

in the first book edition, published by Colburn. This issue, the second Sherwood,<br />

Neely & Jones issue (with 1818 watermarks) was the first to drop Byron’s name<br />

from the title page and is the issue that was widely released for purchase and<br />

review, all previous issues having been successfully suppressed and corrected. The<br />

rest of the book continued to consist of sheets from the first Colburn issue (Viets,<br />

101-02). The introductory “Extract of a Letter from Geneva” was also reset at<br />

some point in the process to remove (1) the mention on page xiv of “two sisters as<br />

partakers of his revels” (referring to Mary Godwin Shelley and “Clair” Clairmont), and (2) the footnote on page xvi, concerning the<br />

publication of Godwin’s Frankenstein. This copy contains both mentions, indicating early issue. This copy also retains the earlier<br />

misprint of “lmost” on the last line of page 36, found corrected in some copies. Bound with half title, often not present. Pencil owner<br />

signature. Polidori’s name inked faintly on title page. Text quite clean; marginal closed tear to E7 (in the “Account of Lord Byron’s<br />

Residence,” not the text of The Vampyre). A near-fine copy of the earliest obtainable issue, desirable with the half title and the preface<br />

in its uncorrected state.


william shakespeare<br />

“The Finest Set Of Shakespeare Illustrations Ever Made”: Stunning Elephant Folio Collection Of Prints<br />

For Boydell’s 1803 Shakespeare, With 100 Magnificent Artist Plates<br />

104. (SHAKESPEARE) BOYDELL, John. A Collection of Prints From Pictures for the Purpose of Illustrating the<br />

Dramatic Works of Shakespeare. London, 1803. Two volumes. Elephant folio (22 by 28 inches), contemporary full straightgrain<br />

red morocco gilt. $32,000.<br />

Magnificent 1803 elephant folio issue3 of the prints for the sumptuous Boydell<br />

Shakespeare, with engraved frontispieces and engraved title vignettes for each<br />

volume and 96 splendid full-page copperplate engravings (totaling 100 engravings)<br />

after works by the period’s most eminent English artists—including<br />

Reynolds, Romney, Smirke, Stothard, Fuseli and Westall.<br />

“There can be no doubt that Boydell’s Shakespeare… was the most splendid of<br />

bibliophile editions undertaken in the 18th-century or at any other time”<br />

(Franklin, 47-48). Originally issued with George Steevens’ revised text and in<br />

18 parts forming nine volumes, the first part of Boydell’s Shakespeare was<br />

published in 1791. Upon its completion, the whole was again issued in 1802. In<br />

the same year, the 100 magnificent plates, “the production of which swallowed<br />

up a fortune,” were issued separately for the first time. These were again issued<br />

in 1803 and 1804 under the title A Collection of Prints from Pictures Painted<br />

for the Purpose of Illustrating the Dramatic Works of Shakespeare. Sets were<br />

apparently issued with different numbers of plates, up to 100; this copy’s Plate<br />

49 in Volume II is from Act III, Scene VI of Cymbeline rather than Act III,<br />

Scene IV, as in the plate list (Jaggard, 508). With both titles dated 1803 and<br />

dedication dated 1805. Plate XLVIII of Volume II mounted. Jaggard, 508.<br />

Plates fine, beautiful contemporary binding in excellent condition. A<br />

wonderful production.<br />

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Mary Shelley’s Important 1839 Edition Of Shelley’s<br />

Poetical Works, In Handsome Morocco-Gilt Binding<br />

105. SHELLEY, Percy Bysshe. The Poetical Works. Edited by<br />

Mrs. Shelley. London, 1839. Four volumes. 12mo, late 19th-century<br />

full tan morocco gilt. $2500.<br />

First edition of Mary Shelley’s important edition of her husband’s<br />

poetical works, handsomely bound.<br />

After Percy Shelley’s death in 1822, Mary Shelley devoted herself to<br />

writing his biography and publishing his manuscripts. She first attempted<br />

to publish Shelley’s poems in 1824, but his father, Sir Timothy<br />

Shelley, prevented further publication of Shelley’s writings for 15 years.<br />

“In 1839, the obstacles to an authentic edition having been removed…<br />

Mrs. Shelley published what was then supposed to be a definitive edition<br />

in four volumes, enriched with biographical notes and some very<br />

beautiful lyrics which had remained in manuscript” (DNB). With engraved<br />

frontispiece portrait of Shelley by Finden in Volume I. Lowndes,<br />

2374. Owner signatures and armorial bookplates of the Honourable<br />

Henry Lloyd Gibbs, son of the 1st Baron Aldenham. Only minor spotting<br />

to morocco. A lovely set, handsomely bound.<br />

Scarce 17th-Century Editions In English Of<br />

The Three Parts Of Reynard The Fox,<br />

Illustrated With 76 Woodcuts<br />

106. [SHIRLEY, John]. The Most Delectable History<br />

of Reynard the Fox. Newly Corrected and Purged,<br />

from all grossness in Phrase and Manner. Augmented<br />

and Enlarged. ISSUED WITH: The Most Pleasant and<br />

Delightful History… The Second Part. ISSUED<br />

WITH: The Shifts of Reynardine. London, 1694, 1681,<br />

1684. Three volumes in one. Small quarto, 18th-century<br />

full brown sheep expertly rebacked with original spine<br />

laid down, custom clamshell box. $7500.<br />

Mixed first and sixth editions of these three 17th-century<br />

continuations of this immensely popular European<br />

beast fable, issued together under a general title page,<br />

handsomely printed in Gothic type and generously illustrated<br />

with 76 delightful woodcuts.<br />

A medieval Latin poem as well as a 1479 Dutch served<br />

important early printer William Caxton as sources for<br />

the first English translation of Reynard’s adventures,<br />

published in 1481. Scholars generally credit John Shirley<br />

with the present version. First published in 1650. Printed<br />

in Gothic type, with explanations of the stories’ morals and meanings in marginal glosses. The second and third titles in this issue<br />

are the first editions of 1681 and 1684, respectively. With 76 woodcut illustrations including a few repeated blocks, signed with<br />

initials “E.B.” Woodcut on C1r printed upside down. Wing S3513; S3512; S3436. Lowndes 2076. Early owner signature on title<br />

page. Armorial bookplate. Interiors generally clean, with sparse scattered foxing. Light expert restoration to extremities of early<br />

sheep. A near-fine copy of one of the earliest obtainable English versions of this popular legend, wonderfully illustrated.


“The Book That Made This Big War”:<br />

First Issue Of Uncle Tom’s Cabin, 1852<br />

107. STOWE, Harriet Beecher. Uncle Tom’s Cabin; or Life Among<br />

the Lowly. Boston and Cleveland, 1852. Two volumes. Octavo, modern<br />

full tan calf gilt; original printed paper wrappers<br />

and spine bound in. $7500.<br />

First edition, first issue, of Stowe’s classic and<br />

vastly influential novel, with title vignettes and six<br />

wood-engravings, handsomely bound by Bennett.<br />

“Within a decade after its publication Uncle Tom’s<br />

Cabin had become the most popular novel ever<br />

written by an American… there is substantial<br />

evidence that the book precipitated the American<br />

Civil War” (Downs, 108). “Begun as a serial in the<br />

National Era… Uncle Tom’s Cabin ran from June 5,<br />

1851 to April 1, 1852, gaining an ever-increasing<br />

audience as the story progressed. On March 20 of<br />

1852, [this, the first issue in book form] was officially<br />

published. By the time the book came out an eager<br />

public was waiting to buy it, and over 10,000 copies of the two-volume work were sold in the first week” (Patkus & Schlosser). Original<br />

spine bound in rear of Volume I; spine and first edition wrappers bound into rear of Volume II (BAL Variant A; no priority established).<br />

BAL 19343. Grolier English 100, 91. Grolier American 100, 61. An exceptional copy in about-fine condition, handsomely bound.<br />

Very Scarce 1704 First Edition Of Swift’s Tale Of A Tub<br />

108. [SWIFT, Jonathan]. A Tale of a Tub. Written for the Universal<br />

Improvement of Mankind… To which is Added, An Account of a Battle<br />

between the <strong>Books</strong> in St. James’s Library. London, 1704. Octavo, contemporary<br />

full brown speckled calf gilt. $5000.<br />

First edition of Swift’s first major work—“an antic reductio ad absurdum of<br />

learned discourse” (Angeline Goreau) and the brilliant beginning of his satirical<br />

career.<br />

The three related works gathered in this volume—the Tale itself, The Battle<br />

of the <strong>Books</strong> and A Discourse Concerning the Mechanical Operations of the<br />

Spirit—have their origin “in the so-called quarrel between the ancients and<br />

the moderns. [Swift pours out] his already copious supply of contempt upon<br />

the whole silly controversy” (Baugh et al., 859). First edition, with blank<br />

page (recto) and page of advertisements (verso) facing the title page; this<br />

copy with blank space before “Persons’” on page 320, line 10, as usual.<br />

(Teerink does not indicate priority; Rothschild calls this second state).<br />

Without final blank leaf. Teerink 217. Rothschild 1992. Lowndes, 2558.<br />

Bookplates of collector and editor of the Pall Mall Gazette Henry Yates<br />

Thompson and Christopher Chancellor, one time general manager of<br />

Reuters and editor of Thompson’s Diaries (1971), with a presentation inscription from Thompson<br />

to Chancellor. Text fine, with small tear to leaf I2, joints spine ends and corners expertly restored.<br />

A very desirable copy with distinguished provenance. Scarce.<br />

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First Edition Of Thackeray’s Masterpiece, Vanity Fair,<br />

In A Splendid Cosway Binding<br />

109. THACKERAY, William Makepeace. Vanity Fair. London,<br />

1848. Thick octavo, early 20th-century full red morocco gilt, blue<br />

morocco onlays, ivory miniature portrait under glass on front<br />

doublure, custom clamshell box. $7500.<br />

First edition, first issue, of Thackeray’s finest novel, beautifully<br />

bound in a Cosway-style binding by Sangorski & Sutcliffe with<br />

a miniature portrait of Thackeray on ivory under glass on the<br />

front pastedown.<br />

Cosway bindings (named for renowned 19th-century English<br />

miniaturist Richard Cosway) were first commissioned in the<br />

early 1900s by London booksellers Sotheran & Company, from<br />

the famous Rivière bindery, who employed Miss C.B. Currie to<br />

faithfully imitate Cosway’s detailed watercolor style of portraiture.<br />

Cosway bindings executed by other than the original<br />

collaborators are designated as “Cosway-style” bindings—still<br />

splendid productions—by such esteemed binderies as<br />

Sangorski & Sutcliffe, Morrell, Bayntun, and Bumpus. “After<br />

that book [Vanity Fair] there could be no doubt about the greatness of its writer” (Saintsbury, 102). With 40 full-page plates and<br />

150 in-text woodcuts. First issue, with the woodcut of the “Marquis of Steyne” on page 336 (suppressed in later issues), “Mr. Pitt”<br />

for “Sir Pitt” on page 453, and the heading on page 1 in rustic type. Bound without advertisements. Van Duzer 231. Bookplates<br />

of Albert Henry Wiggin and Lynde Selden, Chairmen of Chase National Bank and American Express respectively. A magnificent<br />

production in fine condition.<br />

“The Seminal Work Of Science Fiction”<br />

(Edwards)<br />

110. VERNE, Jules. Twenty Thousand Leagues<br />

Under the Seas. London, 1873. Octavo, contemporary<br />

three-quarter dark blue polished calf, custom<br />

clamshell box. $13,500.<br />

<strong>Rare</strong> first edition in English of Verne’s masterpiece of<br />

the imagination, with 112 wood-engraved plates<br />

including the fantastic frontispiece.<br />

Easily the most popular and arguably the most remarkable<br />

of his famous extraordinary voyages, Vingt<br />

Mille Lieues sous les Mers (first published in serial<br />

form, 1869-71) “is perhaps Jules Verne’s most deeply<br />

felt novel; carefully and slowly composed, it introduces<br />

Captain Nemo and his elaborate submarine,<br />

the Nautilus, in a tale whose easy, exaggerated somberness<br />

agreeably conflates the domesticated<br />

Byronism of the time and expressive marvels of science”<br />

(Clute & Nicholls, 1277). The 112 evocative<br />

woodcuts were made after drawings by renowned French illustrators Alphonse-Marie de Neuville and Edouard Riou. First published<br />

in French in 1870, this first edition in English was actually printed in late 1872, although the title page is dated 1873 (as<br />

called for). Taves & Michaluk V006. Edwards, 33-34. Text about-fine with marginal toning to preliminary leaves, minor rubbing<br />

to hinges of contemporary binding, light soiling to cloth. An extremely good copy of a most uncommon and desirable book.


mark twain<br />

“The Artist Has Happily Caught The Most Characteristic, Most Essential Thing In The<br />

Personality Of His Subject…”: Lovely Large Etched Portrait Of Mark Twain, Boldly Signed By Him<br />

111. TWAIN, Mark. Etched portrait, signed “Mark Twain” with flourish. New York, 1906. Broadside (sheet measures 20 by 26<br />

inches; platemark (image) measures 15-3/4 by 21-1/2 inches), original etching on wove paper, unframed. $8500.<br />

Exceptional, large etched portrait of Mark Twain, boldly signed by Twain and signed in pencil by the artist Otto Schneider as well,<br />

number seven of only 100 such etchings produced, and one of only 20 or so signed by Twain. An extraordinary signed piece, suitable<br />

for framing.<br />

Joseph G. Gessford was a prominent New York City photographer with a studio on Fifth<br />

Avenue. After photographing Mark Twain, the author’s secretary relayed Twain’s<br />

surprise that Gessford did not send prints of his work. Gessford explained, “I could no<br />

more afford to give you these pictures than you can afford to write books for free.”<br />

Lightly printed at the upper left edge: “From Copyrighted Photograph by J.G. Gessford<br />

N.Y. and drawings from life.” A label explaining the signed limitation has been affixed<br />

on the verso of the library’s etching. A few minor wrinkles, very faint mat burn from<br />

prior matting. Fine condition.<br />

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<strong>Section</strong> 4: History, PHiLosoPHy and economics<br />

winston churchill<br />

The First Collected Edition: Superb Centenary Limited Edition Of Churchill’s Works,<br />

38 Volumes In Publisher’s Full Vellum Gilt<br />

112. CHURCHILL, Winston. The Collected Works. Thirty-four volumes. WITH: The Collected Essays. Four<br />

volumes. London, 1973-76. Thirty-eight volumes in all. Large octavo, original full vellum gilt, slipcases. $15,000.<br />

Centenary limited edition of Churchill’s Complete Works, one of only 3000 sets produced, copiously illustrated with<br />

numerous photographic plates, maps and charts. Beautifully bound in publisher’s gilt-stamped vellum and printed on<br />

500-year archival paper.<br />

This monumental set, the first of only two collected editions ever produced, was issued in recognition of the centenary of<br />

Churchill’s birth. Compiled and published with the approval and cooperation of the Churchill Centenary Committee<br />

and members of his family, this edition reproduces all of Churchill’s 50 books in 38 volumes. “To achieve publication, 11<br />

publishing houses in Great Britain, the United States and Canada released their individual copyrights, in exchange for<br />

the promise that no other complete collection of Churchill’s works would be published until the expiration of international<br />

copyright in 2019” (Langworth, 362). An extremely desirable set, “the Collected Works are so rare that few can access<br />

them” (Langworth, 364). Cohen AA1. Woods, 391. A particularly clean, bright set, with none of the usual discoloration<br />

to vellum. A superb set in fine condition.


world war ii/u.s. nav y<br />

An Extraordinary Offering Of Important World War II Primary Source Documents:<br />

Set Of Original “Top Secret” D-Day Battle Maps Of Omaha Beach,<br />

With Seven Vintage Photographs Of The Invasion<br />

113. (WORLD WAR II) U.S. NAVY. Fine set of original battle maps for the D-Day invasion at Omaha Beach North, Sector<br />

1003 (Colleville), dated May 21, 1944. WITH: Seven vintage photographs of the Omaha Beach invasion. European Theater of<br />

Operations, 1944. Twelve items. Original color lithographic Chart and corresponding Profile Sheet (35 by 25-1/2 inches);<br />

instructions for the use of the maps; cartographic index to all of the Normandy charts (15-1/2 by 12 inches); acetate overlay of<br />

landing craft silhouettes; and seven original photographs (9-1/2 by 7-1/2 inches), custom clamshell box. $10,000.<br />

Extremely rare set of original “Top Secret” battle maps for the landing at Omaha Beach on D-Day, comprised of a topographical<br />

Chart of sector 1003 (Colleville), showing the latest strategic intelligence on German defenses, including mine fields, stakes, hedgehogs<br />

and tetrahedrons, accompanied by the original acetate overlay of U.S. landing craft silhouettes to be placed over the Profile<br />

Sheet of the ocean floor at sector<br />

1003, a cartographic “Index” to all<br />

of the targeted sectors on the<br />

Normandy coast, and seven vintage<br />

photographs of troop preparations<br />

and the actual landing.<br />

“Our long months of preparation<br />

and planning for the greatest amphibious<br />

operation in history ended<br />

on D-Day, June 6, 1944… As dawn<br />

came, the ships, great and small, began<br />

to file into their prearranged positions…<br />

There was no doubt that we<br />

had achieved a tactical surprise… As<br />

soon as the foremost infantry got<br />

ashore they dashed forward towards<br />

their objectives, and in every case<br />

except one made good progress. On<br />

‘Omaha’ beach, the 5th American<br />

Corps ran into severe resistance…<br />

Our Allies had a very stiff fight all<br />

day to make any lodgment at all, and<br />

it was not until the 7th that, after<br />

losing several thousand men, they<br />

were able to force their way inland”<br />

(Churchill). “The task of Assault<br />

Force O was to land assigned elements of the V Corps U.S. Army… and to support the landing and subsequent Army operations by<br />

Naval gunfire” (Admiral J.L. Hall). This fine set of strategic battle maps of Omaha Beach, Colleville Sector (1003), depict its elevation,<br />

physical features and contours of the ocean bottom, and are designated “Top Secret—Bigot,” which indicated the highest security<br />

clearance, to be maintained “until departure for combat operations.” Especially rare is the accompanying acetate overlay of nine landing<br />

craft silhouettes, which would be placed over profiles of the ocean floor, in order to determine where certain craft might bottom<br />

out at given levels of tide. These valuable documents belonged to Belgian architect Hugo van Kuyck, responsible for aerial photographs<br />

of the proposed landing areas that revealed the underwater contours of the beaches—which differed from the prevailing British hydrographic<br />

maps of the English Channel. An accompanying photocopy of a letter by former General Arthur G. Trudeau documents<br />

van Kuyck’s critical observation. Materials in fine condition, with fold lines of maps crisp and unbroken and photographs unblemished.<br />

An extraordinary primary source of enormous historical significance.<br />

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charles mackay<br />

“Men… Go Mad In Herds”: <strong>Rare</strong> And Important First Edition Of Mackay’s Popular Delusions,<br />

A Significant Force In Charting The Stock Market<br />

114. MACKAY, Charles. Memoirs of Extraordinary Popular Delusions. London, 1841. Three volumes. Octavo, periodstyle<br />

full plum morocco gilt. $18,000.<br />

First edition of this highly entertaining and exceptionally influential early study of crowd behavior, a long-standing and<br />

classic guide to both popular psychology and the stock market, handsomely bound.<br />

Charles Mackay, a noted Scottish poet and journalist, attempted in this work to document and explain major “popular<br />

delusions” or seemingly irrational instances of mass action and belief. “Men,” the author contends, “think in herds; it will be<br />

seen that they go mad in herds.” In developing his theories of mass behavior, Mackay analyzes a breadth of historical examples<br />

ranging from witch hunts, alchemists, and famous haunted houses to the South Sea Bubble of 1720 and the Crusades. The<br />

impact of Mackay’s work has been remarkably far-reaching, influencing such diverse fields as popular psychology and the<br />

charting of the stock market-as noted by The New York Times, which urged: “Any investor who has not read Charles Mackay’s<br />

“Tulipomania,” from his classic Extraordinary Popular Delusions, first published in 1841, should grab this book for that<br />

exercise alone.” Each volume with frontispieces; Volume III with two additional plates; Volume I without half title. Norman<br />

1406. Kress C.5560. Only occasional foxing to text, beautifully bound.


francis bacon<br />

The Birth Of The Scientific Method:<br />

<strong>Rare</strong> First Edition Of Francis Bacon’s Novum Organum, 1620<br />

115. BACON, Francis. Novum Organum. London, 1620. Folio, contemporary sprinkled calf skillfully rebacked and<br />

recornered. $38,000.<br />

First edition of Bacon’s Novum Organum (a “new instrument” to replace the old Organon of Aristotle), which had a<br />

revolutionary impact on early modern science by laying the foundation of the inductive method.<br />

Bacon’s “insistence on making science experimental and factual, rather than speculative and philosophical, had powerful<br />

consequences. He saw clearly the limitations of Aristotelian and scholastic methods and the growing breach between the<br />

thinking of his time and that of the Middle Ages is more precisely formulated than in that of, say, Tommaso Campanella or<br />

Giordano Bruno. As a philosopher Bacon’s influence on Locke and through him on subsequent English schools of psychology<br />

and ethics was profound. Leibniz, Huygens and particularly Robert Boyle were deeply indebted to him, as were the<br />

Encyclopédistes, and Voltaire, who called him ‘le père de la philosophie experimentale’” (PMM). Although the engraved<br />

allegorical title—with its evocative engraving of a modern explorer’s ship setting confident sail through the Pillars of Hercules,<br />

the edge of the world as far as the ancients knew it—gives the title as the “Instauratio Magna”, the book constitutes the planned<br />

second part of Part II of the Instauratio (the first part having already appeared as De Augmentis and Book I of The Advancement<br />

of Learning). Bacon planned the greater whole in six parts, recalling the six days of the Creation (the plan of the whole work is<br />

first printed here), but never completed it. The Novum Organum remains its most influential part. The Philosophical Transactions<br />

of the Royal Society were soon to be filled with exactly the kind of “Histories”, careful collections of experimental data, that<br />

Bacon here recommends. As usual, this copy is the second state, with leaf e3 cancelled and reprinted on e4 with errata added<br />

and only the name of the printer Bill present. Gibson 103b; Grolier/Horblit 8b (1st issue); Norman 1:98; PMM 119. Some<br />

underlining and marginal marks in the preface. From the library of the Irish classical scholar John Walker (1769–1833), with his<br />

ownership inscription at the head of the engraved title. Very infrequent scattered light foxing, with occasional marginal pinpoint<br />

wormholing, not affecting readability. Age-wear to contemporary calf boards, with a few cuts, wormholes on rear board. A<br />

desirable copy in very good condition of this landmark.<br />

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86<br />

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“The Most Human Of All <strong>Books</strong>…”:<br />

1635 English Translation Of Marcus Aurelius’ Meditations<br />

116. AURELIUS, Marcus. The Roman Emperor, His Meditations<br />

Concerning Himselfe. London, 1635. Small quarto, 18th-century full<br />

brown tree calf. $5000.<br />

Second edition of the first English translation of one of the world’s great<br />

classics, published only one year after the first edition. A lovely copy.<br />

The Meditations have been considered by many “one of the great books of all<br />

time… [and as] the most human of all books” (Britannica). Wisdom, justice,<br />

fortitude and temperance are the qualities that Aurelius, stoic and practical<br />

moralist, identifies as most essential for co-existence; his writings represent an<br />

early and influential philosophy of humanism. His Meditations “are a collection<br />

of maxims and thoughts in the spirit of the Stoic philosophy, which… breathe<br />

the purist sentiments of piety and benevolence” (Peck, 90). “Once published,<br />

these, his most intimate thoughts, were considered among the most precious of<br />

all philosophical utterances by his contemporaries, by all Western Civilization<br />

after they returned to favor at the Renaissance, and most especially by the<br />

Victorian English, amongst whom The Meditations was a household book” (Rexroth, Classics Revisited, 112). This translation by<br />

Meric Casaubon (son of the great scholar Isaac Casaubon) is the first directly into English; Casaubon’s elegant and scholarly translation<br />

was still being reprinted in the 20th century. Without folding plate depicting Roman pottery found in some copies. Brueggemann<br />

342-43. Palmer, 16. STC 963. Armorial bookplate. Interior clean; marginal tattering to final leaf of index. Front joint expertly repaired.<br />

An exceptional copy.<br />

“There Is A True Ring Of Genius About<br />

All That He Says”: Scarce 1740 Four-Volume<br />

Folio Edition Of Bacon’s Collected Works,<br />

With Four Splendid Copper-Engraved<br />

Frontispiece Plates<br />

117. BACON, Francis. The Works of Francis Bacon.<br />

London, 1740. Four volumes. Folio (8-1/4 by 12-1/4 inches),<br />

contemporary full gilt-ruled brown calf. $4500.<br />

1740 collected edition of Bacon’s Works, a handsome<br />

four-volume folio production featuring his Novum<br />

Organum, Essays, History of the Reign of King Henry VII<br />

and Mallet’s Life of Francis Bacon, with four copper-engraved<br />

frontispiece plates.<br />

“‘I have taken all knowledge to be my province,’ Bacon<br />

declared… He held to his course, if not ‘beyond the utmost<br />

bound of human thought,’ at least to the uttermost edge<br />

discernible in his day—and that, too, in every department<br />

of intellectual activity. Bacon’s day was, perhaps, the latest<br />

moment in history when anything like omniscience was within the limits of human<br />

attainment; even in his day, Bacon’s was, perhaps, the only mind that could achieve it”<br />

(Winterich, 205-6). He “stood, like a prophet, on the verge of the promised land, bidding<br />

men leave, without regret, the desert which lay behind them… there is the true<br />

ring of genius about all that he says” (DNB). Issued along with 50 large-paper copies, no<br />

priority established. Containing his philosophical, literary and legal writings, along<br />

with essays and letters, some never before published. Text in Latin and English. ESTC<br />

T52745. Bookplate, early owner signatures. Front boards with traces of gilt-stamped<br />

“William De Grey, 1742.” Interiors generally fresh and clean with only light scattered<br />

foxing, minor expert restoration to contemporary calf. A most desirable handsome copy.


Scarce Complete 12-Volume Collection<br />

Of First Editions Of Churchill’s WWII<br />

And Post-War Speeches, 1941-61<br />

118. CHURCHILL, Winston S. Collection<br />

of World War II and post-war speeches.<br />

World War II Speeches: Into Battle; The<br />

Unrelenting Struggle; The End of the<br />

Beginning; Onwards to Victory; The Dawn of<br />

Liberation; Victory; Secret Session Speeches.<br />

Post-War Speeches: The Sinews of Peace;<br />

Europe Unite; In the Balance; Stemming the<br />

Tide; The Unwritten Alliance. London, (1941-<br />

61). Together, 12 volumes. Octavo, modern full<br />

navy morocco gilt. $8000.<br />

First editions of Churchill’s separately published<br />

World War II and post-war speeches, including<br />

his rare last book, handsomely bound.<br />

Churchill’s war speeches, published between 1941 and 1946, “constitute a contemporary history of the war which is as lively as it is<br />

authoritative; and, so far as contemporary history is of value, they may be said to be the last word upon the war” (Randolph<br />

Churchill). Toward the end of the Second World War and after, Churchill increasingly advocated that Europe enter the approaching<br />

Cold War era as a united and resolute voice. The speeches included in these volumes trace the development of Churchill’s call for<br />

European unity through the abatement of socialist party power in Britain’s parliament, the start of the Korean War, rising tensions<br />

in the Middle East, and the establishment of NATO. This set contains the rare first and only printing of The Unwritten Alliance, the<br />

last of Churchill’s books printed in his lifetime. Occasional light foxing. A fine, handsome set.<br />

“Churchill’s Last Great Work”: History Of The English-<br />

Speaking Peoples, Signed By Churchill In Volume I<br />

119. CHURCHILL, Winston S. A History of the English-Speaking<br />

Peoples. London, 1956-58. Four volumes. Octavo, original red cloth,<br />

dust jackets. $16,000.<br />

First English editions of Churchill’s classic history, illustrated with<br />

maps and genealogical tables, in the original dust jackets, signed by<br />

Churchill in Volume I.<br />

Churchill believed that “Every nation or group of nations has its own<br />

tale to tell. Knowledge of the trials and struggles is necessary to all who<br />

would comprehend the problems, perils, challenges, and opportunities<br />

which confront us to-day… It is in the hope that contemplation of the<br />

trials and tribulations of our forefathers may not only fortify the<br />

English-speaking peoples of to-day, but also play some small part in<br />

uniting the whole world, that I present this account.” “Churchill’s last<br />

great work was published nearly 20 years after he penned its first draft<br />

in the late 1930s, just after wrapping up [the biography of] Marlborough.<br />

This enabled him to utilize the literary team he had assembled for the biography, to which he added dozens of outlines he had<br />

solicited from scholars… In its final form the original single volume evolved to four, each of which was published simultaneously<br />

in Britain, the USA and Canada—a first for Churchill’s works” (Langworth, 312). Cohen A267.1.a. Interiors fine; slightest rubbing<br />

to cloth extremities. Very light soiling and toning to spines of bright dust jackets. A fine set, desirable signed.<br />

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88<br />

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With Gilt Armorial Coat Of Arms Of<br />

Sir Winston Churchill: Limited Folio First<br />

Edition Of Constable And His Influence,<br />

With 77 Magnificent Photogravures<br />

120. (CHURCHILL, Winston) HOLMES, C.J. Constable<br />

and his Influence on Landscape Painting. Westminster,<br />

1902. Tall thick folio (11-1/2 by 15 inches), contemporary<br />

full navy crushed morocco gilt, gilt armorial coat of arms<br />

of Sir Winston Churchill to front board. $5800.<br />

Limited first edition, one of only 350 copies, a magnificent<br />

folio production containing 77 splendid photogravures<br />

(over 50 full-page) of his work, bound with the gilt armorial<br />

coat of arms of Sir Winston Churchill emblazoned on<br />

the front board, with the Order of the Garter encircling the<br />

shield carrying the motto of the Garter, Honi soit qui mal y<br />

pense, above the Churchill family motto, Fiel pero desdichado<br />

(Faithful though Unfortunate).<br />

Bound by Bumpus with the magnificent gilt-tooled armorial<br />

coat of arms of Sir Winston Churchill emblazoned on<br />

the front board, with the Order of the Garter encircling the shield carrying the motto of the Garter, Honi soit qui mal y<br />

pense (Shame on him who thinks ill of it), above the Churchill family motto in Spanish, Fiel pero desdichado (Faithful<br />

though Unfortunate). In 1953 Queen Elizabeth knighted Churchill, investing him as a knight of the Order of the Garter,<br />

Britain’s highest order of knighthood. Text and plates fresh with only lightest scattered foxing. A beautiful copy with a<br />

highly desirable provenance.<br />

Fine Signed Photograph Of Winston Churchill<br />

121. CHURCHILL, Winston. Photograph signed. No place, circa<br />

1940. Image measures 3-1/4 by 5-1/2 inches; original mount measures<br />

4 by 7 inches. Handsomely matted and framed, entire piece measures<br />

9-3/4 by 13 inches. $7000.<br />

Photographic portrait of Churchill, signed “W S Churchill” in blueblack<br />

ink on the mount.<br />

The three-quarter-length photograph depicts Prime Minister<br />

Churchill standing, wearing suit and bow tie, hand in his pocket,<br />

boldly smiling at the camera. A fine, handsome piece of Churchilliana.


winston churchill<br />

Churchill’s Brilliant History Of The Second World War,<br />

Inscribed By Churchill In The Year Of Publication In Volume I<br />

122. CHURCHILL, Winston. The Second World War. London, 1948-54. Six volumes. Octavo, original black cloth, dust<br />

jackets. $16,000.<br />

First English editions of Churchill’s WWII masterpiece, part history and part memoir, written after he lost reelection as<br />

Prime Minister, in the original dust jackets, inscribed in Volume I: “Inscribed by Winston S. Churchill 1948.”<br />

The six volumes of Churchill’s masterpiece were published separately between 1948<br />

and 1954. With the Second World War, Churchill “pulled himself back from<br />

humiliating [electoral] defeat in 1945, using all his skills as a writer and politician to<br />

make his fortune, secure his reputation, and win a second term in Downing Street”<br />

(Reynolds, xxiii). “Winston himself affirmed that ‘this is not history: this is my case’”<br />

(Holmes, 285). Churchill was re-elected to the post of Prime Minister in 1951. “The<br />

Second World War is a great work of literature, combining narrative, historical<br />

imagination and moral precept in a form that bears comparison with that of the<br />

original master chronicler, Thucydides. It was wholly appropriate that in 1953<br />

Churchill was awarded the Nobel Prize for Literature” (Keegan, 175). Although<br />

preceded by the American editions, the English editions are generally preferred for<br />

their profusion of diagrams, maps and facsimile documents. Cohen A240.4.<br />

Occasional scattered light foxing to interiors and fore edges; cloth bindings fine.<br />

Only most minor wear to extremities of bright dust jackets. A fine inscribed set.<br />

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“The Essential Basis Of All Serious Study Of<br />

The Art Of War”: Von Clausewitz’ On War,<br />

First English Translation In Book Form<br />

123. CLAUSEWITZ, Carl Philipp Gottlieb von. On War. London, 1873.<br />

Three volumes in one. Octavo, contemporary half black cloth, custom<br />

clamshell box. $5500.<br />

First edition in English in book form, one of only 685 copies, of this<br />

exceptionally influential study of the philosophy of war.<br />

Von Clausewitz was a veteran of the Napoleonic wars, serving in<br />

both the Prussian and Russian armies, and at one point was held as<br />

a prisoner of war by the French. On War is considered “an exposition<br />

of the philosophy of warfare which is absolutely unrivalled”<br />

(Britannica). Key components in von Clausewitz’ philosophy include<br />

the relationship between political and military objectives, the asymmetrical<br />

relationship between attack and defense, the nature of “military<br />

genius,” the essential unpredictability of war, and what von<br />

Clausewitz termed the “fog” of war. On War was unfinished at von<br />

Clausewitz’ death in 1831; it was published one year later by his widow.<br />

This edition is a translation of the third German edition, published in 1867-69. The first English translation, by an unknown translator,<br />

appeared in 1835 in the May and June issues of The Metropolitan Magazine (London) and the August and September issues of The<br />

Military and Naval Magazine of the United States. Bassford, 56-7. Interior generally fresh, slight edge-wear, minor rubbing to boards.<br />

An extremely good copy of this seminal work.<br />

The Most Influential Economic Treatise Of The 20th Century<br />

124. (ECONOMICS & FINANCE)KEYNES, John Maynard. The General Theory<br />

of Employment, Interest and Money. London, 1936. Octavo, original blue-green<br />

cloth, dust jacket. $14,000.<br />

First edition of Keynes’ last major work, considered the most influential economic<br />

treatise of the 20th century, rarely found in the original dust jacket.<br />

Keynes’ General Theory ranks with Smith’s Wealth of Nations as an intellectual<br />

event and with Malthus’ Essay on Population as a guide for public policy. “The<br />

world-wide slump after 1929 prompted Keynes to attempt an explanation of, and<br />

new methods for controlling, the vagaries of the trade-cycle. First in A Treatise on<br />

Money, 1930, and later in his General Theory, he subjected the definitions and<br />

theories of the classical school of economics to a penetrating scrutiny and found<br />

them seriously inadequate and inaccurate” (PMM 423). Contemporary owner<br />

inscription. Book fine. Scarce original dust jacket near-fine with closed tear and<br />

very light dampstaining to head of slightly toned spine. A most desirable copy.


Inscribed By Friedrich Hayek: The Road To Serfdom,<br />

“One Of The Most Important <strong>Books</strong> Of Our Generation”<br />

125. (ECONOMICS & FINANCE) HAYEK, Friedrich A. The Road to Serfdom.<br />

Chicago, 1945. Slim octavo, original teal cloth, dust jacket, custom clamshell<br />

box. $5500.<br />

First American edition, later impression, of Hayek’s classic defense of free<br />

enterprise, “a major event in the intellectual history of the United States,” in<br />

extremely scarce original dust jacket, inscribed in the year of publication, “To Mr.<br />

James W. Morehouse from F.A. Hayek, April 25th, 1945.”<br />

“Hayek has written one of the most important books of our generation. It restates<br />

for our time the issue between liberty and authority with the power and rigor of<br />

reasoning that John Stuart Mill stated… in his great essay, ‘On Liberty’” (Hazlitt,<br />

82). Hayek’s analysis of the link between planning<br />

and totalitarianism and his moral defense of<br />

capitalism caused a sensation when it was published.<br />

Because of its enduring influence, The Road to<br />

Serfdom is considered “a major event in the intellectual history of the United States” (Gottfried, 10).<br />

First published in September 1944; this copy is sixth impression, published in April 1945, on thin<br />

paper to meet wartime standards. Evidence of bookseller ticket removal to rear pastedown endpaper.<br />

Book fine. Some wear to extremities and chipping and toning to spine of price-clipped dust jacket<br />

with tape repairs to verso. An extremely good copy, scarce inscribed and in dust jacket.<br />

The First Edition Of Hayek’s First Book, Geldtheorie Und<br />

Konjunkturtheorie, Inscribed By Friedrich Hayek To<br />

Fellow Economist Carl Landauer<br />

126. (ECONOMICS & FINANCE) HAYEK, Friedrich A. Geldtheorie und<br />

Konjunkturtheorie. Wien and Leipzig, 1929. Octavo, original brown paper<br />

wrappers respined and recornered with original spine laid down, custom cloth<br />

clamshell box. $8500.<br />

Important first edition, presentation copy, of Hayek’s first book, the basis for his<br />

landmark work of the 1930s, Prices and Production, inscribed to his colleague and<br />

friend, economist Carl Landauer: “Herrn Dr. Landauer, mit den besten Gruessen,<br />

überreicht von verfasser [To Dr. Landauer, with best regards, presented by the<br />

author].” Text in German.<br />

In this book, Hayek argued that all major fluctuations in the trade cycle were caused<br />

by monetary interventions that distorted relative price relationships. He also<br />

critiqued opposing theories from the perspective of the Austrian School, of which he<br />

was a prominent member. Issued at the nadir of the Great Depression, this volume<br />

attacked American and European economists and policy makers who advocated economic planning, especially credit manipulation,<br />

in order to “stabilize” capitalism. Because they ignored monetary factors, Hayek argued, these “stabilizers” only aggravated the<br />

crisis. Hayek, like fellow Austrian School member Bohm-Bawerk, believed that “the individual and his wants is still the beginning<br />

and end of the analysis” of economics (Roll, 369). The recipient of this copy, Carl Landauer,<br />

was a prominent German economist and member of the Social-Democratic party who fled<br />

to the United States with the rise of the Nazis. Idealogically across the spectrum from<br />

Hayek and quite far to the left politically, Landauer helped to develop the concept of<br />

competitive market socialism and worked extensively on the rights of workers within it. A<br />

few pencil markings to text. Ink spot to rear wrapper, a bit of wear to wrappers. An<br />

extremely good copy, exceptional inscribed and with such a desirable association.<br />

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edwin lefèvre<br />

One Of The Most Widely Read, Highly Recommended Investment <strong>Books</strong> Ever Written,<br />

Very <strong>Rare</strong> In The First Printing<br />

127. (ECONOMICS & FINANCE) LEFÈVRE, Edwin. Reminiscences of a Stock Operator. New York, 1923. Octavo, original<br />

orange cloth, custom clamshell box. $18,000.<br />

<strong>Rare</strong> first edition of “the most useful and most loved book ever written on the subject of trading and speculation,” in<br />

original cloth.<br />

“Stock investing is a relatively recent phenomenon and the inventory of true classics is somewhat slim. When asked, people will<br />

always list books by Benjamin Graham, Burton G. Malkiel’s A Random Walk Down Wall Street, and Common Stocks and<br />

Uncommon Profits by Philip A. Fisher. You’ll know you’re getting really good advice if they also mention Reminiscences of a<br />

Stock Operator by Edwin Lefèvre. It is the thinly disguised biography of Jesse Livermore, a remarkable character who first<br />

started speculating in New England bucket shops at the turn of the century. Livermore, who was banned from these shady<br />

operations because of his winning ways, soon moved to Wall Street where he made and lost his fortune several times over. What<br />

makes this book so valuable are the observations that Lefèvre records about investing, speculating, and the nature of the market<br />

itself… Reminiscences is full of lessons that are as relevant today as they were in 1923 when the book was first published” (Harry<br />

C. Edwards). “This is the book from which almost every subsequent general trading book is derived. If you have ever wondered<br />

where the trading rule ‘Never average down’ came from, just turn to page 154. Where did the comparison between greed and<br />

fear first originate? You’ll find it on page 130… It brings clarity as to why we trade and how to best go about it” (Tradingmarkets).<br />

A few spots of soiling to interior, minor expert paper repairs to several leaves including half title, not affecting text. Expert<br />

restoration to inner hinges and original cloth. An exceptionally good copy of an extraordinarily rare work.


“A Standard Part Of All Subsequent Commercial Applications”:<br />

A Founding Work In The Modern Development Of Life Insurance<br />

128. (ECONOMICS & FINANCE) MOIVRE, Abraham de. Annuities upon Lives.<br />

London, 1725. Octavo, contemporary full calf sympathetically rebacked, custom<br />

clamshell box. $7800.<br />

First edition of de Moivre’s historic study of annuities and mortality statistics, a pioneering<br />

influence on life insurance by a valued contemporary of Newton, containing<br />

numerous calculations, along with Halley’s “Table of Observations” and de Moivre’s<br />

Annuity table, complete with errata, in contemporary calf.<br />

In his groundbreaking Annuities upon Lives, de Moivre pursued his “great interest in<br />

the analysis of mortality statistics and the foundation of the theory of annuities,” a<br />

passion partly inspired by his friendship with astronomer and fellow mathematician<br />

Edmond Halley who, in 1693, had protested “the inane life annuities still being sold by<br />

the British government, in which the age of the annuitant was not considered relevant”<br />

(DBS IX: 452-4). Using newly developed statistical methods, de Moivre here formulated<br />

his own “theory of annuities, deriving his formulas from a postulated uniform rate off mortality and<br />

constant rates of interest on money” (Norman 1530). In this influential work, “one finds the treatment of joint annuities on several<br />

lives, the inheritance of annuities, problems about the fair division of the costs of a tontine, and other contrasts in which both age<br />

and interest on capital are relevant. De Moivre’s mathematics became a standard part of all subsequent commercial applications in<br />

England” (DSB). Garrison & Morton 1690. Kress 3595. Contemporary owner inscription. <strong>Books</strong>eller ticket. Interior quite clean. An<br />

exceptional fine copy of a major foundational work in life insurance.<br />

“An Immediate Success With The Mercantile<br />

Community”: 1671 Enlarged Second Edition<br />

Of Roberts’ Merchants Map Of Commerce,<br />

With Four Large Folding Maps<br />

129. (ECONOMICS & FINANCE) ROBERTS, Lewes. The<br />

Merchants Map of Commerce. London, 1671. Small folio (8<br />

by 12-1/2 inches), period-style full paneled calf. $8500.<br />

Second edition, “corrected and much enlarged,” of Roberts’<br />

major work, “one of the earliest systematic treatises on its<br />

subject in English” (DNB), with four engraved folding maps<br />

by John Overton of America, Africa, Asia and Europe.<br />

This comprehensive guidebook “provided not only the<br />

standard topographical information sought by English<br />

travelers abroad, but also full details of local commodities,<br />

currency, weights and measures, and rates of exchange. It<br />

was an immediate success with the mercantile community,<br />

and revised editions were published in 1671, 1677, and 1700” (ODNB). Roberts worked for<br />

the East India Company, of which he became a director, and the Levant Company at<br />

Constantinople. “The description of ‘America and the Provinces thereof,’ pp. 47-64, contains<br />

much fuller accounts of New England, New Netherland, and other places, than that in the<br />

first edition” (Sabin). First published in 1638. The map of America in the second state with the<br />

“White/horse neere the Fountaine Tavern” imprint. Sabin 71907. Early owner signature on<br />

title page inked over; early owner signature on blank verso of final leaf, another early signature<br />

on verso of Asia section title. Marginal annotations in a neat early hand to a few leaves in Europe section. Title page rehinged and<br />

remargined. Maps mounted on paper; most maps trimmed at margins affecting borders, some maps with holes at folds and edges;<br />

browning to America map; large portion of Europe map missing and trimmed affecting border. Text with a few marginal tears, some<br />

repaired, some affecting text, and a few wormholes, chiefly marginal. Handsome binding fine.<br />

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“The Greatest Representative Of Classical Political Economy”:<br />

The Works Of David Ricardo, Collected By Economist J.R. McCulloch<br />

130. (ECONOMICS & FINANCE) RICARDO, David. (MCCULLOCH,<br />

J.R., editor). The Works of David Ricardo. London, 1846. Octavo,<br />

contemporary three-quarter polished brown calf. $6500.<br />

First edition of Ricardo’s collected Works to include a memoir by his<br />

follower, John Ramsey McCulloch, who is also noted for key contributions<br />

to economic theory, featuring Ricardo’s famous Principles of Political<br />

Economy.<br />

David Ricardo, renowned for his Principles of Political Economy (1817),<br />

included herein, “succeeded even more than Adam Smith in isolating the<br />

chief categories of the economic system” [and] is without doubt the greatest<br />

representative of classical political economy. He carried the work begun by<br />

[Adam] Smith to the farthest point possible in his “theory of value and<br />

distribution.” This scarce edition of his Works shows “Ricardo to have been,<br />

on the whole, a faithful supporter of the prevailing theory of the market.”<br />

As printings of Ricardo’s writings grew difficult to procure by the mid-19th<br />

century, McCulloch, one of the economist’s greatest followers and noted for<br />

his defense of “the Ricardian theory of value,” assembled this edition, the<br />

first to include McCulloch’s valued biography of the famed economist (Roll, 155-75). McCulloch’s memoir of Ricardo was published<br />

independently in 1825 under the title Memoir of the Life and Writings of David Ricardo. With publisher’s advertisement dated 1846.<br />

Lowndes, 2081. <strong>Books</strong>eller ticket. Light scattered foxing; minor rubbing and edge-wear to contemporary boards. A near-fine copy.<br />

“Its Appearance Formed A New Era”:<br />

First American Edition Of Ricardo’s Principles Of Political Economy.<br />

One Of Only 500 Copies Printed<br />

131. (ECONOMICS & FINANCE) RICARDO, David. On the Principles of<br />

Political Economy, and Taxation. Georgetown, 1819. Octavo, contemporary<br />

brown tree calf rebacked in period style. $8500.<br />

First American edition of this most important work by Ricardo, “the first<br />

‘scientific economist’” (PMM), based on the first London edition of 1817, one<br />

of only 500 copies.<br />

Except for the later scarce second issue of this edition in 1830, this is the<br />

only 19th-century appearance of any work by Ricardo in America, where<br />

his influence was nevertheless immense, spread mainly through related<br />

texts. “Ricardo is without doubt the greatest representative of classical<br />

political economy. He carried the work begun by Adam Smith to the farthest<br />

point possible… His most important work is On the Principles of<br />

Political Economy and Taxation, first published in 1817” (Roll, 155-6).<br />

“Ricardo was, in a sense, the first ‘scientific’ economist… [His work] has<br />

proved of lasting value” (PMM 277). “A profound work. Its appearance<br />

formed a new era in the history of the science” (McCulloch, 16-17).<br />

Milligan published 500 copies; of these, 250 were subscribed by members of Congress and by others impressed with the notice<br />

in the Edinburgh Review in 1818. The remaining copies were largely unsold, then reissued with a new title page in 1830. Goldsmith<br />

II:22323. Owner inscription dated 1895. Owner signatures and bookplate of Charles P. Crawford, a noted Georgia lawyer who<br />

served as an officer in the Confederate army. Library bookplate. Text with slight foxing and embrowning, light edge-wear and<br />

rubbing to boards. An extremely good copy of this seminal work, scarce in contemporary calf.


“The Mathematical Foundations For Contemporary Economics”:<br />

Samuelson’s Foundations In Economic Analysis,<br />

First Edition, Signed By Him<br />

132. (ECONOMICS & FINANCE) SAMUELSON, Paul Anthony.<br />

Foundations of Economic Analysis. Cambridge, 1947. Octavo, original<br />

burgundy cloth, custom clamshell box. $13,500.<br />

First edition of Nobel Prize-winner Samuelson’s first book, signed: “Paul A.<br />

Samuelson.”<br />

Based on Samuelson’s 1941 doctoral dissertation at Harvard, Foundations in<br />

Economic Analysis is one of the most influential economic texts of the 20th century.<br />

“More than anyone else he bears responsibility for the mathematical bent of<br />

economics in the late 20th century… His doctoral dissertation is regarded by<br />

most economists as providing the mathematical foundations for contemporary<br />

economics… In all his professional work, Samuelson sought to provide mathematical<br />

underpinnings for economic ideas, believing that economic theory<br />

without formalizations was unsystematic and unclear” (Pressman, Fifty Major<br />

Economists, 162-63). The title of this work “was meant to be exactly as ambitious<br />

as it sounds, and the book’s impact on the profession has largely justified it… For the first time in a book in English on economic<br />

principles, the mathematics, instead of being relegated to an appendix, provided the skeleton of the argument… Fifty years after it was<br />

written, the Foundations (together with Hicks’ Value and Capital) is still one of the most inspiring classics of general equilibrium<br />

economics (Niehans, History of Economic Theory, 423). Awarded the Nobel Prize in Economics in 1970, Samuelson remains “one of<br />

the two or three best-known and most respected economists during the last half of the 20th century” (Pressman, 166). Without scarce<br />

original dust jacket. Only slight soiling to cloth and mild toning to spine. A near-fine signed copy.<br />

“I Hope I Will Be Able To Confide Everything To You, As I Have Never Been Able To Confide In<br />

Anyone”: First Edition Of Anne Frank’s Diary, Het Achterhuis, 1947<br />

133. FRANK, Anne. Het Achterhuis. Amsterdam, 1947. Octavo, original white and<br />

russet paper boards, custom clamshell box. $8200.<br />

First edition of Anne Frank’s diary, in the original Dutch, one of only 1500 copies<br />

printed.<br />

Anne began her new diary on her 13th birthday, June 12, 1942, by writing, “I hope I will<br />

be able to confide everything to you, as I have never been able to confide in anyone, and<br />

I hope you will be a great source of comfort and support.” (Page 1 bears a facsimile of<br />

this entry.) Only a month later, Anne and her family would go into hiding. Anne<br />

envisioned the future publication of her diary—in fact, she began editing the text before<br />

the family’s arrest on August 4, 1944 (three days after the diary’s last entry)—and chose<br />

the title Het Achterhuis (The House Behind) herself. After its initial release, the book<br />

was translated and published in more than 60 languages. Upon its publication in<br />

English, Eleanor Roosevelt called the diary “one of the wisest and most moving<br />

commentaries on war.” It remains one of the most widely read books in the world.<br />

“Anne Frank’s diary is too tenderly intimate a book to be frozen with the label ‘classic,’<br />

and yet no lesser designation serves” (<strong>Books</strong> of the Century, 180). Illustrated with<br />

halftone frontispiece portrait, two photographs of interiors, and two facsimiles. Text in<br />

Dutch. Without the exceptionally rare dust jacket. Karolides, Bald & Sova, 339-41.<br />

Boards soiled, spine toned; spine and hinges with some expert restoration.<br />

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“No More Graphic Account Exists Of Any Age”:<br />

Froissart’s Chronicles Of England, France, Spain,<br />

And The Adjoining Countries, 1839, Extra-Illustrated<br />

With 72 Vivid Hand-Colored Lithographs By<br />

Henry Noel Humphreys<br />

134. FROISSART, John. Chronicles of England, France, Spain, and<br />

the Adjoining Countries, from the Latter Part of the Reign of<br />

Edward II to the Coronation of Henry IV. London, 1839. Two<br />

volumes. Thick octavo, late 19th-century full red morocco gilt. $5500.<br />

Later edition of Johnes’ celebrated translation of Froissart’s important<br />

history of 14th-century Europe, extra-illustrated with the complete<br />

suite of 72 finely hand-colored chromolithographs—many<br />

heightened with gilt and silver—reproduced from miniatures in<br />

Froissart manuscript editions by Henry Noel Humphreys.<br />

“Froissart might be called the great interviewer of the Middle Ages. The newspaper correspondent of modern times has scarcely<br />

surpassed this medieval collector of intelligence… He lived from 1337 to about 1410, and wrote chiefly of contemporaneous events.<br />

The Chronicles are universally considered as the most vivid and faithful picture we have of events in the 14th century. As a picture<br />

of the most favorable side of chivalry, the work has no equal” (Adams, Manual of Historical Literature, 334-35). “No more graphic<br />

account exists of any age. No historian has drawn so many and such faithful portraits” (Britannica). The first printed version of the<br />

Chronicles appeared around 1498 in Paris. The first edition in English was published in 1523-25. A landholder and Member of<br />

Parliament, Thomas Johnes made a modern translation of Froissart his life’s work, and published his version in 1803-05. Henry<br />

Noel Humphreys first issued his suite of hand-colored chromolithographs in 1844-45. Only occasional and faint marginal foxing.<br />

Most plates crisp and clean, coloring vivid. Inner hinges with minor expert reinforcement. Fine condition, superbly bound.<br />

“The Foundation Of Modern International Law”<br />

And An Important Influence On The American Revolution:<br />

1654 First Edition In English Of Grotius’ Masterpiece,<br />

With An Especially Notable 18th-Century Provenance<br />

135. GROTIUS, Hugo. Of the Law of Warre and Peace with<br />

Annotations. London, 1654. Thick octavo, contemporary full brown<br />

sheep, custom clamshell box. $9500.<br />

First edition in English of this cornerstone treatise on law and government,<br />

an exceptional copy with a distinguished provenance that reaches<br />

back to the descendants of John Bispham, a leading Quaker and disciple<br />

of George Fox, founder of the Society of Friends, with engraved portrait<br />

frontispiece, handsomely bound in contemporary sheep.<br />

Jure Belli ac Pacis, first published at Paris in 1625, “was the first attempt<br />

to lay down a principle of right, and a basis for society and government,<br />

outside of Church or Scripture… Grotius’ principle of an immutable<br />

law… was the first expression of the ‘droit naturel’… the foundation of modern international law” (PMM 125). This then-radical<br />

notion later played an important role in the build-up to the American Revolution, as colonial leaders cited Grotius as the first and<br />

greatest authority on international law. “No legal work ever enjoyed a more widely extended reputation, and none ever exercised<br />

such a wonderful influence over the public morals of Europe” (Marvin, 23). This first edition in English, somewhat abridged from<br />

the original Latin, was translated by Clement Barksdale; the first complete English translation, by Evats, was published in 1682.<br />

Revolutionary America 170. Armorial bookplate. Early marginalia to first text leaf and page 220. Early owner inscription of English<br />

Minister Renald Tetlaw dated 1704. This copy was prominently named in Tetlaw’s will: Tetlaw bequeathed this to the family of his<br />

son-in-law John Bispham, a prominent Quaker preacher and a disciple of George Fox, founder of the Society of Friends. Folding<br />

leaves from an unidentified 16th-century legal text, printed in Gothic, used as endpapers. With 19th-century paper spine labels,<br />

each lettered in a neat cursive. Interior generally fresh with light scattered foxing, faint occasional dampstaining, minor marginal<br />

wormholing, contemporary calf binding exceptional. Inner hinges expertly reinforced. A seminal work in near-fine condition, with<br />

a highly significant provenance.


Hume’s Four Dissertations, 1757 First Edition<br />

Hazlitt’s Life Of Napoleon, Bourrienne’s<br />

Memoirs Of Napoleon Bonaparte<br />

And The Memoirs Of Madame Junot,<br />

17 Volumes, One Of Only 75 Copies<br />

Beautifully Bound And Illustrated,<br />

With Hand-Colored Frontispieces<br />

136. (NAPOLEON) HAZLITT, William. The Life<br />

of Napoleon Bonaparte. WITH: BOURRIENNE,<br />

Louis Antoine Fauvelet de. Memoirs of Napoleon<br />

Bonaparte. WITH: JUNOT, Laure, Duchess<br />

D’Abrantes. Memoirs of Madame Junot. WITH:<br />

LEVY, Arthur. Napoleon Intime. London, circa<br />

1900. Together, seventeen volumes. Octavo, contemporary<br />

three-quarter green morocco gilt. $7800.<br />

Limited “Edition Connoisseur Astrale,” one of only<br />

75 copies printed of this 17-volume work chronicling Napoleon’s life as well as that of the Duchess<br />

d’Abrantes, one of the most important women of Napoleon’s time, with plates in two states,<br />

including beautifully hand-colored frontispieces.<br />

Junot, the Duchesse d’Abrantès, was a well-known member of the French aristocracy who wrote<br />

her revealing and occasionally spiteful memoirs toward the end of her life under the supervision<br />

of her lover, Balzac. Though Junot’s husband was a favorite of Napoleon, Junot had allegedly<br />

rejected an earlier proposal of marriage from Napoleon, earning his enmity. As Junot was<br />

perpetually involved in politics, this would only increase after she sided against him during the<br />

Hundred Days. Junot, however, knew much about the inner workings of French society and her<br />

post-Restoration memoirs proved informative for friends and enemies alike. Spines evenly toned<br />

to brown. Fine condition, most beautifully bound.<br />

137. HUME, David. Four Dissertations. I. The Natural History of Religion. II. Of<br />

the Passions. III. Of Tragedy. IV. Of the Standard of Taste. London 1757. 12mo,<br />

contemporary full brown speckled calf gilt, custom chemise and clamshell box. $7200.<br />

First edition, including the first appearance of Hume’s Natural History of Religion,<br />

with scarce dedication pages present.<br />

This classic volume includes the first appearance in print of Hume’s important The<br />

Natural History of Religion and his only works in the field of aesthetics, Of Tragedy and<br />

Of the Standard of Taste. “In The Natural History of Religion, Hume maintained that<br />

there is no evidence of any specific instinct for religious belief. Some races have no<br />

religion. In all known cases the earliest religions were polytheistic and idolatrous, with<br />

no notion whatever of an intelligent cause of the whole frame of nature. They were as<br />

truly atheistic as would be the beliefs of a contemporary person who acknowledged the<br />

existence of elves and fairies but denied the existence of God” (Encyclopedia of<br />

Philosophy), an argument which got Hume himself accused of atheism. “After<br />

publication Hume withdrew the dedication ‘To the Reverend Mr. Hume, Author of<br />

Douglas, a Tragedy,’ but cancelled the withdrawal four days later, 800 copies having<br />

been sold without it. He never reprinted it” (Rothschild 1176). First edition, early state, with cancel leaf C12, and corrected readings<br />

of “lative” as the first word (9) and “lancing” as the first word (131). Without half title; with scarce dedication pages. Jessop, 33-5.<br />

Rothschild 1176. Text generally fresh and clean, slight edge-wear, small abrasions to contemporary boards, joints starting but sound.<br />

A near-fine copy of this important philosophical work.<br />

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98<br />

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Pictorial Documentation Of Wellington’s Defeat Of Napoleon, The Martial Achievements Of<br />

Great Britain, 1799-1815, With 53 Splendid Large Hand-Colored Folio Aquatints<br />

138. JENKINS, James. The Martial Achievements of Great Britain and Her Allies; from 1799 to 1815. London, circa 1825.<br />

Thick folio, 19th-century three-quarter red morocco gilt rebacked, custom cloth slipcase. $7800.<br />

First edition, later issue, of this dramatically illustrated record of British military action during Lord Wellington’s Peninsular<br />

Campaign, with hand-colored frontispiece, vignette title-page, hand-colored dedication page, and 51 additional vividly handcolored<br />

aquatints of battle scenes by Thomas Sutherland after drawings by William Heath, handsomely bound.<br />

“A brilliant and worthy record of a brilliant period in England’s history” (Hardie, English Coloured <strong>Books</strong>, 147). From the terrifying<br />

rout and retreat at Corunna to the glorious victory at Talavera, the British and their allies fought to keep Napoleon out of Spain and<br />

Portugal. In 1807 a demoralized and ill-defended Spain was at<br />

the mercy of the French Emperor. Seven years later and the loss<br />

of over a million lives, the French finally retreated over the<br />

Pyrenees, never to return. The Anglo Portuguese Army under a<br />

brilliant strategist, the Duke of Wellington and supported by<br />

Spanish guerrilla irregulars, had ground down the best equipped<br />

and most feared army in Europe. Jenkins’ work “is worthy of its<br />

theme; nor could one desire a finer record of heroic deeds”<br />

(Prideaux, 224). Each plate is accompanied by text describing<br />

the action, with lists of those killed and wounded, and excerpts<br />

from contemporary bulletins, dispatches, letters, and speeches.<br />

First published in 1814-15: this copy with plate stock watermarked<br />

between 1812 and 1824. The vignette title page in this copy is not<br />

hand-colored. Without list of subscribers. Tooley 281. A few<br />

closed marginal tears and spots of soiling to interior, binding<br />

quite handsome. A near-fine copy.<br />

The Father Of Modern Political Science:<br />

1675 First Edition In English Of Machiavelli’s Works<br />

139. MACHIAVELLI, Niccolo. The Works of the Famous Nicolas<br />

Machiavel. London, 1675. Folio, contemporary full mottled brown calf<br />

rebacked. $12,500.<br />

First edition in English of this comprehensive collection of the great Italian<br />

statesman’s most important writings, the foundation of the modern study of<br />

politics. Includes The Art of War, Discourses on Livy, and his primer of power<br />

politics, The Prince.<br />

“Machiavelli founded the science of modern politics on the study of mankind…<br />

Politics was a science to be divorced entirely from ethics, and nothing must<br />

stand in the way of its machinery” (PMM 63). “Machiavelli is a popular symbol<br />

for the… completely unprincipled, and unscrupulous politician whose whole<br />

philosophy is that the end justifies the means… From a comparative reading of<br />

[Discourses and The Prince], one must come to the startling conclusion that<br />

Machiavelli was a convinced republican. He had no liking for despotism, and<br />

considered a combination of popular and monarchical government best. No<br />

ruler was safe without the favor of his people. The most stable states are those<br />

ruled by princes checked by constitutional limitations… His ideal government<br />

was the old Roman republic, and he constantly harked back to it in the Discourses… It is hardly disputable that no man previous to<br />

Karl Marx has had as revolutionary an impact on political thought as Machiavelli” (Downs, 12). “He more than any other political<br />

thinker created the meaning that has been attached to the state in modern political usage” (Sabine 351). There are two issues of this<br />

work in 1675: one with the imprint, “Printed for John Starkey” (as in this copy), and another, “Printed for J.S.” Three-leaf publisher’s<br />

catalogue bound at end. Wing M128. Lightest age-wear to boards, text very clean. A near-fine copy.


“The Origin Of Modern Ideas Of Developmental Psychology”:<br />

Very Scarce First Edition In Contemporary Calf Of Locke’s<br />

Some Thoughts Concerning Education, 1693<br />

140. LOCKE, John. Some Thoughts Concerning Education. London, 1693.<br />

Small octavo, contemporary full brown speckled calf rebacked with the original<br />

red morocco spine label laid down. $12,000.<br />

First edition of Locke’s important anonymously published “excellent little<br />

treatise” (DNB) on education.<br />

“Locke’s thoughts on education have maintained their popularity and influence<br />

since they were first published in 1693. He wrote during an era when children were<br />

coming to be seen as children, as human beings in a family and social setting who<br />

had not yet developed their bodies and minds. Historians and theorists of education<br />

trace the origin of modern ideas of developmental psychology to Locke” (Attig, x).<br />

“The work began as a series of letters written during 1684 to his friend Edward<br />

Clarke, giving advice on the upbringing of Clarke’s children… The letters to Clarke<br />

were full of practical advice from the pragmatic physician on such matters as<br />

clothing and diet. Locke was also concerned with the child’s moral development,<br />

stressed the importance of habits of mind, and cautioned against willfulness and ‘love of dominion.’ He was less concerned (in<br />

comparison with other writers on education) with setting out a detailed course of reading and study” (Attig 522). Experts differ on<br />

what constitutes the first edition of this work, but Yolton’s recent researches, published in 1998, have uncovered other textual first edition<br />

issue points, all of which appear in the present copy (Yolton 165), indicating that this copy is a first edition. Pforzheimer 612 (edition<br />

unstated). Expert restoration to top of title page, with upper rule provided in facsimile; expert paper repair to top outer corner of leaf<br />

A2, not affecting text. Interior crisp and clean, contemporary speckled calf excellent. A beautiful copy of this landmark treatise.<br />

“The Most Worthy Of The Great Philosophers”:<br />

Very Handsome 1714 First Edition Of Locke’s<br />

Collected Works<br />

141. LOCKE, John. The Works of John Locke. London, 1714.<br />

Three volumes. Folio (8-1/2 by 12-1/2 inches), contemporary full<br />

paneled brown calf expertly rebacked with original elaborately<br />

gilt-decorated spines laid down. $9500.<br />

First edition of the collected works of Locke, “the most worthy…<br />

of the indisputably great philosophers,” scarce in contemporary<br />

calf.<br />

“Locke is the most worthy… of the indisputably great philosophers.<br />

His influence has been enormous.” Published ten years<br />

after Locke’s death, this is the first collected edition of his<br />

work and the earliest to put his name to the immensely important<br />

Two Treatises of Government, “the basis of the principles<br />

of democracy,” as well as the letters on “Toleration” and<br />

The Reasonableness of Christianity. Also included is the<br />

groundbreaking Essay Concerning Humane Understanding,<br />

“the first modern attempt” to analyze human knowledge<br />

(PMM 193, 194). With exquisite copper-engraved frontispiece<br />

portrait by George Vertue and full-page memorial plate. Containing engraved historiated initials, head- and tailpieces. Occasional<br />

mispagination without loss of text. Yolton 363. Attig 848. Christophersen, 87-88. With gilt arms of Earl of Drogheda on boards;<br />

armorial bookplates of Edward Loftus Moore, son of Charles Moore, Sixth Earl of Drogheda. Minor marginalia to early leaves<br />

of Volume I only. Interiors exceptionally fresh with only minimal trace of wormholing to rear leaves (Vol. II), expert restoration<br />

to contemporary calf bindings. A highly desirable extremely good copy.<br />

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“One Of The Greatest Masterpieces Of Political Theory”<br />

142. MONTESQUIEU. The Spirit of Laws. London, 1750. Two volumes.<br />

Octavo, period-style full speckled calf gilt. $16,000.<br />

First edition in English of Montesquieu’s classic De L’Esprit Des Loix, an<br />

enormous influence on American and French revolutionary thought,<br />

translated by Thomas Nugent and published just two years after the first<br />

French edition. Very beautifully bound.<br />

“One of the greatest masterpieces of political theory and a pioneering<br />

work in sociology… its emphasis on the separation of powers of government<br />

and on a system of checks and balances profoundly influenced<br />

constitutional thought in both America and France. Indeed, during the<br />

early and later stages of the French Revolution, Montesquieu’s theories<br />

were much more important than those of Rousseau” (McNamara, France<br />

in the Age of Revolution). “His theories underlay the thinking which led up<br />

to the American and French revolutions, and the United States Constitution<br />

in particular is a lasting tribute to the principles he advocated” (PMM<br />

197). Kress 5057. Text generally fresh and clean, binding splendid. An<br />

exceptional copy.<br />

“Sitting By Night In My Secret Study…”: 1672 First<br />

English Translation Of Nostradamus’ Prophecies<br />

143. NOSTRADAMUS, Michel de. The True Prophecies or<br />

Prognostications of Michael Nostradamus. London, 1672. Folio,<br />

contemporary full dark brown mottled calf rebacked. $11,000.<br />

First edition in English of Nostradamus’ famous prognostications,<br />

with scarce engraved frontispiece portrait,<br />

often not present, and bound in contemporary<br />

calf boards.<br />

A physician by trade, Michel de Nostredame “began his<br />

prophetic writings in the early 1540s with a series of<br />

short yearly almanacs in which he made predictions in<br />

verse. The new art of printing gratified a popular demand<br />

for supernaturally acquired ‘certainty,’ and such<br />

almanacs were a common literary production of the<br />

day. It was with Les Prophéties (1555), however, that<br />

Nostradamus became an author of contemporary reputation<br />

and a figure who has had an impact on later history”<br />

(Clute & Grant, 694). By blending scholarly<br />

learning, received folklore and religious sentiment in<br />

richly symbolic, highly poetic and frequently innovative<br />

language—and by crafting veiled commentary on<br />

the celebrities, scandals, warfare and pressing issues of<br />

his day—Nostradamus captured both the public’s<br />

imagination and the French royal family’s patronage. Includes the original French quatrains with accompanying translations<br />

and annotations. Without final blank, as often. Wing N1399. Lowndes, 1708. Early owner signature on title page. Frontispiece<br />

remargined, repair to verso of title page, expert repair to 3R4; a bit of marginal wormholing to a few leaves, text with marginal<br />

dampstaining. Expected age wear to handsome contemporary boards. <strong>Rare</strong>.


“One Of The Major Scientific Contributions Of The First Half Of The 20th Century”<br />

144. NEUMANN, John von and MORGENSTERN, Oskar. Theory of Games and<br />

Economic Behavior. Princeton, 1944. Octavo, original brown cloth, dust jacket,<br />

custom clamshell box. $8000.<br />

First edition of the groundbreaking treatise on game theory, highly influential in<br />

business, economics and the social sciences, in scarce original dust jacket.<br />

“One of the major scientific contributions of the first half of the 20th century”<br />

(Goldstine & Wigner). “It would be doing the authors an injustice to say that theirs<br />

is a contribution to economics only. The scope of the book is much broader. The<br />

techniques applied by the authors in tackling economic problems are of sufficient<br />

generality to be valid in political science, sociology, or even military strategy. The<br />

applicability to games proper (chess and poker) is obvious from the title. Moreover,<br />

the book is of considerable interest from a purely mathematical point of view… The<br />

appearance of a book of the caliber of the Theory of Games is indeed a rare event”<br />

(World of Mathematics II:1267-84). Book fine. Scarce original dust jacket bright and<br />

unfaded, with chipping to spine ends, light rubbing to edges; front panel split by<br />

vertical closed tear, repaired on verso. An extremely good copy.<br />

“A Feeble Body Weakens The Mind”: Illustrated Works Of Jean-Jacques Rousseau<br />

145. ROUSSEAU, Jean-Jacques. Oeuvres Complètes. Paris, 1788-93. Thirty-eight volumes. Quarto, contemporary full brown tree<br />

calf gilt. $12,000.<br />

Superb large-paper complete set of<br />

Rousseau’s works in the original French,<br />

with engraved title pages, 70 full-page illustrations,<br />

and 44 hand-colored botanical<br />

plates, in full contemporary ornately gilt<br />

tree calf.<br />

The thread of Rousseau’s influence as a<br />

philosophical thinker can be traced in almost<br />

every treatise of modern philosophy<br />

even today. His general philosophy focused<br />

on the emotional and passionate side of<br />

man, which he felt was lacking in most<br />

earlier discussions of the human condition.<br />

Rousseau thought that man was essentially<br />

good, a “noble savage” when found in the<br />

“state of nature” (that is, before the advent<br />

of civilization and society), and that people<br />

are made unhappy by an “artificial” and<br />

“corrupt” society. The illustrator, Rococo<br />

artist Jean-Michel Moreau (aka Moreau le Jeune), also produced engravings for the works of Voltaire and provided pen and wash<br />

drawings for Diderot’s famous Encyclopédie. It was his work on Rousseau, however, that influenced his future illustrations—especially<br />

those of stylish contemporary life, depicting “a highly idealized vision of aristocracy based on the philosophy of Rousseau”<br />

(Heller-Greenman). “It is difficult to think of any other artist who illustrated the classical authors of his country on so wide a scale…<br />

His is the greatest name among French illustrators of the 18th century” (Ray, 87). Text in French. Brunet IV, 1442. Graesse VI, 176.<br />

Texts and plates very clean and bright, with only occasional faint spots of foxing. Beautiful contemporary calf with some spine ends<br />

and just a few joints expertly repaired. About-fine condition.<br />

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Sartre On Existentialism<br />

146. SARTRE, Jean Paul. L’Existentialisme est un Humanisme. Paris, 1946. Small<br />

octavo, original paper boards, printed dust jacket, custom clamshell box. $5800.<br />

Limited first edition of Sartre’s popular—and controversial—discourse on existentialism,<br />

the work that firmly established him as one of France’s preeminent intellectuals,<br />

number 172 of 500 copies on fine vellum-paper.<br />

“Sartre must be seen as a major figure of his time… His body of writing has been of<br />

considerable importance in the post-war world, and he himself, both through his<br />

positive contribution to intellectual life and through his questioning of accepted values,<br />

has exerted an undoubted influence on more than one generation” (Reid, 577). This<br />

concise restatement of tenets Sartre had put forth in his major work L’Être et le néant<br />

(1943) “consolidated [his] position as France’s leading existentialist philosopher”<br />

(Blackburn, 339). On October 24, 1946, “Sartre lectured on existentialism in Brussels,<br />

and, four days later, speaking to the Club Maintenant in Paris, he took as his title<br />

‘L’Existentialisme est un humanisme’ [‘Existentialism is a Humanism’]. Women<br />

fainted—partly, perhaps, because of oxygen shortage—and he could scarcely make<br />

himself heard. In the lecture he described T.E. Lawrence as an existentialist, but this<br />

passage is suppressed in the published text” (Hayman, 235-36). Text in French. Interior<br />

pristine. Minor soiling to dust jacket. A fine copy.<br />

“He Loves Ireland Strongly”: 1633 First Edition Of<br />

Edmund Spenser’s View Of The State Of Ireland,<br />

The First Irish History From A Dublin Press<br />

147. SPENSER, Edmund, HANMER, Meredith, and CAMPION,<br />

Edmund. The Historie of Ireland, Collected by Three Learned Authors.<br />

Dublin, 1633. Octavo, contemporary full speckled calf rebacked. $5000.<br />

First edition, third issue, of Spenser’s essay on “the antiquities, art and<br />

customs of the island” of Ireland (Baugh et al., 494), together with first<br />

editions, first issues, of Campion’s History and Hanmer’s Chronicle, in<br />

contemporary binding. The first Irish history to issue from a Dublin press.<br />

Best remembered today as the poet who penned The Faerie Queene,<br />

Spenser also produced several prose works, most important among<br />

them A View of the Present State of Ireland, likely written in 1596 but<br />

not published until this work. “Spenser’s treatise, containing over<br />

60,000 words, is a well-planned dialogue on Irish laws, customs and<br />

military government… The prose style is very fine, simple in syntax<br />

and vocabulary, but with a periodic roll that marks it for the prose of a<br />

poet” (Baugh et al., 493-94). “His essay will always have a certain<br />

interest not only for historians but for students of Spenser’s poetry…<br />

And he gives free rein to those antiquarian interests so characteristic of<br />

his age” (C.S. Lewis). This first edition of Spenser’s View was bound in two different formats: by itself and, as here, with Campion’s<br />

History and Meredith Hanmer’s Chronicle of Ireland. In all formats, Spenser’s View has its own title page, with elaborate woodcut<br />

border. Third issue, with state (2) of the Spenser title page and the four added leaves of “Annotations.” With Johnson’s general<br />

title page (4). STC 25067a. Armorial bookplate. Scattered ink underlining in second half of volume. Expertly repaired closed<br />

tears to leaves 2T2-[2T3], affecting text. Mild marginal dampstaining to first several gatherings and to 2M1-2. Light expert<br />

restoration to contemporary boards. A very good copy.


mary wollstonecraft<br />

“Liberty And Equality For All Humanity”: 1792 First Edition Of Mary Wollstonecraft’s<br />

Landmark Vindication Of The Rights Of Woman<br />

148. WOLLSTONECRAFT, Mary. A Vindication of the Rights of Woman: With Strictures on Political and Moral Subjects.<br />

London, 1792. Octavo, period-style three-quarter brown calf. $17,500.<br />

First edition of this classic work on freedom, equality, and education. Volume I was the only volume published. Most scarce in<br />

contemporary boards.<br />

“Wollstonecraft’s major work caused an outcry when it was published and is hailed as a cornerstone of feminism…. The central<br />

theme of the work on women’s rights was that they should be educated to carry a responsibility in society equal to that of men. In<br />

disagreement with Rousseau… Wollstonecraft urged ‘rational fellowship instead of slavish obedience’” (Legacies of Genius 64). “A<br />

rational plea for a rational basis to the relation between the sexes… Its chief object was to show that women were not the playthings<br />

of men but ought to be their equal partners, which they could be only if they were educated in the same way” (PMM 242). “She was<br />

the first woman to articulate publicly a request for women’s suffrage and coequal education… Although Wollstonecraft is best<br />

known as a feminist thinker, her philosophies are not limited to women’s issues… Wollstonecraft advocates liberty and equality for<br />

all humanity. Advancing arguments for political rights, she argues for the removal of traditional injustices of rank, property, class,<br />

and gender… The key to freedom lies in the reasoning individual conscience, not in laws or dogma… Wollstonecraft adamantly<br />

asserts that education inculcating reason will eventually emancipate all humankind from all forms of servitude (political, sexual,<br />

religious, or economic)” (Great Thinkers of the Western World, 322-327). Volume One was the only volume published. Windle A5a.<br />

ESTC T50903. Text generally fresh and fine. Only very light rubbing to contemporary marbled boards. A handsome fine copy.<br />

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<strong>Section</strong> 5: royaLty<br />

1662 First Folio Edition Of The Workes Of King Charles,<br />

The First Royally Sanctioned Edition Of Eikon Basilike,<br />

In Beautiful Restoration Binding<br />

149. CHARLES I. Basilika: The Workes of King Charles, The<br />

Martyr. London, 1662. Two volumes. Folio, contemporary full black<br />

morocco gilt. $8000.<br />

First folio edition of the works of King Charles I, the first edition directly<br />

approved by Charles II, beautifully printed with three magnificent<br />

double-page copper-engraved plates, engraved frontispiece (by<br />

Hollar) and title, in a sumptuous restoration binding. With a superb<br />

provenance, with bookplates of Viscount Mersey, Walter T. Shirley,<br />

and armorial plates of The Right Honorable Anthony Earle of Kent,<br />

and Thomas Philip Earl of Grey.<br />

“A few hours after the King’s execution, his Eikon Basilike was in the hands of the people… So marvelous was its effect, that<br />

contemporary authorities declare that nothing but the Government’s ingenious and persistent condemnations of the work prevented<br />

an immediate restoration of the crown” (Almack, 3). “The work is a masterpiece in its expression of Charles’ principles… and by<br />

making a martyr of this Stuart king, exercised a considerable influence on English history” (Kunitz & Haycraft, 212). This collection<br />

features the first royally sanctioned printing of the Eikon Basilike. Directly approved by Charles II, this majestic and wide-margined<br />

folio printing was seen as the finest production of the king’s writings. Without the extra and frequently absent leaf with the epitaph;<br />

also without the additional frontispiece, noted in some copies only. Still one of the most complete copies offered. Wing C2075. Madan<br />

65. Text and plates generally fresh and bright, tiny bit of negligible marginal wormholing to several leaves without affecting text,<br />

expert repair to small portion of one joint of Volume II. A beautifully bound copy of this magnificent production with a fine provenance.<br />

Queen Elizabeth’s Copy, With Her Badge Stamped On The Covers<br />

150. (ELIZABETH I) PAUSANIAS. Pausaniae Quinque Regionum Veteris<br />

Graeciae Descriptio. London, 1559. Volume II (of II) only. Thick 16mo (3-1/4 by 5<br />

inches), contemporary full dark brown paneled calf with blind-stamped badge of<br />

Queen Elizabeth in center of both covers, custom cloth clamshell box. $16,500.<br />

Queen Elizabeth’s personal copy of the Pausanias’<br />

Description of Greece (Volume II only), in contemporary<br />

calf binding with her blind-stamped badge<br />

on both covers depicting a Tudor rose bearing a<br />

scroll with the name ‘Elizabeth.’<br />

Pausanias’ Description of Greece provides an eyewitness<br />

account of that country during the 2nd century A.D., with special attention paid to art and architecture,<br />

as well as to the unique mythological, religious, and historical underpinnings of Greek life and<br />

culture. Without Pausanias, “the ruins of Greece would for the most part be a labyrinth without a clue,<br />

a riddle without an answer. His book furnished the clue to the labyrinth, the answer to many riddles. It<br />

will be studied so long as ancient Greece shall continue to engage the attention and awaken the interest<br />

of mankind” (Sir James Frazer). Text in Latin. Woodcut device on title page. Davenport, English Heraldic<br />

Book-Stamps, 161. With photocopy of a letter discussing this volume’s provenance by novelist Elswyth<br />

Thane, dated 1975, laid in. Covers crackled, though Elizabeth’s badge still quite clearly visible; joints<br />

starting, cords holding. Without clasps and catches. Minor worming to a very few leaves; text generally<br />

clean. A very good copy, with extraordinary provenance, most rare and desirable.


From The Library Of Louis XIV, The “Sun King,”<br />

With His Gilt Embossed Armorial Coat Of Arms On<br />

Both Covers, Davila’s Histoire Des Guerres Civiles De France<br />

(Volume II), 1644<br />

151. (LOUIS XIV) DAVILA, Henrico Caterino. Histoire des guerres civiles de<br />

France. Paris, 1644. Tall folio (10 by 14-1/2 inches), contemporary full polished<br />

brown morocco gilt, gilt arms of Louis XIV on covers. $7500.<br />

First edition in French, Volume II (of two) of Davila’s influential history of<br />

French religious civil wars, from the library of French King Louis XIV, the<br />

“Sun King,” in a sumptuous morocco binding displaying his gilt armorial coat<br />

of arms on both covers.<br />

Italian-born Davila was in France when the religious civil wars erupted and<br />

fought there until 1598. On returning home, he began “writing the history of<br />

those civil wars in France in which he had borne a part, and during which he<br />

had had so many opportunities of closely observing the leading personages<br />

and events. The work was completed about 1630…. The success and sale of the<br />

work were immediate and enormous” (Encyclopaedia Britannica). Grasse<br />

II:342. See Brunet II:539; Lowndes, 601. This rare volume from the library of<br />

Louis XIV of France was issued only one year after he assumed the throne at<br />

age four. Initially published in Italian in 1630. With wide gilt-rolled borders and fleur-de-lys cornerpieces enclosing the giltembossed<br />

armorial coat of arms of Louis XIV on both covers. Armorial bookplates. Small bookseller ticket, lightly penciled<br />

notations to front pastedown. Interior fresh with only faint marginal dampstaining mainly to rear leaves, joints starting but<br />

sound, bright gilt boards expertly recornered, upper and lower spine panels skillfully replaced. An extremely good copy of this<br />

splendid volume with a most rare provenance.<br />

Dedication Copy Of Lagarde’s Aeglé, 1751,<br />

Madame Pompadour’s Copy, In Her Armorial Gilt Binding<br />

152. (POMPADOUR, Madame de) LAGARDE, Pierre de. Aeglé, Ballet<br />

en un acte Représenté devant le Roi sur le Théâtre des Petits<br />

Appartemens, a Versailles... Dedié à Madame la Marquise de<br />

Pompadour. Paris, 1751. Folio (11 by 15 inches), contemporary full crimson<br />

morocco gilt rebacked with original spine laid down, boards with<br />

gilt-stamped arms of the Marquise de Pompadour. $8500.<br />

First edition, dedication copy, of the vocal score for Lagarde’s best-known<br />

work, fully engraved. From the library of Louis XV’s powerful mistress,<br />

Madame de Pompadour, the dedicatee of the work and the originator of the<br />

role of Aeglé, in her armorial binding and with a “Versailles” booklabel.<br />

“As an ordinaire de la chambre du roi La Garde was highly regarded by<br />

Louis XV, who made him responsible for the musical training of the<br />

royal children… La Garde’s reputation as a composer was firmly<br />

established when his Aeglé, a pastoral héroïque in one act, was performed<br />

at Madame de Pompadour’s Théâtre des Petits Cabinets in 1748” (New<br />

Grove 10:359). Madame de Pompadour herself played the role of Aeglé.<br />

From the library of Madame de Pompadour, in her armorial binding<br />

and with a “Versailles” booklabel, listed in the Catalogue des Livres de<br />

la Bibliotheque de feue Madame la Marquise de Pompadour (381). The chief official mistress of Louis XV from 1745 until her<br />

death in 1764, Madame de Pompadour was expertly schooled in music and dance: performances at Versailles’ Théâtre des<br />

Petits Cabinets often featured her. Dealer description tipped to front pastedown. Interior quite clean, armorial binding with<br />

mild wear, gilt exceptionally bright. A lovely volume with exceptional provenance.<br />

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Exceedingly <strong>Rare</strong> Volume From The Library Of Marie Antoinette,<br />

With Her Gilt Armorial Coat Of Arms On Both Boards,<br />

First Edition Of Motifs De Ma Foi En Jésus-Christ, 1776<br />

153. (MARIE ANTOINETTE) MUYARD DE VOUGLANS, Pierre-François. Motifs de<br />

ma Foi en Jésus-Christ. Paris, 1776. 12mo (4 by 6-3/4 inches), contemporary full red<br />

morocco, gilt coat of arms of Marie Antoinette to both boards. $11,000.<br />

First edition of 18th-century French criminologist Vouglans’ major work on state and<br />

religious authority, a most rare and exceptional copy from the library of Marie Antoinette,<br />

with her gilt-embossed armorial coat of arms on both boards.<br />

This important 18th-century work on the intersection of sacred and secular law is by<br />

prominent French criminologist and jurist Pierre-François Muyard de Vouglans. A<br />

contemporary of Marie Antoinette and Louis XIV, Vouglans has been described as “the<br />

judicial ‘Hercules’ of the Monarchy (Dworkin), a radical conservative, in favor of the<br />

absolutism and Catholicism as the state religion” (Simonin, Lecture: Stanford Humanities<br />

Center). Migne, Encylopédie Theologique, 946. Gilt-embossed armorial coat of arms of Marie<br />

Antoinette on both boards (Olivier 2508, fer 4). Marie-Antoinette formed two libraries, the<br />

main collection at the Tuileries and a second at the Petit Trianon: details from the binding on this volume indicate it is from the library<br />

at the Tuileries. Most of the books in this library are “said by Brunet to have been bound by a binder named Blaizot. They are usually<br />

covered with red morocco” (Fletcher, 74). After the Revolution, most of the books in the Tuileries collection was placed at the<br />

Bibliotheque Nationale. Bookplate. Minor penciled marginalia to early blank. Interior fresh and clean, tiny bit of repair at corners,<br />

minimal wear to joints, spine ends. An exceptional near-fine copy with a most important provenance.<br />

Very <strong>Rare</strong> Set Of 12 Atlas Folio Maps Of Versailles, Paris And The Surrounding ‘Imperial Hunting Grounds’<br />

154. (VERSAILLES) BERTHIER, Alexandre. Carte Topographique des Environs de Versailles. Paris, 1807. Oblong atlas folio<br />

(32-1/2 by 22 inches), contemporary French half dark green straight grain morocco. $12,500.<br />

First edition of this beautifully illustrated set<br />

of 12 finely detailed atlas folio maps of<br />

Versailles, Paris, and the surrounding towns,<br />

chateaux and countryside, each map measuring<br />

30 inches wide by 16-1/2 inches tall, in<br />

contemporary French marbled boards.<br />

This beautiful collection of maps depicts the<br />

city of Versailles and its eponymous palace, as<br />

well as nearby Paris and the surrounding<br />

countryside. The finely engraved mapwork<br />

was commissioned and overseen by Marshal<br />

Louis Alexandre Berthier, Napoleon’s Chief of<br />

Staff and “most valued assistant” (Britannica,<br />

11th ed.) from 1796 until Napoleon’s defeat<br />

and exile. Berthier was born at Versailles and<br />

his father, Lieutenant-Colonel Jean-Baptiste<br />

Berthier, was an officer in the Corps of<br />

Topographical Engineers who, from 1764-<br />

1773, worked to prepare a map of the hunting grounds in the countryside around Versailles. During the Revolution, the younger<br />

Berthier served as the commander of the Versailles National Guard. In 1807 Napoleon ordered the mapping of the newly styled<br />

‘Imperial Hunting Grounds’ to be finished, and his loyal Chief of Staff produced this lovingly detailed series of maps to finally complete<br />

the work begun by his father. A few minor creases; two small marginal closed tears to final mapsheet, not touching image.<br />

Impressions fresh and crisp. A near-fine copy of this very rare set of maps, in contemporary binding.


marie antoinette<br />

Exceedingly <strong>Rare</strong> Vie Privée Of Marie-Antoinette, 1792-3, Intensely Controversial,<br />

Issued During The French Revolution, With 32 Engraved Plates, Most Licentious,<br />

Attacking The Queen, Her Court And The Monarchy<br />

155. (MARIE ANTOINETTE) ANONYMOUS. Vie Privée, Libertine et Scandaleuse de Marie-Antoinette D’Autriche. [Three<br />

parts]. BOUND WITH: Vie Privée… Nouvelle Édition, augmentée d’un troisième volume. Paris, 1792-93. Together in one volume.<br />

12 mo (3-1/2 by 5-1/4 inches), modern full crushed violet morocco. $11,000.<br />

Anonymously issued Pamphlets, published in Paris at the height of the French Revolution as Louis XVI and Marie Antoinette were<br />

imprisoned, then executed, one of the rarest and most highly controversial works of the era, complete with 32 full-page engravings,<br />

many sexually explicit, bound in full crushed morocco by Wood of London.<br />

This extraordinarily rare work, published in the two years during which Louis XVI and Marie-<br />

Antoinette were arrested and executed, contains 32 engraved plates, many sexually explicit,<br />

portraying Marie-Antoinette as a woman whose wild, unbridled desires sparked revolution. As<br />

queen, she “was the first in France to live at a time when pamphlets and newspapers and other<br />

forms of print publicity were ready to … manufacture news if necessary to satisfy an avid reading<br />

public newly introduced to the thrills of court scandals and revolutionary politics… With the<br />

coming of the Revolution in 1789, the floodgates opened, and a number of pamphlets attacking<br />

the queen rapidly rose in number (Goodman, Marie Antoinette, 3-6, 127). Almost no copies<br />

found complete with 32 engraved plates. Vie Privée (1792) is the second edition of the 1791<br />

two-volume La Cour de Louis XVI dévoilée, a violent libel against Marie-Antoinette. Bound with<br />

first edition of the third part of Nouvelle Édition: issued to augment the first two volumes of the<br />

1792 Nouvelle Édition (not present). Peyrefitte 254. Pia Enger, 1516. Title pages with early owner<br />

signatures. Faintest trace of effaced inscription to frontispiece without affecting plate. Bookplate.<br />

Text and plates clean and fresh, minimal scattered foxing mainly to blank preliminary and<br />

terminal leaves, occasional lightest expert archival repair to margins. About-fine.<br />

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madame de maintenon<br />

The Copy Of Madame De Maintenon, With Her Arms In Gilt On The Covers,<br />

And With A Signed Autograph Letter By Her Laid In: Relation Nouvelle d’un Voyage De Constantinople,<br />

1680 First Edition, With Engraved Illustrations<br />

156. (MAINTENON, Madame de) GRELOT, Guillaume Joseph. Relation Nouvelle d’un Voyage de Constantinople. Paris, 1680.<br />

Quarto, contemporary full polished calf, gilt arms of Madame la Marquise de Maintenon on covers. $13,500.<br />

First edition of this important work, containing the earliest detailed plans of St. Sophia and other monuments in Constantinople,<br />

with 12 (of 13) engraved plates. The copy of Madame de Maintenon, wife of Louis XIV, with her arms in gilt on the covers. Also with<br />

a two-page autograph letter signed, penned entirely in her hand, to the Dike of Noailles, laid in.<br />

Guillaume Joseph Grelot traveled in the Levant and Persia with Jean<br />

Chardin from 1671-76, and provided many of the illustrations for<br />

Chardin’s work on Persia. In Constantinople, Grelot made many drawings<br />

of St. Sophia and other monuments, “the only reasonably accurate<br />

delineations of the building for some 150 years” (Blackmer). Grelot<br />

dedicated this work to Louis XIV. Françoise de Aubigné, Madame la<br />

Marquise de Maintenon (1635-1719) was the second wife of Louis XIV,<br />

whom he married privately in 1685 after the death of his first wife. The<br />

letter, dated Saint-Cyr, 23 août, to Adrien Maurice, duc de Noailles, the<br />

husband of her niece Françoise d’Aubigné, reads in part: “I would write<br />

you all too often if I were to do it every time we hear about you but it is<br />

good to tell you now and again of my delight in the reputation that you<br />

have established and the services that you provide to the King. Continue,<br />

my dear nephew, and believe that nobody is more interested… believe<br />

me, Monsieur, with the esteem and affection that you deserve,<br />

Maintenon.”] Without the panorama. Blackmer 750. Infrequent marginal<br />

pencil marks. A few repaired tears to plates. Light foxing throughout,<br />

chiefly marginal. Joints tender, cords holding firm. An excellent<br />

copy in contemporary calf with distinguished provenance and a fine<br />

autograph letter laid in.


The Copy Of Joseph II, Holy Roman Emperor, Bound In<br />

Contemporary Morocco-Gilt And Bearing His Elaborate Royal Arms<br />

157. (JOSEPH II) MAISONNEUVE, Madame de. Journal des Dames. Paris, 1764.<br />

Slim octavo, contemporary full olive morocco bearing the gilt armorial arms of Emperor<br />

Joseph II. $5000.<br />

First edition of this periodical consisting of works by 18th-century women writers, meant<br />

to encourage further literary pursuits by women. The copy of Joseph II, Holy Roman<br />

Emperor, bound in beautiful morocco-gilt and bearing his royal arms.<br />

The Journal des Dames was a periodical that was published to encourage women to<br />

engage in serious writing pursuits such as poetry and essays. This book was the copy of<br />

Joseph II and is bound in his armorial binding. Joseph II, eldest son of Empress Maria<br />

Theresa and Francis I, ruled as Holy Roman Emperor from 1765 to 1790 and also ruled<br />

the Habsburg lands for the decade leading up to his death. Joseph II’s parentage made<br />

him the first ruler in the Austria dominions of the House of Lorraine. He might well<br />

have proven himself to be a great reformer and proponent of the Enlightenment, had he<br />

not encountered such opposition during his reign. His reason-based reforms, which<br />

included giving rights to serfs, moving toward religious tolerance, reducing censorship, and forcing out the Church, came to be<br />

known as Josephinism. Early red stamp. Interior generally fine, armorial morocco-gilt with only a few minor areas of rubbing and<br />

toning, gilt bright. An exceptional copy in very nearly fine condition, with a magnificent provenance.<br />

With The Gilt-Tooled Armorial Coat Of Arms Of Louis XVI,<br />

Superb French Almanch Royal For The Year 1790<br />

158. (LOUIS XVI). Almanach Royal, Année Commune M.DCC.LXXXX.<br />

Paris, 1790. Octavo, contemporary full French crimson morocco with gilt arms of<br />

Louis XVI, custom morocco clamshell box. $6500.<br />

Royal Almanac for the year 1790, bound in splendid crimson morocco with Louis<br />

XVI’s gilt-tooled armorial coat of arms on both boards, issued amidst the outbreak<br />

of the French Revolution that marked the end of the reign of King Louis XVI and<br />

Queen Marie-Antoinette.<br />

This rare Almanach Royal for 1790, published amidst the eruption of the French<br />

Revolution, contains the gilt-tooled armorial coat of arms of King Louis XVI, who<br />

was born the third son of Louis, the dauphin, and the grandson of Louis XV of<br />

France and of his consort, Maria Leszczynska. The 1789 French Revolution<br />

effectively brought the reign of Louis XVI to an end, culminating in his execution<br />

by guillotine on January 21, 1792 and nine months later that of Queen Marie-<br />

Antoinette. This yearly almanac, which was begun by Laurent d’Houry in 1699,<br />

records the births, marriages and deaths of French royalty, the members and<br />

offices of the Assemblée Nationale, and assembles other fascinating information<br />

concerning the reign of Louis XV and the revolutionary birth of a French Republic. Title page with woodcut-engraved royal coat of<br />

arms. Containing woodcut astronomical symbols head- and tailpieces. Text in French. Olivier, 2436, fer 4. Minor penciled notation<br />

to blank preliminary leaf. Interior fresh, lightest edge-wear to boards. About-fine condition.<br />

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<strong>Section</strong> 6: art and iLLustrated <strong>Books</strong><br />

léon bakst<br />

“A Triumph And A Scandal”:<br />

Three Spectacular Large Original Bakst Theater Posters For<br />

Ballerina Ida Rubinstein’s Performance Of Saint Sebastien,<br />

From Rubinstein’s Own Estate<br />

159. BAKST, Léon. Three original posters (of five) for Le Martyre de Saint<br />

Sebastien, written for famous ballerina Ida Rubinstein. Paris, 1911. Three<br />

works. Large original color lithographic posters, two mounted on stretched<br />

canvas, one mounted on board, all three framed in an antique-style. $36,000.<br />

Three magnificent and extraordinarily rare large original posters by famous<br />

costume designer Léon Bakst advertising the 1911 production of Gabriel<br />

D’Annunzio’s Le Martyre de Saint Sebastien, danced by Ida Rubinstein in<br />

the title role, with choreography by Michel Fokine and music by Claude<br />

Debussy. Only one complete set of these wonderful posters known. Mounted<br />

on stretched canvas and measures 30 by 53 inches each. From Rubinstein’s<br />

own estate.<br />

In keeping with the prevailing Decadent aesthetic in 1911, Italian poet Gabriel<br />

D’Annunzio conceived Le Martyre de Saint Sebastien as a theatrical production<br />

inspired by medieval religious mystery plays—part oratorio, part mime spectacle—with<br />

music by Claude<br />

Debussy. The work was commissioned<br />

by Russian ballerina<br />

Ida Rubinstein, who also<br />

made her reputation within the Decadent style. “An idol of the fin de siècle renowned<br />

for her beauty and mimetic powers,” Rubinstein danced to the racy and<br />

provocative choreography of Fokine, who “capitalized on her gestural expressiveness<br />

and sexual daring, while presenting her as an actress in a setting of perfumed<br />

beauty” (Lynn Garafola). The magnificent scenery and costumes were created by<br />

Léon Bakst, “who defected temporarily from Diaghilev’s Ballets Russes to apply his<br />

sensuous curves and colors to an enterprise that was well in tune with his Russian<br />

variant of the Decadent style” (Anna Kisselgoff).<br />

These magnificent posters by Bakst, advertising Le Martyre de Saint Sebastien,<br />

depict two images of seers, and one of a justice. Crayoned in bold strokes directly<br />

on the lithographic stones, Bakst’s costume designs exemplify “his feeling for<br />

synthesis, and his impeccable instinct for harmony” (Levinson). These three<br />

posters are from a suite of five, the lettering at the bottom of which, when placed in<br />

the proper order, spell out “Le Martyre de Saint Sebastien.” These posters read as<br />

follows: “Le Mar,” “Saint,” and “stien,” indicating that they are the first, third and<br />

fifth posters in the suite. Only one other set of Sebastien posters has been recorded—<br />

by the Library of Congress (all five posters). Accompanied by a show program in<br />

original wraps for the Ballet, featuring photographs of the Rubinstein and others<br />

and reproductions of Bakst drawings. This set was part of Rubinstein’s own estate.<br />

Original lettering (probably gray or silver) faded to black, expert restoration to all<br />

three panels. Beautifully framed in antique style, extremely scarce and quite<br />

extraordinary.


marc chagall<br />

Inscribed By Chagall: “The Very Hues Of Man’s Lost Eden”:<br />

First American Edition Of Chagall’s Second Series Of Bible<br />

Illustrations, With 96 Heliogravures And 24 Color Lithographs<br />

160. CHAGALL, Marc. Drawings for the Bible. New York, 1960. Folio (10-1/2<br />

by 14-1/2 inches), original pictorial boards, dust jacket. $18,500.<br />

First American edition of Chagall’s second series of illustrations for the Bible,<br />

with 96 black-and-white heliogravures, as well as 24 color lithographs prepared<br />

by Chagall especially for the present work and printed by Mourlot Frères,<br />

inscribed, “To Shirley and Jack Mandel, Marc Chagall, N.Y. 1963.”<br />

This breathtaking blend of Chagall’s childhood experience of the world of the<br />

Hebrew Bible as “another world that still existed behind the world of workaday<br />

reality” began with his experience in Palestine during a 1931 trip. His illustrations<br />

constitute an “astonishing unity of word and image, of visual representation and<br />

nonvisual suggestion… The picture is not there to cover, sustain or adorn the event,<br />

but to report it plainly and yet in all its temporal and eternal significance… Chagall’s<br />

Bible etchings have the same religious force as the Bible itself” (Meyer, 383, 388,<br />

393). The massive undertaking occupied Chagall off and on from 1931 to 1956, and<br />

again between 1958-59 (this edition). Cramer 42 (French edition). Sorlier 75. Expert<br />

restoration to edges of book and dust jacket.<br />

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joan miró<br />

“Enchanting Chromatic Poetry”:<br />

Miró’s Posters, Inscribed And Signed By The Artist<br />

With Wonderful Original Color Drawings<br />

161. (MIRÓ, Joan) CORREDOR-MATHEOS, J. Miró’s Posters.<br />

Catalogue of the posters by Gloria Picazo. Secaucus, New Jersey,<br />

1980. Quarto, original beige paper boards, dust jacket. $17,000.<br />

First American edition of this catalogue raisonnée of 60 years of<br />

Miró’s poster art, with wonderful colored crayon drawing by Miró<br />

across the entire title page spread and inscribed: “Pour Paul Pierre,<br />

amicalement, Miró! 5/IV/81.”<br />

“What is there in a picture by Miró that casts such an irresistible spell<br />

over the spectator?… It is a dreamworld transcribed by a master<br />

technician… A poetry of the unutterable, of the unreal, of germinations<br />

and beginnings, is the secret of his power” (Hazan, 187-188).<br />

With essays by art critic José Corredor-Matheos and a detailed catalogue<br />

of 119 Miró posters, complete with color reproductions.<br />

Published in the same year in a Spanish edition. Fine condition, extremely<br />

scarce inscribed by Miró and with his trademark drawings.


Costumes For Tchaikovsky’s Sleeping Princess, With 56 Mounted<br />

Color Plates By Léon Bakst And A Portrait Of Bakst By Picasso<br />

162. BAKST, Léon. Designs of Léon Bakst for The Sleeping Princess. New York,<br />

1923. Folio, original half gilt-stamped vellum, new patterned endpapers, uncut; custom<br />

cloth slipcase. $4500.<br />

Limited first edition, one of 500 copies in the American issue (total edition of 1,000),<br />

with 56 mounted color plates by Bakst (54 of costumes and sets, with letterpress<br />

tissue-guards), and a lithographic pen-and-ink portrait of Bakst by Picasso.<br />

A gifted painter, Bakst is best remembered for the sets and costumes he designed for<br />

Diaghilev’s Ballet Russes in the early decades of the 20th century. His exotic and<br />

sumptuous designs, in conjunction with Diaghilev’s radical and provocative<br />

choreography, helped revitalize ballet and lay the framework for modern interpretive<br />

dance. “The original version of The Sleeping Princess, at Saint-Petersburg, was due to<br />

the collaboration of Marius Petitpa, master of the ballet, Vsevolojskoi, the director of<br />

the Imperial Theatres, and Tchaikovsky, the composer of the score… Bakst’s greatest<br />

claim to theatrical glory lies in his feeling for synthesis, in his impeccable instinct for<br />

harmony” (Levinson). A few faint spots of foxing to plate mounts and text, shallow<br />

staining to edges of text block, only faint minor soiling to binding. A near-fine copy.<br />

A gifted painter, Bakst is best remembered<br />

for the sets and costumes<br />

he designed for Diaghilev’s<br />

Ballet Russes in the early decades<br />

of the 20th century. His exotic<br />

and sumptuous designs, in conjunction<br />

with Diaghilev’s radical<br />

and provocative choreography,<br />

helped revitalize ballet and lay<br />

the framework for modern interpretive<br />

dance. It was the Ballet Russes that first brought Tchaikovsky’s Sleeping<br />

Beauty (renamed Sleeping Princess) to the west in 1921, featuring scenery and<br />

costumes by Bakst. “Bakst’s greatest claim to theatrical glory lies in his feeling for<br />

synthesis, in his impeccable instinct for harmony” (Levinson). Plates and text<br />

fine, fragile original wrappers in exceptionally fresh condition. Expert restoration<br />

to original slipcase, with cap renewed. An extraordinary copy.<br />

Ballet Russe Costumes: Tchaikovsky’s “Sleeping Beauty,”<br />

Signed By Bakst, With 56 Mounted Color Plates By Bakst<br />

And Portrait Of Bakst By Picasso<br />

163. BAKST, Léon. L’Oeuvre de Leon Bakst pour La Belle au Bois Dormant.<br />

Paris, 1922. Large folio, original limp paper covers, slipcase. $7500.<br />

Signed limited first French edition, one of only 500 copies signed by both Bakst and<br />

publisher Maurice de Brunoff, with 56 mounted color plates (54 full-page costumes<br />

and sets for the Ballet Russes, with letterpress tissue-guards), and a portrait of<br />

Bakst by Picasso. Presentation copy, inscribed by the editor and publishe:, “á<br />

Monsieur René Goutchot, amateur de beaux livres, tres amical et respectueux hommage<br />

de l’editeur. Jacques de Brunhoff, 31 Decembre 1930.” A fine uncut copy.<br />

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Original Edward Borein Engraved Plate<br />

Splendidly Illustrated By Barbier<br />

164. BARBIER, George. Guirlande des Mois. Paris, 1916-21. Five<br />

volumes. 16mo, original illustrated silk gilt, dust jackets, slipcases,<br />

custom clamshell box. $6000.<br />

First editions of the complete series of five years of this almanac,<br />

beautifully illustrated with 31 pochoir color plates by George Barbier<br />

in his characteristic Art Deco style, and five color title page vignettes.<br />

The designs in this charming production are the work of Art Deco<br />

legend George Barbier, who began his career as a costume and set<br />

designer for the Ballet Russes and later created décors and costumes<br />

for music-halls, movies and the Folies Bergère. Renowned for his<br />

fashion illustrations for the leading magazines of the time, including<br />

the Gazette du Bon Ton and Vogue, his artistic style is recognized by a<br />

characteristically elegant, stylized line with some classical Greek<br />

influence. In addition to the six beautiful pochoir color plates and title<br />

page in each volume (seven plates in Volume II), Barbier also illustrated<br />

the bindings (in color), dust jackets, and title pages, and created<br />

numerous in-text line drawings. Text in French. Without slipcase for<br />

Volume two. Illustrations lovely, bright, and fine. Light wear and a few<br />

minor expert repairs to dust jackets, inner hinges and slipcases. A<br />

scarce, near-fine complete set.<br />

165. BOREIN, Edward. Hopi Boys. No place (likely Santa Barbara, CA), circa 1935. Original etched plate, proof impression<br />

mounted opposite in custom morocco clamshell box. $7500.<br />

Original printing plate etched by renowned western/cowboy artist Edward Borein, mounted in handsome full morocco-gilt<br />

clamshell box with a proof impression of the plate mounted opposite.<br />

Known primarily for his paintings and drawings of cowboys,<br />

Native Americans, and the horses and cattle they relied<br />

on for their livelihoods, Borein’s pen-and-ink drawings<br />

appeared in Harpers, Colliers Weekly, Sunset Magazine, The<br />

Saturday Evening Post, and in popular advertisements.<br />

“Borein lived his artistic life, working first as a cowboy on<br />

cattle ranches, doing a true day’s work as a skilled cowpuncher.<br />

The people he drew, though they existed in his<br />

imagination, were well founded in reality, particularly the<br />

Indians who once rode freely over the West and across<br />

America’s desert land, and cowboys who mustered cattle of<br />

a long-horned breed that no longer roam the range lands of<br />

the United States. All types of riders were shown using the<br />

animals that Borein drew with skill unmatched by any<br />

other artist anywhere, at any time—cattle and ‘Western’<br />

horses” (Galvin, i). Borein’s fine etchings have become increasingly<br />

collectible and sought-after over the years. This<br />

is the second state of “Hopi Boys,” number 187 in the<br />

Galvin’s catalogue of Borein’s etched works. Fine condition.


“There Was No Better Model For Me… Than The Universe”<br />

166. (CALDER, Alexander) PRÉVERT, Jacques. Fêtes. Paris, 1971. Large folio<br />

(14 by 19 inches), 12 loose gatherings containing seven color aquatints, as issued<br />

in illustrated stiff paper wrappers and cloth<br />

clamshell box. $12,000.<br />

Beautiful limited “edition originale,” one of only<br />

225 copies, of Jacques Prévert’s Fêtes, with cover<br />

illustration and seven stunning, deeply etched<br />

color aquatints by Calder, signed in pencil by<br />

both Calder and Prévert. A beautiful production<br />

in fine condition.<br />

Calder’s development into abstraction was largely<br />

influenced by the work of Piet Mondrian, from<br />

whom Calder adopted a “spartan palette” of brilliant<br />

primary colors, black and white. The seven<br />

striking lithographs in this edition reflect this<br />

style while intimating the symbolism and movement<br />

of Calder’s other work, particularly his famous<br />

mobiles. With their bold star, moon, and<br />

spiral images, these striking aquatints are in<br />

keeping with Calder’s artistic vision: “From the beginning of my abstract<br />

work… I felt there was no better model for me to choose than the Universe” (DAB). “When an artist explains what he is doing,” he<br />

wrote in 1937, “he either has to scrap what he has explained, or make subsequent work fit in with the explanation.” His large, bold<br />

abstract aquatints for Prevert’s Fêtes require no explanation. Text in French. Logan 152. A fine copy, with only a slight scuff to<br />

corner of original box.<br />

Signed By Vollard, With An Original Etching By Cézanne<br />

167. (CÉZANNE, Paul) VOLLARD, Ambroise. Paul Cézanne. Paris, 1914.<br />

Folio (10-1/2 by 13-1/2 inches), contemporary half blue morocco gilt, inlaid<br />

wooden boards (original wrappers bound in). $5500.<br />

Signed limited first edition of Vollard’s illustrated biography of Cézanne, one of<br />

only 150 copies on Japon paper (of a total edition of 1000), this copy labeled<br />

“Exemplaire d’Auteur” and signed by Vollard, with an original etching entitled<br />

“Tête de Femme” by Cézanne. Bound with inlaid wooden boards by B.A.<br />

Martin.<br />

In 1893 Henri-Louis-Ambroise Vollard opened a gallery at the center of the<br />

Parisian art market. Regarded as one of the most important dealers in French<br />

contemporary art at the beginning of the 20th century, this “shrewd patron<br />

and publisher” shaped the careers of such groundbreaking artists as Cézanne,<br />

Maillol, Bonnard, Matisse, Renoir, Picasso, Rouault, Gauguin and Van Gogh.<br />

He arranged Cézanne’s first one-man show—“possibly the most important<br />

exhibition of the 1890s. Cézanne’s work was virtually unknown in Paris at the<br />

time, and Vollard took a significant financial risk in showcasing the 150<br />

paintings that he displayed. The exhibition proved to be a success; many of<br />

the works sold, Cézanne’s place in the pantheon of modern art was firmly<br />

established, and Vollard soon became the leading contemporary art dealer of<br />

his generation… playing a key role in shaping the history of modern art”<br />

(Metropolitan Museum of Art). Text in French. The original Cézanne etching<br />

was undoubtedly struck posthumously from the original plate. A near-fine<br />

copy, with only light soiling to bound-in original wrappers.<br />

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Boldly Signed By Chagall, With An Original Lithograph<br />

168. CHAGALL, Marc. Le Plafond de l’Opéra de Paris. Monte Carlo, 1965.<br />

Quarto, original red cloth, dust jacket, acetate, slipcase. $5500.<br />

First edition of this richly illustrated history of Chagall’s designs for the ceiling of<br />

the Paris Opera, boldly signed by him on the half title, with an original lithographic<br />

frontispiece and a poster-sized color plan for the ceiling in a pocket at the rear.<br />

In 1963 Chagall was commissioned by France’s Minister of Culture, André<br />

Malraux, to paint a new ceiling for the Paris Opera. His choice of Chagall,<br />

however, caused enormous controversy. Many felt a ceiling painted by a modern<br />

artist would clash with the Baroque style of the rest of the theater.<br />

Nevertheless, Chagall designed a sumptuous ceiling, drawing inspiration from<br />

the works of composers<br />

Mozart, Wagner,<br />

Mussorgsky, Berlioz<br />

and Ravel. This detailed<br />

documentary<br />

contains dozens of color lithographic sketches and preliminary designs,<br />

as well as an original lithographic frontispiece and a postersized<br />

color plate of the final plan for the ceiling. Following its successful<br />

unveiling, Chagall remarked on his intention, “Up there in my<br />

painting I wanted to reflect, like a mirror in a bouquet, the dreams<br />

and creations of the singers and musicians, to recall the movement of<br />

the colorfully attired audience below, and to honor the great opera<br />

and ballet composers.” Text in French. Cramer 61. Sorlier 88. Sorlier<br />

Collection 434. A fine signed copy.<br />

“A Master Of The Fantastic And Exotic”<br />

169. (DULAC, Edmund) ANDERSEN, Hans Christian. Stories from<br />

Hans Andersen. London, 1911. Folio, original full vellum gilt. $4800.<br />

Signed limited edition, one of 750 copies signed by Dulac, with 28<br />

wonderful mounted color plates, bound in original vellum-gilt.<br />

“Dulac was one of the central illustrators of the Edwardian period, a time<br />

when fantasy illustration reached a peak of sophistication”<br />

(Clute & Grant, 300). “Dulac remained true to the medium of<br />

watercolor, and the critics were unanimous in their praise. He<br />

was recognized as an illustrator of first rank, a master of the<br />

fantastic and exotic, and ‘a dreamer of extraordinary dreams’…<br />

Among the 28 color plates in [this volume] are several of the<br />

artist’s most loved and celebrated illustrations: ‘The Little<br />

Mermaid,’ ‘The Emperor’s New Clothes’ and ‘The Princess and<br />

the Pea’” (Dalby, 82-83). This collection also includes “The<br />

Wind’s Tale,” “The Nightingale” and “The Snow Queen.”<br />

Without silk ties. Hughey 27b. Bookplate. Plates fine, occasional<br />

mainly marginal soiling, original vellum unusually<br />

lovely with only tiny crack to bottom edge. An exceptional<br />

copy in near-fine condition.


“The Greatest Book Arts Work Ever Produced In<br />

The United States”<br />

170. (KENT, Rockwell) MELVILLE, Herman. Moby Dick or<br />

The Whale. Chicago, 1930. Three volumes. Quarto, original<br />

black cloth silver-stamped in a design by Kent, acetate dust<br />

jackets, aluminum slipcase. $16,000.<br />

Limited first edition of Rockwell Kent’s masterpiece and one of<br />

the most famous American illustrated books of the 20th century,<br />

one of only 1000 copies, with 280 magnificent wood-engravings<br />

by Kent, many full-page, in original aluminum slipcase.<br />

Spurned by critics and readers when published in 1851, Melville’s<br />

Moby Dick resurfaced in the 20th century as one of America’s<br />

greatest novels—due in no small part to this edition, “heralded<br />

by various critics as the greatest book arts work ever produced in<br />

the United States” (Stanley Collection 33). His prior experiences<br />

as a ship’s carpenter; his explorations of the waters about Tierra<br />

del Fuego in a small boat; his sojourns in Newfoundland, Alaska<br />

and Greenland—these varied experiences all contributed to<br />

Kent’s achievement here, “his best-known contribution to<br />

popular American culture. In black and white, he created a<br />

universe of emblems and symbols that incorporated elements of<br />

both realism and abstraction” (Wien, 134). Rockwellkentiana, 62. The Artist and the Book 140. Minor loss to edges of original acetate<br />

dust jackets; paper restoration to flaps. Usual minor abrasions to original aluminum slipcase. A fine copy of a magnificent production,<br />

a landmark in American book arts and an impressive highlight of Kent’s distinguished career.<br />

Jerusalem Windows, Boldly Inscribed By Chagall,<br />

With Two Original Color Lithographs<br />

171. CHAGALL, Marc. Vitraux pour Jerusalem. Monte Carlo, 1962. Folio,<br />

original gray silk, dust jacket, acetate, slipcase. $9800.<br />

First French edition of Chagall’s Jerusalem<br />

Windows, boldly inscribed by Chagall<br />

and dated 1965, with two original fullcolor<br />

lithographs specially prepared by<br />

Chagall for this edition and with numerous<br />

beautiful color lithographic reproductions<br />

of the artist’s work<br />

Illustrated are various drafts as well as<br />

the final versions of the 12 stained glass<br />

windows (one for each of the tribes of<br />

Israel) and designed by Chagall for the<br />

synagogue of the Hadassah-Hebrew<br />

University Medical Center. Issued the<br />

same year as the very similar English-language edition titled<br />

Jerusalem Windows. Text in French, See Sorlier, Chagall 78;<br />

Sorlier, Chagall Lithographs 365-66; Cramer 49. Small notation<br />

to corner of slipcase. A fine inscribed copy.<br />

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man ray<br />

“Amongst The Greatest Photographs Of The 20th Century”:<br />

Man Ray’s Photographs, 1934, Inscribed By Him To Fellow Photographer Charles Fraser<br />

172. MAN RAY. Man Ray Photographs 1920-1934 Paris. Hartford, Paris and New York, 1934. Tall quarto, original spiral<br />

bound color-photographic stiff paper wrappers, custom chemise and clamshell box. $18,000.<br />

First edition, second issue, of Man Ray’s first photobook, inscribed to a<br />

fellow photographer: “For Charles Fraser with compliments of Man Ray<br />

Paris 1960,” with 104 rich heliogravures of his photographs and<br />

Rayographs, “regarded by some as amongst the greatest of the 20th<br />

century” (Parr & Badger).<br />

“This was Man Ray’s first monograph, and his friends pulled out all<br />

the stops to herald it” (Roth, 80). It contains poetry and essays by the<br />

leading figures of the Dada and Surrealist movements: André Breton,<br />

Paul Éluard, Marcel Duchamp (written under his famous pseudonym<br />

“Rrose Selavy”) and Tristan Tzara. “Man Ray’s work introduced a<br />

particular note [to Surrealism], since he used photography and<br />

recognized early on that this medium could reproduce the effects of<br />

object-based art in two-dimensional form. Photography was in a<br />

position to preserve the ordinary and to unleash surreal effects” (Icons<br />

of Photography, 26). Text in English and French. First edition, second<br />

issue, with the fictitious “Second Edition” on the cancel title page<br />

placed there by the publisher, who “attempted to generate demand<br />

where none existed by suggesting the edition had sold out” (Roth, 80).<br />

A beautiful copy in about-fine condition.


“A Dreamworld Transcribed By A Master<br />

Technician”: Original Signed Miró Portfolio,<br />

With Six Folio Color Lithographs<br />

173. MIRÓ, Joan. Céramiques Monumentales de Miró<br />

et Artigas. Paris, 1963. Slim folio, original pictorial<br />

wrapper, five loose gatherings (as issued), paper chemise<br />

and slipcase, custom clamshell box. $7500.<br />

Signed limited edition of this special issue of Derrière le<br />

Miroir devoted to the ceramic designs of Miró and his<br />

teacher Llorens Artigas, one of only 150 copies signed by<br />

Miró in pencil, with six original color lithographs (a<br />

triple-plate, two double-page plates, and three single<br />

plates).<br />

“What is there in a picture by Miró that casts such an<br />

irresistible spell over the spectator?… It is a dreamworld<br />

transcribed by a master technician… A poetry of the<br />

unutterable, of the unreal, of germinations and beginnings,<br />

is the secret of his power” (Hazan, 187-88). Attracted by the medium of ceramics, Miró looked to his friend<br />

Josep Llorens Artigas as his teacher in this art form. The collaboration between the two, which began in 1944,<br />

was one of the most fruitful symbioses in contemporary art. This splendid portfolio of six original Miró<br />

lithographs comprise a special issue of the art magazine Derrière le Miroir devoted to avant garde ceramics,<br />

published by French gallery owner Aimé Maeght. Designed as an art object in itself, sumptuously illustrated with original<br />

lithographs and presented in a large format, Derrière le Miroir eventually served as the catalogue for exhibitions held at the gallery.<br />

Text in French. Cramer 83. Portfolio and chemise fine, light soiling to original slipcase only. A splendid limited edition.<br />

“The Mexican Suite”: Ten Magnificent Large Folio Original<br />

Signed Lithographs By David Siqueiros<br />

174. SIQUEIROS, José David Alfaro. “The Mexican Suite.” Paris, 1968.<br />

Very large folio (20-1/2 by 27 inches), 10 loose lithographs, cloth clamshell<br />

box. $14,000.<br />

Signed limited issue, number 145 of only 300 sets, of Siqueiros’ striking<br />

suite of large folio color lithographs depicting social conditions during<br />

the Mexican Revolution, each impression numbered and signed by<br />

Siqueiros in pencil.<br />

Siqueiros focused on dynamic revolutionary themes, rooted in the Spanish<br />

Civil War and the Mexican Revolution, in which he personally participated.<br />

The 30-year period of 1920-50 has been called the Mexican Mural<br />

Renaissance, and he was a key figure in an attempt to establish an indigenous<br />

art that would be at the same time universal (see Philip Stein, 14-16).<br />

This is Siqueiros’ “Mexican Suite,” complete with ten bold and vividlycolored<br />

lithographs of contorted and emotional figures, reflecting the social<br />

and polemical issues of his time. His use of montage, along with photographs<br />

and the air-brush, created the illusion of movement, which has<br />

become a “signature aesthetic in his work… [and] a characteristic which in<br />

his best known works places him among the masters of the line in this<br />

century” (Margarita Nieto). Without the accompanying text booklet. Fine<br />

condition. Scarce.<br />

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“A Night Of Ghostly Gondolas,<br />

Chasing Specks Of Stars In Dim Canals…”<br />

176. (VENICE) SMITH, F. Hopkinson. Venice of To-day.<br />

New York, 1896. Ten portfolio volumes. Large folio (16-1/2 by<br />

21 inches), original cloth, plates and text loose as issued, custom<br />

half morocco slipcase. $3500.<br />

Autograph edition, one of only 540 sets signed by the author/<br />

artist, with 20 color and 21 black-and-white plates and over<br />

160 in-text illustrations (many in color).<br />

F. Hopkinson Smith was known as much for his art as for his<br />

writing, and often combined the two in delightful travelogues.<br />

“I have made no attempt in these pages to review the splendors<br />

of the past… I have contented myself rather with the Venice<br />

that you see in the sunlight of a summer’s day; the<br />

Venice that bewilders with her glory when you<br />

land at her water-gate; that delights with her color<br />

when you idle along the Riva; that intoxicates<br />

with her music as you lie in your gondola adrift<br />

on the bosom of some breathless lagoon; the<br />

Venice of mould-stained palace, quaint caffe and<br />

arching bridge; of fragrant incense, cool, dimlighted<br />

church and noiseless priest; of strongarmed<br />

men and graceful women; the Venice of<br />

light and life, of sea and sky and melody.” First<br />

published in 1895; later issued under the title of<br />

Gondola Days. Plates and text fine, with only occasional<br />

very minor foxing. Lovely original<br />

boards in exceptional condition, with only the<br />

most minor wear. A wonderful production.<br />

Strutt’s English Costumes,<br />

With 153 Lovely Hand-Colored Plates<br />

175. STRUTT, Joseph. A Complete View of the Dress and Habits of the<br />

People of England. London, 1842. Two volumes. Quarto, contemporary<br />

three-quarter brown morocco gilt. $3200.<br />

Expanded edition of this treasury of English costume beginning with<br />

the Saxons, illustrated with 153 hand-colored copper-engraved plates<br />

of costumes, armor, seals, and everyday objects.<br />

Strutt’s superb plates reproduce portraits of English personages from<br />

illuminated manuscripts in the British Museum and the Bodleian<br />

Library, along with richly hand-colored reproductions of the costumes,<br />

arms, seals, and other interesting objects particular to various English<br />

peoples from the time of the Saxons to the close of the 17th century. First<br />

published in 1796-99, this “new and improved edition” was issued with<br />

153 plates, in both uncolored and hand-colored versions. A few plates<br />

bound out of sequence, as issued. Without plate 108; with two copies of<br />

plate 110. Colas 2825. Hiler, 820. Lipperheide 1001. Armorial bookplates.<br />

Plates and text generally fine, contemporary binding lightly worn. A<br />

handsome copy.


Oscar Wilde/Black Sun Press First Edition<br />

177. WILDE, Oscar. L’Anniversaire de l’Infante. Illustrations par<br />

Alastair. Paris: The Black Sun Press, 1928. Folio, original cream paper<br />

wrappers, glassine, slipcase. $8500.<br />

<strong>Rare</strong> limited deluxe first edition, number II of only 10 copies on Japon<br />

Impérial out of 110 printed, with nine full-page illustrations by Alastair<br />

and published by Harry and Caresse Crosby’s Black Sun Press.<br />

This special edition of Wilde’s “The Birthday of the Infanta,” originally<br />

published in English in The House of Pomegranates in 1891, was designed<br />

entirely by Alastair, with nine full-page and numerous marginal<br />

illustrations by him. “Alastair” was the pseudonym of Baron Hans<br />

Henning Voight, German-born artist, dancer and mime, who derived<br />

his provocative style of illustration directly from Aubrey Beardsley. His<br />

pictures are known for their combination of “decorative elegance with a<br />

fascination with the perverse, sinister and satanic” (Peppin &<br />

Micklethwait). Caresse and Harry Crosby’s Black Sun Press “is one of<br />

those happy combinations of husband and wife working together,<br />

which always lend added charm to a private press and they make a<br />

point of providing interesting illustrations” (Ransom, 178). With<br />

forward by Harry Crosby. Text in French. Book fine, illustrations vivid<br />

and beautiful. Only light edge-wear to original glassine and slipcase. A<br />

fine copy. <strong>Rare</strong>.<br />

“Destined To Revolutionize Architectural Thought”<br />

178. WRIGHT, Frank Lloyd. Buildings, Plans, and Designs. New York,<br />

1963. Large folio (16 by 25-1/2 inches), 100 loose plates as issued in original<br />

half black cloth portfolio with ribbon ties, accompanying text in original<br />

self-wrappers, shipping carton. $4500.<br />

First edition in English of Frank Lloyd Wright’s first major publication,<br />

number 496D of 2600 copies—a grand portfolio of one hundred large folio<br />

plates of Wright’s earliest designs, including the Frederick C. Robie house<br />

(1909), “the finest of the Prairie houses.”<br />

The first period of Wright’s career “was one of bold invention and public<br />

acclaim. It reached its climax in 1910 with the [German] publication of his<br />

architectural drawings in an extraordinary pair of portfolios.” Buildings,<br />

Plans and Designs remained for many years virtually unknown in America,<br />

because a fire in 1914 had destroyed, not only Wright’s home at Taliesin, but<br />

also that portion of the 1910 printing intended for American distribution.<br />

Wright authorized the publication of this edition in 1958, just a year before<br />

his death. Included are designs for 70 buildings and projects between 1893<br />

and 1909, including the W.H. Winslow house (1893), the Unity Temple at<br />

Oak Park (1906) and the Frederick C. Robie house (1909), which “has<br />

generally been regarded as the finest of the Prairie Houses” (Roth, 463).<br />

“Entire schools of architectural design and thought were in many cases<br />

founded on individual buildings or ideas presented in this folio” (Sweeney).<br />

Sweeney 87. Plates fine; faintest toning to booklet wrapper. A fine copy of an<br />

impressive production, scarce in the original shipping carton.<br />

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<strong>Section</strong> 7: Children'S literAture<br />

louisa may alcott<br />

One Of The Most Sought-After Of American Children’s <strong>Books</strong>:<br />

First Editions Of Both Parts Of Little Women, In Original Cloth<br />

179. ALCOTT, Louisa May. Little Women; Or, Meg, Jo, Beth and Amy. WITH: Little Women, Part Second. Boston, 1868-69.<br />

Two volumes. 12mo, original gilt-stamped terra-cotta cloth. $18,500.<br />

First edition, first issue of Little Women, “an outstanding achievement of 19th-century American literature,” together with the first<br />

edition, mixed state of Little Women, Part Second, in original gilt-decorated cloth.<br />

Published separately in consecutive years, the first part of Little Women “did not sell at first. Part Second was therefore also issued in<br />

a small edition, but it went like wildfire, and pulled Part First along with it” (Grolier 74). The original issues of each part are therefore<br />

quite rare. Each volume is illustrated with a frontispiece and three plates; those in the first part of Little Women were created by the<br />

author’s sister, May. First issue of Little Women with all points, including Little Women priced at $1.25 in terminal advertisements; Part<br />

Second is mixed state, with notice about Part First on page [iv] and four entries on page [364] as in second state, and with “Handy<br />

Volume Series” followed by diamond rule and notice of intent to publish at top of page [366] as in fourth state. BAL 158, 159. Grolier,<br />

American 100 74. Old gift inscriptions, owner signature. Little Women expertly recased. Little Women, Part Second with expert<br />

reinforcement to first signature. Cloth with expert restoration, gilt bright.


lewis carroll<br />

“The Greatest Of All English Stories For Children”:<br />

Beautifully Bound First Editions Of Alice’s Adventures In Wonderland And<br />

Through The Looking-Glass, With Original Cloth-Gilt Bound In<br />

180. CARROLL, Lewis. Adventures in Wonderland. WITH: Through the Looking-Glass, and What Alice Found There.<br />

London, 1866, 1872. Two volumes. Octavo, mid 20th-century full red morocco gilt. $22,000.<br />

First editions of “the greatest of all English stories for children,” finely bound by Bayntun Riviere in matching full morocco-gilt,<br />

with original cloth bound in at the end of each volume.<br />

“Historians of children’s literature universally agree that the publication of Alice’s Adventures in Wonderland marks the liberation<br />

of children’s books from the restraining hand of the moralists… The two Alice books… completed the reinstatement of the<br />

imagination, so long disapproved of by the opponents of fairy stories, to its proper place” (Carpenter & Prichard, 102). The first<br />

published and authorized English edition of Alice’s Adventures in Wonderland, preceded only by the extraordinarily rare suppressed<br />

1865 London edition, of which only about 20 copies are known to exist, and the scarce New York edition of 1866. First edition, first<br />

issue of Through the Looking-Glass, with “wade” on page 21. Lewis Carroll Handbook 46 and 84. Williams 46. Muir, 139. A fresh<br />

fine set with only minor repair to gutter of last leaf of Wonderland. A beautifully bound pair of volumes.<br />

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c.s. lewis<br />

“The Most Sustained Achievement In Fantasy For Children By A 20th-Century Author”:<br />

Scarce Complete First Edition Set Of C.S. Lewis’ Chronicles Of Narnia<br />

181. LEWIS, C.S. Chronicles of Narnia. London, 1950-56. Together, seven volumes. Octavo, original colored<br />

cloth, dust jackets, custom clamshell box. $49,000.<br />

First editions of all seven books in Lewis’ cherished Chronicles of Narnia, “intoxicating to all but the most relentlessly<br />

unimaginative of readers,” all in original dust jackets. Generally excellent condition.<br />

“The stories are unforgettable not only for the excitement and suspense of the adventures but also for the strong<br />

emotions they describe so well… [and they are] further enriched by Lewis’ skillful use of language” (Silvey, 406).<br />

Unlike most fantasy series, “each book has something new and different to offer and there is no weakening of either<br />

inspiration or interest” (Eyre, 132). All seven books were “illustrated by Pauline Baynes in delightful fashion. She was<br />

also responsible for the now amazingly rare gray dust wrapper” of the first book (Cooper & Cooper, 206). “Adored by<br />

children and academics alike, these books are extremely collectible, sought-after and scarce” (Connolly, 186). Fantasy<br />

and Horror 5-176. Owner signatures, gift inscriptions. <strong>Books</strong>ellers’ small tickets in Dawn Treader and Horse. Small<br />

inkstamp to rear pastedown of Last Battle. <strong>Books</strong> near-fine to fine, a few books with light toning to spines and<br />

extreme edges of boards. Dust jackets extremely good to fine, minor restoration to Caspian and Silver Chair dust<br />

jackets. Complete first edition sets of the Narnia books are increasingly scarce.


arthur rackham<br />

“Rackham’s Acknowledged Masterpiece”: Deluxe Suite Of 12 Folio Plates From Peter Pan,<br />

The Only Work By Rackham With The Plates Issued Separately As A Portfolio<br />

182. (RACKHAM, Arthur). The Peter Pan Portfolio. London, 1912.<br />

Elephant folio (19-1/2 by 21-1/2 inches), ribbon-laced as issued (later silk<br />

ribbon), original three-quarter vellum, cardboard box. $18,000.<br />

First edition, one of only 500 copies signed by the publisher and the engraver.<br />

The only suite of Rackham’s plates to be issued in an oversize portfolio<br />

format, with 12 beautiful folio color prints from Rackham’s Peter Pan in<br />

Kensington Gardens mounted on card and matted.<br />

Published in 1912 to capitalize on the popularity of the stage production Peter<br />

and Wendy, this portfolio contains 12 pictures considered to be Rackham’s<br />

personal favorites from the 50 original plates he designed for Barrie’s text. This<br />

edition was limited to 500 copies signed by the publishers, engravers and<br />

printers, numbered 101-600 (this copy is number 448); copies 1-100 were<br />

supposed to be signed on every plate by Rackham, but “Mr. Rackham advises<br />

that he signed only about twenty” (Latimore and Haskell, 39). The portfolio<br />

brought Rackham’s work great public attention, “and ultimately spawned one<br />

fine new piece of music,” Debussy’s “Les Fées Sont d’Exquises Danceuses”<br />

(Hamilton, 97). With descriptive tissue guards. Originally issued as a gift<br />

book in 1906 with 50 color plates but in a much smaller quarto format. Riall, 113. Ray, 100 Outstanding Illustrated <strong>Books</strong> Published<br />

in England 99. Plates generally bright and fresh, with occasional light foxing. Interior with expert restoration to title page edges,<br />

leaves occasionally remargined at gutter, some mats expertly restored. Vellum with light wear to spine foot, minor bumping to<br />

extremities. Expert restoration to scarce original cardboard box. An extremely good copy.<br />

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maurice sendak<br />

A Great Children’s Rarity, Signed By Sendak: “Let The Wild Rumpus Start!”:<br />

First Issue Of Where The Wild Things Are<br />

183. SENDAK, Maurice. Where the Wild Things Are. New York, 1963. Oblong quarto, original half gray cloth,<br />

dust jacket, custom slipcase. $25,000.<br />

First edition, in first-issue dust jacket, of one of the scarcest and most desirable books in modern children’s literature,<br />

signed by Maurice Sendak.<br />

Hailed as “the Picasso of children’s books,” Maurice Sendak has produced more than 80 books, of which<br />

Where the Wild Things Are is unquestionably the most famous, being one of the ten best-selling children’s<br />

books of all time. At its publication, critics regarded it as dangerous encouragement for children to<br />

explore their darker side. It received scores of negative reviews and numerous denunciations<br />

from children’s advocates. “But, by some miracle,” Sendak wrote, “I<br />

won the Caldecott award, which is the highest graphics award in the industry, and<br />

almost overnight everyone loved the book.” With this children’s book, “Maurice<br />

Sendak expanded the possibilities of the genre” (Zipes et al. C12). First-issue dust<br />

jacket, with correct blurbs and no<br />

mention of the Caldecott award.<br />

Hanrahan A58. Light foxing to edges<br />

of pictorial boards. Bright dust jacket<br />

with minor marginal restoration. A<br />

lovely bright copy.


The First Published Children’s Book By Two Giants Of Children’s Literature:<br />

Baum And Parrish’s Mother Goose In Prose, 1897<br />

184. BAUM, L. Frank and PARRISH, Maxfield. Mother<br />

Goose in Prose. Chicago, 1897. Quarto, original giltstamped<br />

pictorial light gray, custom clamshell box. $5500.<br />

First edition of the rare first published book by both Baum<br />

and Parrish—a landmark in the publishing history of<br />

children’s books—with illustrated title page and 12 full-page<br />

black-and-white plates.<br />

“Imaginative in concept and executed with confidence<br />

and originality, the illustrations for Mother Goose in<br />

Prose brought Parrish immediate recognition as a young<br />

book illustrator of ability. An expression of strong individuality,<br />

the illustrations portray a bygone era that is the<br />

unique domain of the nursery rhyme or fairy tale”<br />

(Ludwig, 25). “Copies today are quite rare” (Franklin, 30).<br />

Second issue, as often, with colophon on page [267]. With<br />

the two blank leaves before rear free endpaper. Bienvenue,<br />

159. Baughman 44. Baum Bugle, Spring 1966, 14. Interior<br />

generally clean, text block expertly repaired. Original<br />

cloth with light toning to spine and minor expert restoration.<br />

An extremely good copy.<br />

“Greetings To You… From Mr. Willy Wonka!”<br />

185. DAHL, Roald. Charlie and the Chocolate Factory. New York,<br />

1964. Octavo, original blind-stamped red cloth, dust jacket, custom<br />

clamshell box. $8500.<br />

First edition, first issue, of Dahl’s deliciously delightful tale of magic and<br />

morality, with numerous in-text illustrations by Joseph Schindelman.<br />

“Charlie and the Chocolate Factory is already a great classic work… [and]<br />

one of the most enduring post-war children’s books… Dahl is undeniably<br />

special” (Connolly, 102). First issue, in full red cloth and with six lines of<br />

publishing information on last page (instead of five). First-issue dust<br />

jacket, with no ISBN number on rear panel. Book fine. Light wear to<br />

extremities of bright lightly toned about-fine dust jacket with a one-inch<br />

closed tear at bottom of front flap. Very nearly fine condition.<br />

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disney studios<br />

Cinderella, Inscribed By Walt Disney<br />

186. DISNEY STUDIOS. Walt Disney’s Cinderella. New York,<br />

1950. Slim folio, original laminated pictorial boards. $15,000.<br />

First edition of the “Big Golden Book” edition of the most celebrated of<br />

all Disney classics, boldly inscribed: “To Gunther, Jane & Family,<br />

With my very best, Walt Disney.”<br />

Known as one of Walt Disney’s all-time favorite films, this version in<br />

book form was adapted from the highly successful movie by studio<br />

artist Retta Scott Worcester, who achieved legendary<br />

status among animators for her handling of the<br />

hunting dogs in Bambi. Interior fine; original front<br />

endpaper pop-up pumpkin coach fine and fresh.<br />

Lightest rubbing to spine head of bright boards, wear<br />

to lamination. A nearly fine copy, most scarce inscribed<br />

and in such excellent condition.


“Mickey Started The<br />

Calliope, The Music And The<br />

Parade”: The First American<br />

Series Of Pop-Up <strong>Books</strong><br />

187. DISNEY STUDIOS. The<br />

“Pop-Up” Mickey Mouse. New<br />

York, 1933. Octavo, original pictorial<br />

paper boards. $1200.<br />

First edition of an early American<br />

pop-up book, published by Blue<br />

Ribbon Pleasure <strong>Books</strong>, the original<br />

patent-holder for pop-ups, with<br />

three pop-up illustrations.<br />

Blue Ribbon was the first publisher<br />

to market its books using the term<br />

“pop-up.” They and paper-engineer<br />

Harold Lentz teamed up in the 1930s<br />

to produce a successful series of<br />

imaginative pop-ups. These are the first modern pop-up books produced in<br />

America, following a series of British pop-ups by Brown and Giraud in the 1930s<br />

under the imprint Bookano. Pop-ups completely intact, with only tiny closed tear<br />

to Mickey’s arm, occasional faint soiling to interior; only light rubbing and soiling<br />

to boards. A near-fine copy, much nicer than usually found.<br />

“It Will Live As Long As Aesop’s Fables”:<br />

First State Of The First Uncle Remus Book<br />

188. HARRIS, Joel Chandler. Uncle Remus: His Songs and His Sayings. New York,<br />

1881. Octavo, original gilt-stamped pictorial cloth, custom clamshell box. $7500.<br />

First edition, first state, of the first and most beloved Uncle Remus book, with eight<br />

plates and numerous text illustrations by Frederick Church and James Moser. “It<br />

will live as long as Aesop’s fables” (John Bigelow).<br />

“Of all the American writers of [the Reconstruction] period, Joel Chandler Harris has<br />

made the most permanent contribution” (Braithwaite, in The New Negro, 32). First<br />

state, with “presumptive” in the last line of page 9 and no mention of Uncle Remus in<br />

the publisher’s advertisements. BAL notes four cloth variants and three endpaper<br />

variants, no priority. BAL 7100. From Peter Parley to Penrod, 56-57. Grolier American<br />

100 83. Pierpoint Morgan Children’s Literature 260. Owner signature dated “Xmas<br />

1880” (prior to publication date). Expert repair to one leaf and one plate, text block<br />

expertly recased. Original cloth with bright gilt. A near-fine copy.<br />

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“Nielsen’s Most Spectacular And Celebrated Book”:<br />

East Of The Sun And West Of The Moon,<br />

Signed Limited Edition<br />

189. NIELSEN, Kay. East of the Sun and West of the Moon.<br />

London, 1914. Quarto, original gilt-stamped vellum, custom<br />

clamshell box. $22,000.<br />

Signed limited first edition, one of only 500 copies, of this classic<br />

collection of Norwegian folk tales, illustrated with 25 superb<br />

mounted color plates and decorative in-text line cuts by famed<br />

artist Kay Nielsen and signed by him. A scarce and magnificent<br />

masterpiece.<br />

“By general consent, Nielsen’s most spectacular and<br />

celebrated book is East of the Sun and West of the<br />

Moon, old tales from the North, translated from the<br />

Norwegian of Peter C. Asbjörnsen and Jörgen Moe<br />

(devoted collectors of Scandinavian folk tales in the<br />

mid-19th century)… Nielsen’s unique style and talent<br />

for combining the eerie and fantastic with beautiful<br />

decorative effect was at its peak with this set of<br />

illustrations” (Dalby, 90). Without fragile silk ties.<br />

Text and plates fine, light soiling and a few minor<br />

spots to original vellum binding, gilt bright. A nearfine<br />

signed copy.<br />

“Here Is Edward Bear, Coming Downstairs Now,<br />

Bump, Bump, Bump…”: First Edition Of<br />

Winnie-The-Pooh<br />

190. MILNE, A.A. Winnie-the-Pooh. London, 1926. Octavo,<br />

original gilt-stamped pictorial green cloth, dust jacket, custom<br />

clamshell box. $7000.<br />

First edition of the beloved book of adventures in the Hundred Acre Wood, with<br />

charming illustrations by Ernest H. Shepard.<br />

In 1925, Milne acquired “a Sussex farmhouse for use as a weekend and holiday<br />

alternative to the family’s London home… [that would] provide the setting for<br />

the stories he now started to write about [his son] Christopher’s toys… Winniethe-Pooh<br />

and The House at Pooh Corner [its companion volume, published 1928]<br />

are, on their own terms, more successful as works written for children than<br />

anything else produced during children’s literature’s Golden Age” (Carpenter,<br />

201, 205). Payne IIA. Cutler & Stiles, 116. Book near-fine, with only light rubbing<br />

to cloth and gilt quite bright. Dust jacket near-fine, with small expert repair,<br />

only slight rubbing and soiling. A lovely copy.


“Wwee Musstt Ggo Bbehindd Thee Sshaddow”:<br />

Exceptionally <strong>Rare</strong> First Edition Of L’Engle’s<br />

Newbery Medal-Winning A Wrinkle In Time<br />

191. L’ENGLE, Madeleine. A Wrinkle in Time. New York, 1962. Octavo, original<br />

half blue cloth, dust jacket. $14,500.<br />

<strong>Rare</strong> first edition in original dust jacket of L’Engle’s landmark novel, winner of<br />

the 1962 Newbery Medal.<br />

“At once a science fiction story, a philosophical meditation on the nature of Evil<br />

and Love and a coming-of-age novel, Wrinkle broke new ground in what was<br />

considered appropriate for young readers. Rejected by several publishers for being<br />

too complex, this title has amply proven L’Engle’s belief that ‘children are excited<br />

by new ideas’ and has been credited with bringing science fiction into the<br />

mainstream of children’s literature. This is L’Engle’s best work” (Silvey, 401).<br />

Anatomy of Wonder II-662. Book fine, dust jacket with faintest soiling to rear<br />

panel and only light wear to extremities. A near-fine copy of a most rare title,<br />

particularly scarce in this condition.<br />

“My Own Favorite Amongst My Little <strong>Books</strong>”:<br />

Tailor Of Gloucester, One Of Only 500 Privately Printed Copies,<br />

Wonderful Association Copy<br />

192. POTTER, Beatrix. The Tailor of Gloucester. London,<br />

December, 1902. 12mo, original pictorial pink boards, custom<br />

clamshell box. $12,000.<br />

True first edition, one of only 500 privately printed copies, of<br />

Potter’s second book, which she called “my own favorite<br />

amongst my little books,” with frontispiece and 15 illustrations<br />

in color, three of which do not appear in the first trade edition<br />

of October, 1903. A wonderful association copy, with a gift<br />

inscription to Margaret Lane, Potter’s first biographer, from<br />

Leslie Linder, who first decoded Potter’s secret writing, written<br />

in both English and Potter’s secret code.<br />

“Evidently with some regret,<br />

Beatrix Potter [deleted from<br />

the first trade edition] eight<br />

or nine pages of text [which appear in this edition]… This is the part of the story which contained<br />

the majority of her rhymes and verses” (Linder 117). Quinby 3. Linder, 420. Tipped to the front<br />

endpapers are gift inscriptions from Leslie Linder to Margaret Lane, dated 1966. Engineer Leslie<br />

Linder wrote numerous books on Potter and is well-known for being the first to decipher the<br />

code in which Potter wrote in her journals; the Potter collection at the Victoria and Albert<br />

Museum was donated principally by Linder. Recipient Margaret Lane was the first biographer of<br />

Potter, also publishing numerous works on her. Interior fine, a bit of toning to fragile original<br />

boards and a few spots to fore-edge. An extremely good copy with a wonderful provenance.<br />

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“A Refusal To Lament The Loss<br />

Of Innocence”: Philip Pullman’s<br />

His Dark Materials Trilogy,<br />

First Editions Signed By Him<br />

In All Three Volumes<br />

193. PULLMAN, Philip. His Dark Materials:<br />

Northern Lights. WITH: The Subtle Knife.<br />

WITH: The Amber Spyglass. London, 1995, 1997,<br />

2000. Together three volumes. Octavo, original<br />

cloth, dust jackets, custom clamshell box. $18,500.<br />

First editions of Pullman’s celebrated trilogy- including<br />

the very scarce first volume, Northern<br />

Lights—each volume signed by Pullman.<br />

A former schoolteacher and an accomplished<br />

playwright, Pullman followed several historical and realistic novels with this literate, sophisticated<br />

series, “perhaps the most highly acclaimed work of fantasy for young adults published in<br />

the 1990s… The Dark Materials series is filled with moral ambiguity rather than clear-cut didacticism, and readers as well as<br />

[protagonist] Lyra must grapple with the difficult questions raised by the story” (Fantasy and Horror 7-311). With two bookplates<br />

signed by Pullman, two bookmarks from the 2003 stage adaptation and publisher’s excerpt from The Amber Spyglass laid in. The<br />

Amber Spyglass dust jacket with bookstore price sticker to rear panel. A fine set.<br />

Signed By Illustrator Charles Robinson:<br />

Oscar Wilde’s The Happy Prince<br />

194. WILDE, Oscar. The Happy Prince and Other Tales. London,<br />

1913. Quarto, original full Japanese vellum. $5500.<br />

Signed limited edition, the first to be illustrated by Charles Robinson<br />

(and his only signed limited edition) with 12 mounted full-color<br />

plates and numerous in-text line drawings, one of only 260 copies<br />

signed by the artist.<br />

Wilde wrote that he intended these stories “partly<br />

for children, and partly for those who have kept<br />

the child-like faculties of wonder and joy, and<br />

who find in simplicity a subtle strangeness”<br />

(Hart-Davis, Letters of Oscar Wilde, 219). In addition<br />

to the title story, this book includes The<br />

Nightingale and the Rose, The Selfish Giant, The<br />

Devoted Friend, and The Remarkable Rocket. First<br />

published in 1888 with illustrations by Walter<br />

Crane and Jacomb Hood. Mason 325. Interior<br />

quite clean, light wear to vellum and toning to<br />

spine. A handsome copy in near-fine condition.


“Hope You Like This One As Much”: Presentation First<br />

Edition Of Harry Potter And The Chamber Of Secrets,<br />

Warmly Inscribed To Her Personal Assistant By J.K. Rowling<br />

195. ROWLING, J.K. Harry Potter and the Chamber of Secrets. London, 1998.<br />

Octavo, original pictorial paper boards, dust jacket, custom clamshell box. $13,500.<br />

First edition of the second book in the phenomenally successful Harry Potter<br />

series, warmly inscribed to Rowling’s personal assistant: “To Ella (again!), hope<br />

you like this one as much—love from Jo (aka J.K. Rowling).”<br />

When this, Rowling’s second book, first saw print<br />

in 1998, “Bloomsbury was a little less cautious”<br />

than they had been when they published Harry<br />

Potter and the Philosopher’s Stone the previous<br />

year, “but the first printing was still miniscule,<br />

considering the demand. Estimates range between<br />

1000 and 2000 copies… They have been<br />

notably scarce” (Smiley, 52). Due to Rowling’s decreasing<br />

number of personal appearances as the<br />

series continued, signed and inscribed copies of the Potter books are rare and desirable. Dust<br />

jacket with tiny tear to spine head. A fine inscribed copy with great provenance.<br />

“Stir It! Scrape It! Make It! Bake It!”:<br />

First Edition Of In The Night Kitchen,<br />

Inscribed With A Sketch By Maurice Sendak<br />

196. SENDAK, Maurice. In The Night Kitchen. New York, 1970. Tall<br />

thin quarto, original white cloth, dust jacket, custom half morocco<br />

clamshell box. $4500.<br />

Scarce first edition of this wonderfully illustrated classic, inscribed: “For<br />

Richard Schaubeck—Maurice Sendak, Dec. ’70,” with a small sketch of<br />

Mickey, the book’s protagonist.<br />

Sendak’s homage to New York City<br />

and the movies of the 1930s, In the<br />

Night Kitchen “spins the reader<br />

through the surreal fantasy of a child’s<br />

dream, like Alice into Wonderland or<br />

Dorothy into Oz.” Like most of<br />

Sendak’s work, Kitchen is “a celebration<br />

of the primal, sensory world of<br />

childhood and an affirmation of its<br />

imaginative potency” (Silvey, 586). It<br />

was a Caldecott Honor book in 1971. First-issue dust jacket, without the Caldecott medal affixed.<br />

Hanrahan A75. Book fine; price-clipped dust jacket bright and fine, with one minuscule<br />

closed tear at spine head. A fine inscribed copy.<br />

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“An Elephant’s Faithful, One Hundred Per Cent”:<br />

First Edition Of Horton Hatches The Egg,<br />

In <strong>Rare</strong> Original Dust Jacket<br />

198. SEUSS, Dr. Horton Hatches the Egg. New York, 1940. Quarto,<br />

original gray cloth, dust jacket. $9000.<br />

First printing of this “absolute delight,” Seuss’ story of one noble elephant’s<br />

exceptional steadfastness, in the scarce original dust jacket.<br />

After producing several prose books with black-and-white illustrations,<br />

Seuss “returned to full color and to rhyming text in Horton<br />

Hatches the Egg… Two years earlier, he had told almost the exact same<br />

story in the fable ‘Matilda, the Elephant with a Mother Complex.’<br />

Matilda was characterized as a foolish failure for her dogged and wellmeaning<br />

but ridiculous efforts. But the world had changed in the two<br />

years between Matilda and Horton. Germany had invaded Poland…<br />

[Seuss] held a growing belief that the United States had to join the war<br />

in Europe, and the concept of duty became very important to him”<br />

(Cohen, 201). The first book that Warner Brothers adapted for a cartoon.<br />

Younger & Hirsch 31. Contemporary owner inscription. Interior<br />

clean. Cloth with only very light toning to spine. Exceptionally scarce<br />

extremely good original dust jacket with some expert restoration to<br />

extremities only, not affecting any letters.<br />

A Great Rarity Of Children’s Literature:<br />

First Edition Of Dr. Seuss’ First Book,<br />

And To Think That I Saw It On Mulberry Street<br />

197. SEUSS, Dr. And to Think That I Saw It on Mulberry Street. New<br />

York, 1937. Quarto, original pictorial paper boards, dust jacket, custom<br />

clamshell box. $8500.<br />

<strong>Rare</strong> first edition of Dr. Seuss’ first book, an irrepressible celebration<br />

of child-like imagination.<br />

“This was a book that the unsaintly could appreciate. In comparison<br />

with some of the rule-enforcing books that Ted read as a child, which<br />

taught young readers how to behave and improve their manners, this<br />

was a book that reveled in allowing a child’s imagination to run wild<br />

and remain at odds with grown-ups who would never be able to<br />

appreciate a child’s sense of wonder and creativity” (Cohen, 181-85).<br />

Later state of first issue. Younger & Hirsch 1. Cotsen 10053. Book bright<br />

and near-fine with only minute rubbing to edges. Dust jacket quite<br />

bright and lovely with some expert restoration primarily to extremities,<br />

not affecting any letters. Scarce.


dr. seuss<br />

First Edition In Dust Jacket Of The Cat In The Hat, Inscribed By Seuss<br />

199. SEUSS, Dr. The Cat in the Hat. New York, 1957. Octavo, original pictorial paper boards, dust jacket, custom<br />

clamshell box. $20,000.<br />

First edition of this rare and important children’s classic, particularly<br />

desirable inscribed by the beloved author-illustrator, with his<br />

characteristic flourish: “for PAULA, Best Wishes - Dr. Seuss.”<br />

The Cat in the Hat was so successful that Random House, publisher of all<br />

the Dr. Seuss books since 1937, created a special division, Beginner<br />

<strong>Books</strong>, with the Cat in the Hat as the logo and Dr. Seuss as president of<br />

the division” (Dr. Seuss from Then to Now, 45). “This extraordinary writer<br />

has done more to foster literacy in children than most because he<br />

manages to combine lunacy with sanity, fun with learning, and quality<br />

with exuberant readability” (Joseph Connolly). First edition, with<br />

200/200 on the inside flap of dust jacket and all other first edition points.<br />

Younger & Hirsch 7. Pencil child owner signatures. A few stray ink marks. Interior generally fine. Boards with light<br />

rubbing and toning to edges. Dust jacket with mild rubbing, small closed tear to spine head. An extremely good copy,<br />

elusive inscribed.<br />

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robert louis stevenson<br />

“Pieces Of Eight! Pieces Of Eight!”: First Edition Of Treasure Island, A Beautiful Copy<br />

200. STEVENSON, Robert Louis. Treasure Island. London, 1883. Small octavo, original red cloth, custom chemise and<br />

half morocco clamshell box. $27,500.<br />

First edition, first issue of Stevenson’s swashbuckling yarn of piracy, mutiny and courage, “the finest tale of maritime<br />

adventure that has been told since Defoe” (Prideaux, 28), an exceptional copy, much nicer than usually found.<br />

“Treasure Island is best enjoyed as its author intended, simply as a good tale well told” (Silvey, 631). The serial publication<br />

in Young Folks (running through January 1882) was not especially well-received, but on its appearance in book form the<br />

following year in an edition of only 2000 copies, the story was hailed as the best tale of adventure in print. First issue, with<br />

all the following points: “Dead Man’s Chest” not capitalized on pages 2 and 7; “rain” for “vain” on last line of page 40; “a”<br />

lacking on page 63, line 6; the “7” in the pagination of page 127 absent; period dropped from page 178, line 20 (after<br />

“opportunity”); “worse” for ‘worst’ on page 197, line 3; frontispiece map in three colors. With eight-page publisher’s<br />

catalogue dated 5R-1083 at the end, and with this title listed incorrectly as having 304 pages. Issued in various colors of<br />

cloth, no priority. Beinecke 240. Prideaux 11. Gerstley Collection 22. Osborne, 1030. Gumuchian 5443. Pierpoint Morgan,<br />

241. Booklabel and half title owner signature of John William Mackail, the Scottish man of letters and famous Virgil<br />

scholar. Additionally, he was married to Margaret Burne-Jones, whose name appears on the booklabel. Burne-Jones was<br />

a first cousin of Rudyard Kipling. Only very faintest embrowning to unusually clean interior, cloth exceptionally fresh<br />

and lovely. A most desirable copy in nearly fine condition, rarely found like this.


“I Am Eloise. I Am Six”<br />

201. THOMPSON, Kay. Eloise. New York, 1955. Slim quarto, original cloth,<br />

dust jacket. $4000.<br />

First edition of the first and rarest Eloise book.<br />

“Eloise’s birth was unexpected. At rehearsals of her act with the Williams<br />

Brothers, Thompson [who was a professional singer] prized punctuality. Then<br />

one day she was late. In a high, childish voice that she had never used before, she<br />

made her apology. One of her co-workers said, ‘Who are you, little girl?’<br />

Thompson replied, ‘I am Eloise. I am six.’ The others joined in the game, each<br />

assuming a juvenile identity, and it became a regular rehearsal pastime” (New<br />

York Times). That pastime became a book, with three more to follow in<br />

Thompson’s lifetime. “Eloise became an alternative persona for Kay Thompson,<br />

much as the dummy Charlie McCarthy was for Edgar Bergen… [allowing]<br />

Thompson to express contrarian thoughts and ideas. Eloise took form as a lonely<br />

and whimsical child who created her own world” (Marie Brenner). Gift<br />

inscription. Text and boards slightly toned. Price-clipped dust jacket with light<br />

toning to spine, minor soiling. A near-fine copy of an elusive first edition.<br />

“The Most Original And Beautiful<br />

Children’s Book Of The Twenties”:<br />

The Ship That Sailed To Mars,<br />

With Scarce Original Dust Jacket<br />

202. TIMLIN, William M. The Ship that<br />

Sailed to Mars. A Fantasy. London, 1923.<br />

Large quarto, original half vellum gilt, dust<br />

jacket, custom clamshell box. $6000.<br />

First edition, English issue of this “magical<br />

combination of science fiction and fairyland,”<br />

lavishly illustrated with 48 mounted full-color<br />

plates and 48 mounted pages of calligraphic<br />

text, all by Timlin, with very scarce<br />

original dust jacket.<br />

“Excelling the production values previously<br />

lavished on Willy Pogany and Harry Clarke,<br />

George Harrap published this huge and<br />

magnificent volume in November 1923, finely bound in half vellum richly decorated in gilt. The book contained 48 superb color plates<br />

by the artist, alternated throughout with 48 leaves adorned with his fine calligraphic and poetic text… Reminiscent of Harrap’s best<br />

pre-war editions de luxe” (Dalby, 102). Only 2000 copies were produced, of which 250 copies were distributed in America by Frederick<br />

Stokes the following year. Occasional short closed tears to extreme edges of leaves, affecting neither text nor images. Book exceptional,<br />

spine and gilt bright and fine, only minute bumps to corners. Most scarce original dust jacket with large chips to spine, split at rear<br />

fold, front and rear panels near-fine.<br />

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autumn 2011 | traveL and exPLoration<br />

<strong>Section</strong> 8: trAvel And explorAtion<br />

“There Before Us Lay The Sealed Door”:<br />

Illustrated First Edition Of The Discovery Of<br />

King Tut’s Tomb<br />

howard carter<br />

203. CARTER, Howard and MACE, A.C. The Tomb of Tutankhamen<br />

Discovered by the Late Earl of Carnarvon and Howard Carter.<br />

London, 1923-33. Three volumes. Thick octavo, original gilt-stamped<br />

brown cloth. $5000.<br />

First edition of Carter’s account of the discovery of King<br />

Tutankhamen’s tomb, including the scarce third volume, with 247<br />

dramatic illustrations.<br />

When Carter entered King Tut’s tomb in 1922 he bridged 3000 years<br />

separating the reign of the Boy-King from the modern world. Because<br />

of the Depression, the third and final volume, included here, was<br />

printed in limited numbers and is consequently quite scarce. Without<br />

scarce dust jackets. Occasional scattered light foxing to interiors, more<br />

so to preliminary and concluding leaves of Volume II. Light rubbing to<br />

extremities, light soiling to bright cloth; some light fading to front<br />

board of Volume II. A near-fine set.


history of travayle<br />

“One Of The Outstanding Compilations Of Travel Literature” (Parker) And<br />

“The Earliest Collection Of Voyages In The English Language” (Cox)<br />

204. D’ANGHIERA, Pietro Martire. EDEN, Richard, translator. The History of Travayle in the West and East Indies, and Other<br />

Countreys Lying Eyther Way… With a Discourse of the Northwest Passage… Newly Set in Order, Augmented, and Finished by<br />

Richarde Willes. London, 1577. Thick octavo, full modern brown morocco gilt with fragments of contemporary brown paneled calf<br />

covers retained, custom chemise and half morocco slipcase. $75,000.<br />

Exceedingly rare second and best edition, with important first appearances, of Richard Eden’s translation of d’Anghiera’s crucially<br />

important compilation of famous voyages, only the third book in English to describe America and the first edition of this work to<br />

feature the fourth Decade and the abridgment of the fifth through eighth Decades including Cortés’ conquest of Mexico as well as<br />

the account of Frobisher’s first voyage, the first accounts in English of China and Japan, and an account of Persia and a translation<br />

of Varthema’s travels in the east, with a woodcut of the South Pole.<br />

In 1555, Italian author Pietro Martire d’Anghiera, often known as Peter Martyr, appeared on the British literary scene with the first<br />

edition in English of The Decades of the Newe World. Translated by Richard Eden, the work was a compilation of great voyages, the<br />

first to be published in English. D’Anghiera was friends with the explorers of his day, including Columbus, da Gama, Cortés, Magellan,<br />

Cabot, and Vespucci. He was also a member of the Council of the Indies. His unparalleled access to both the explorers and the<br />

documentation of their voyages gave him the resources to make Decades an accurate work on early American exploration. After<br />

Eden’s death, a poet named Richard Willes set to work on a second edition. The second edition, offered here and titled, The History of<br />

Travayle, includes a rehearsal of d’Anghiera’s first three Decades, the first publication of the complete fourth Decade, and Willes’ own<br />

abridgment of the final four Decades, as well as Pereira’s description of China (the first publication in English), Varthema’s travels,<br />

Maffei’s account of Japan, and stories of travel in Central Asia. It also includes extensive discussion of Frobisher’s quest to find the<br />

northwest passage. The eight Decades were first published together in 1530 in Latin at Alcalá. With a woodcut illustration of “the order<br />

of the starres about the pole Antartike,” ornamental woodcut initials, and title page partially ruled in red. Leaves Z3 and Bb1, the full<br />

gathering Lll, and final leaf of text supplied from another copy. Church 119. Hill 533. Rich 57. Sabin 1562. STC 649. Streeter I:24.<br />

Cox I:1577. Wilson 65. Howgego E14. Early owner signatures and occasional annotations, including Thomas Walshe and Sir Thomas<br />

Aubrey, 5th Baronet Aubrey, of Llantrithyd, Glamorgan. Only minor edge-wear to a number of leaves (not affecting text), archival<br />

tape repair to leaf Cc1, small wormhole to gathering Xx (affecting a few letters), faint dampstain to bottom portion throughout. An<br />

extremely good copy,<br />

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richard hakluyt<br />

“It Is Difficult To Overrate The Importance And Value Of This Extraordinary Collection Of Voyages”:<br />

First Expanded Edition Of Hakluyt’s Monumental Principal Navigations, 1599-1600, The First English<br />

Collection Of Voyages And An Essential Catalyst In The Colonization Of America<br />

205. HAKLUYT, Richard. The Principal Navigations, Voyages, Traffiques and Discoveries of the English Nation, made by Sea<br />

or overland. London, 1599-1600. Three volumes bound in two. Quarto, early 20th-century full levant olive morocco gilt, custom full<br />

morocco pull-off boxes. $42,000.<br />

Greatly expanded second edition of Hakluyt’s expanded collection of voyages, the first and greatest of its kind. The esteemed<br />

Hersholt-Greenhill-Borowitz copy, beautifully bound in full morocco by Pratt.<br />

“This enormous work—it is said to contain 1,700,000 words—is the most complete collection of voyages and discoveries, by land as<br />

well as by sea, and of the nautical achievements of the Elizabethans” (PMM). At the time of publication, the Earl of Essex had been<br />

disgraced by Queen Elizabeth, and at her command the first issue of the first volume was suppressed for its inclusion of Essex’s<br />

expedition to Cadiz. The first-issue title page (which mentioned “the famous victorie atchieved at the citie of Cadiz” and dated 1598)<br />

was altered accordingly and the appropriate pages were excised. (Hakluyt reprinted a number of copies a short time later for those of<br />

his friends who wished to include it.) As usual, this copy is the second issue of Volume I, with the cancel title page dated 1599. The<br />

account of Essex’s expedition to Cadiz (often absent) is supplied in fine printed facsimile, bound in at the rear of Volume I, pages<br />

607-620. As usual, this set does not contain the Mercator projection world map by Edward Wright, which is almost always absent and<br />

was only issued with a handful of copies. This copy does, however, contain a fine facsimile of this large folding map, bound in at the<br />

front of Volume I. Text embellished with numerous woodcut initials, head- and tailpieces. Church 322. Hill 743. Cox I:4. Sabin 29596,<br />

29597, 29598. The copy of esteemed collectors Jean Hersholt and Harold Greenhill, with their bookplates; this copy was also in the<br />

collection of David and Lulu Borowitz. A fine copy, very handsomely bound, with distinguished provenance.


james cook<br />

“The Study Of Cook Is The Illumination Of All Discovery”:<br />

Handsome Collection Of First And Second Editions<br />

Of Cook’s Three Voyages, With Atlas Volume,<br />

Including The First Attempted Mapping Of<br />

The Northwest Coast Of America<br />

206. (PACIFIC VOYAGES) (COOK, James). Cook’s Three Voyages.<br />

Comprising: HAWKESWORTH, John. An Account of the Voyages<br />

undertaken… for making Discoveries in the Southern Hemisphere. Three<br />

volumes. WITH: COOK, James. A Voyage towards the South Pole, and<br />

Round the World. Two volumes. WITH: COOK, James and KING, James. A<br />

Voyage to the Pacific Ocean… for making Discoveries in the Northern<br />

Hemisphere. Four volumes (three quarto volumes plus atlas folio). London,<br />

1773, 1777, 1784. Nine volumes altogether. Quarto (atlas volume large folio,<br />

measures 17 by 22 inches), uniform period-style three-quarter speckled<br />

brown calf gilt. $68,000.<br />

Scarce complete set of Cook’s three Pacific voyages, comprising the preferred<br />

second edition of the first voyage—issued the same year as the first, and<br />

“considered the best edition” (Hill)—along with first editions of the second and third voyages, complete with the splendid large<br />

folio atlas volume to accompany the third voyage. Superbly illustrated with 205 engraved charts, maps and plates, many<br />

double-page or folding. A uniformly and very handsomely bound set.<br />

Facing challenges surpassed only by modern space flight, Captain James Cook embodied the spirit of the great age of maritime<br />

discovery. The only 18th-century explorer to lead more than one Pacific voyage, he embarked on three circumnavigations between<br />

1768 and 1776. In his first voyage (1768-1771), Cook observed the Transit of Venus at Tahiti, rediscovered and charted New<br />

Zealand, and discovered and charted the east coast of Australia. This second edition is “considered the best one” (Hill 783) and<br />

contains 52 engraved plates, maps and charts, several folding, and includes the strategically important (and previously suppressed)<br />

“Chart of the Streight of Magellan,”<br />

and the “Directions for placing the Cuts and<br />

Charts,” neither of which are present in the<br />

earliest issues of the first edition. In his second<br />

voyage (1772-75), Cook crossed the Antarctic<br />

Circle for the first time in history and disproved<br />

the existence of the supposed “Great<br />

Southern Continent”; in his third voyage<br />

(1776-79), he searched for the North-West<br />

Passage, charted the American west coast<br />

from Northern California through the Bering<br />

Strait, and discovered the Hawaiian Islands.<br />

This especially important third voyage was<br />

“the first voyage attempting an adequate examination<br />

and charting of our northwest<br />

coast” (Howes C729a). PMM 223. Sabin 30934,<br />

16245, 16250. Occasional faint foxing. A few<br />

plates with minor reinforcement on verso at<br />

folds or near stubs. Marginal foxing to several<br />

plates in atlas volume. Overall, throughout<br />

the set, plates generally clean, impressions<br />

dark and crisp. Handsome calf-gilt bindings<br />

fine. An excellent set.<br />

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“A Masterpiece Of Descriptive Travel”:<br />

Large-Paper First Edition Of Anson’s<br />

Voyage Round The World, 1748<br />

207. ANSON, George. A Voyage Round the<br />

World, in the Years MDCCXL, I, II, III, IV.<br />

London, 1748. Thick quarto, contemporary full<br />

brown calf rebacked. $9800.<br />

First edition of the first official account of<br />

Anson’s expedition, with 42 folding copper-engraved<br />

plates, maps, plans and charts (several<br />

over 35 inches wide). “A masterpiece of descriptive<br />

travel” (Hill).<br />

“This famous and unfortunate expedition, consisting<br />

at the start of eight ships, was sent under<br />

the command of George Anson at the beginning<br />

of the war with Spain, to harass the Spaniards on<br />

the western coast of South America. Seven ships<br />

were lost around Cape Horn and on the coast of<br />

Chile and out of 900 men, 600 perished… This<br />

account is the official one… It is a model of what<br />

such literature should be” (Cox I:49). Illustrations include splendid folding views of Brazilian harbors and cities, Acapulco, Tenian,<br />

Port St. Julian, the Bay of Manila and others, and large folding maps of South America, the Philippines, and the Pacific Ocean.<br />

Contemporary manuscript notation on the title page. Light scattered foxing, expert paper repairs to some plates, some margins<br />

chipped. An extremely good copy.<br />

“The First French Expedition To Sail Around The World”:<br />

Bougainville’s Voyage Round The World, 1772 First Edition In English In Original Boards<br />

208. BOUGAINVILLE, Lewis de. A Voyage Round the World. Performed by Order of His Most Christian Majesty, In the<br />

Years 1766, 1767, 1768, and 1769. London, 1772. Quarto, contemporary marbled boards rebacked in tan morocco. $7800.<br />

First edition in English of this early account<br />

noted for its detailed description<br />

of Tahiti, with five folding maps and<br />

one folding plate, published one year<br />

after the French first edition.<br />

This account of “the first French expedition<br />

to sail around the world… is<br />

written with simplicity and some humor”<br />

(Cox I: 55). Bougainville had been<br />

sent to hand over control of the Falkland<br />

Islands to Spain. “He gives an account<br />

of the discovery and occupation of the<br />

islands… and a chapter devoted to their<br />

natural history… He then proceeded<br />

through the Strait of Magellan and<br />

across the Pacific to the East Indies and<br />

thence home in a three-year voyage that was France’s first official circumnavigation of the<br />

world… This account… inspired Denis Diderot to pen his denunciation of European contact<br />

with indigenous peoples” (Hill I:31-32). Sabin 6869. Armorial bookplate of Thomas Carter<br />

of Edgcott, circular stamps to title page and versos of maps. Only a bit of light scattered<br />

foxing, edge-wear to several maps. An extremely good copy.


Nieuhof’s 17th-Century Account Of Travels To The East<br />

Indies And Brazil, Richly Illustrated First Edition In English<br />

209. (BRAZIL) NIEUHOFF, John. Voyages and Travels into Brasil and<br />

the East-Indies. London, 1703. Folio, modern full brown calf. $7500.<br />

First edition in English, with engraved frontispiece, engraved additional<br />

title page, 40 (of 41) full-page copper engravings (24 large folding), 30<br />

engraved in-text vignettes, four folding engraved maps and three in-text<br />

vignette maps. Very attractively bound.<br />

“Nieuhof, a Dutch traveler and official, left two very interesting accounts<br />

of his years spent in Dutch Brazil and the Dutch East Indies. In his several<br />

travels in the East, he visited Dutch South Africa, Sumatra, Java, Amboyna,<br />

Formosa, China, Malacca, India, Ceylon, Persia, and St. Helena” (Hill<br />

1227). Nieuhof’s work was first published (in English) as the second<br />

volume of the 1704 first edition of Awnsham and John Churchill’s fourvolume<br />

Collection of Voyages and Travels (thus the “Vol. II” at the foot of<br />

the title page), although the present volume is at times offered separately,<br />

as here. One plate excised, opposite page 328. Ex-library stamp page 79.<br />

Frontispiece, title pages and advertisement leaf rehinged; light wear to<br />

edge of one folding plate only. Interior generally quite clean. A very good,<br />

attractively bound copy.<br />

First Edition Of Hall’s Voyage To China And The Yellow Sea,<br />

With Eight Beautiful Hand-Colored Aquatints<br />

210. (CHINA) HALL, Basil. Account of a Voyage of Discovery<br />

to the West Coast of Corea, and the Great Loo-Choo Island.<br />

London, 1818. Quarto, rebound in period calf boards, modern<br />

elaborately gilt-decorated spine. $5500.<br />

First edition of this expedition to the East China and Yellow Seas,<br />

with eight lovely hand-colored aquatints by William Havell, two<br />

black-and-white engravings and five charts and maps (two folding).<br />

Scottish-born Basil Hall entered the British navy in 1801, and in<br />

1815 “was appointed to the Lyra and ordered to China where, in<br />

consort with the Alceste, he accompanied Lord Amherst’s embassy”<br />

(Howgego H3). The expedition “explored the relatively little-known<br />

East China Sea and the Yellow Sea. Visits were made to Korea and<br />

the Ryukyu Archipelago… On the homeward passage, the Alceste<br />

was wrecked in Gaspar Strait off Sumatra” (Hill 749). “Hall brought<br />

the Lyra back to England in October 1817 and during the return<br />

voyage interviewed Napoleon at St. Helena” (Howgego). Abbey<br />

Travel 558. Bookplate. Scattered light patches of foxing. An aboutfine<br />

copy, handsomely bound.<br />

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<strong>Rare</strong> Nearly Six-Foot Long Photographic Panorama, Of Constantinople, Circa 1890<br />

212. (CONSTANTINOPLE) SEBAH, J. Pascal and JOAILLIER,<br />

Polycarpe. Souvenir de Constantinople. Photographes de la Cour Royale<br />

de Prusse. Constantinople, circa 1890. Oblong quarto, original gilt-stamped<br />

pebbled red cloth, accordion-folded (leporello) panorama of ten vintage<br />

albumen prints (each measures 5 by 7 inches; total measures 5 by 70 inches),<br />

mounted on card stock, cloth hinges. $6500.<br />

<strong>Rare</strong> photographic album of Constantinople, circa 1890, by the renowned<br />

studio of Sébah & Joaillier, with ten mounted vintage albumen prints linked<br />

in the original cloth hinges, offering a wonderful accordion-fold panoramic<br />

image of the city spanning nearly six feet in length, an exceptional view of<br />

majestic mosques, churches and palaces, in original gilt-stamped binding.<br />

Prints quite clean and fresh with only mild toning at hinges, cloth unusually<br />

nice and bright. A most desirable about-fine vintage photographic album.<br />

“The Most Compelling Justification For Cook’s Voyages”<br />

211. KIPPIS, Andrew. The Life of Captain James Cook. London, 1788.<br />

Quarto, contemporary brown tree calf gilt rebacked with the original spine<br />

laid down. $8000.<br />

First edition of the first biography of Captain James Cook, with frontispiece<br />

portrait by James Heath, bound in contemporary tree calf.<br />

“This work contains an admirable precis of the three voyages, with valuable<br />

information from the original sources. It introduces most of<br />

Samwell’s Narative of Captain Cook’s Death, and also gives accounts of<br />

the various tributes to Cook’s memory” (Cox I:64). “Kippis went further<br />

than most writers in transforming Cook’s voyages from scientific missions…<br />

to expeditions motivated wholly by the urge to civilize and improve<br />

the world… [Kippis’ Life] became the most compelling justification<br />

both for Cook’s voyages and for continued European involvement in the<br />

Pacific in years to come” (Withey, 406-7). Bound with the half title.<br />

Beddie 1962. Howgego C176. Text generally fine, some foxing to frontispiece,<br />

inner hinges reinforced, contemporary calf quite handsome.


tombs at thebes<br />

The Tombs At Thebes: Elephant Folio Limited First Edition Of The Robb De Peyster Tytus<br />

Memorial Series, With Over 180 Plates Featuring Ancient Egyptian Tombs, Art, And Artifacts<br />

213. (EGYPT) DAVIES, Norman DeGaris. Robb de Peyster Tytus Memorial Series. Volume I: The Tomb of Nakht at<br />

Thebes. Volume II: The Tomb of Puyemre at Thebes. Part I: The Hall of Memories. Volumes III: The Tomb of Puyemre<br />

at Thebes. Part II: The Chapels of Hope. Volume IV: The Tomb of the Two Sculptors at Thebes. Volume V: The<br />

Ramesside Tombs at Thebes. New York, 1917-27. Five volumes. Elephant folio (15-1/2 by 20 inches), modern three-quarter<br />

brown calf. $17,500.<br />

Limited first edition of this catalogue of the tombs at Thebes published by the Metropolitan Museum of Art from 1917-27,<br />

one of 500 atlas folio sets beautifully printed on handmade Van Gelder paper, with five frontispieces (four in color), 178<br />

plates (21 in color), and numerous figures, handsomely bound. A magnificent uncut set.<br />

Published between 1917 and 1927, this set was published by the Metropolitan Museum of Art to shed light on the<br />

magnificent artistic treasures of the tombs at Thebes. With only slight occasional foxing to generally fine text. A<br />

beautiful uncut set in fine condition.<br />

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With Exceptional Large Folding Map:<br />

1810 British Reconnaissance Into<br />

Iran And Afghanistan<br />

215. (IRAN AND AFGHANISTAN) POTTINGER,<br />

Henry. Travels in Beloochistan and Sinde. London,<br />

1816. Quarto, period-style full brown speckled calf<br />

gilt. $6000.<br />

First edition of this British secret mission into the<br />

region between India and Teheran, with wonderful<br />

hand-colored aquatint frontispiece of “Sindian Foot<br />

Soldiers” and large folding map (37 by 26-1/2 inches)<br />

of “Beloochistan and Sinde, with Parts of Kutch,<br />

Seistan, Khorasan, [and] Persia,” with routes<br />

outlined in color.<br />

Birch’s Translation, With Life-Size<br />

Facsimile, Of The Inscriptions On<br />

The Coffin Of Amamu, 1886<br />

214. (EGYPT) BIRCH, Samuel. Egyptian<br />

Texts of the Earliest Period from the Coffin of<br />

Amamu in the British Museum. London, 1886.<br />

Atlas folio (measures 20-1/2 by 27-1/2 inches),<br />

original boards rebacked in cloth. $4800.<br />

Scarce atlas folio first edition of this superb facsimile<br />

of the inscriptions found on the coffin of<br />

Amamu, with 32 large folio color lithographs<br />

reproducing exactly the inscriptions and decorations<br />

found on the exterior and interior of this<br />

coffin, with English translation by renowned<br />

Egyptologist Samuel Birch.<br />

Samuel Birch served as the curator of oriental<br />

antiquities at the British Museum from 1844<br />

until his death in 1885. “The first elementary grammar of Egyptian, the first hieroglyphic dictionary, the first treatise on Egyptian<br />

archaeology, the first popular history of Egypt, and the first set of popular translations from the Egyptian into English, were written<br />

by him… His skill in finding out the meaning of a text was remarkable” (DNB). The first 11 plates reproduce the deeply incised and<br />

colored inscriptions found on the exterior of the wooden coffin; the remaining plates show the decorations and detailed inscriptions<br />

that covered the interior lid and sides of the sarcophagus. From the Library of the House of Lords, with its deaccession stamp. A few<br />

creases to text leaves. Lithographs clean and fine, with only occasional marginal markings. Light wear to original boards, neatly<br />

rebacked. An extremely good copy of this very scarce work.<br />

Disguised as Muslim horse-traders, British secret<br />

service officers Henry Pottinger and Charles<br />

Christie, in 1810 followed orders “to explore the<br />

Baluchi country and the east of Persia, tracts at that time were wholly unknown to Europeans” (Elphinstone), as well as “to collect<br />

information on roads and other means of moving troops and to study the political situation in Herat… noted for its strategic<br />

position, which at that time was the trading crossroad of central Asia” (Howgego, 489). The mission was undertaken in order to help<br />

prepare the Persian army against foreign invasion, a promise Britain had made in return for the Shah’s influence on the Afghans in<br />

negotiating peace with the British in India. Based upon his official report to “the Right Honorable Governor-General in Council,”<br />

Howgego P43. Faint library stamp of the Governor General’s Office in Baluchistan on the title page, page 99 and the verso of the last<br />

leaf. Light offsetting in map. Text generally clean, with only a few stray spots of foxing and occasional faint underscores. An about-fine<br />

copy, handsomely bound in period style.


First Edition Of Malcolm’s Sketch Of The Sikhs, 1812<br />

216. (INDIA) MALCOLM, John. Sketch of the Sikhs. London, 1812. Octavo,<br />

later three-quarter brown calf gilt. $5000.<br />

First edition of this learned account of Sikhism written by an officer in the army<br />

of the East India Company.<br />

Written by East India Company army officer and diplomat John Malcolm, this<br />

work strives to expose the underpinnings and rituals of Sikhism. On an expedition<br />

with Lord Lake toward the Punjab in pursuit of Jaswant Rao Holkar, Malcolm<br />

had the opportunity to come into contact with Sikhs. He was one of the first<br />

European writers to express an interest in Sikhism and to attempt to read the<br />

primary Gurmukhi sources. Ultimately, this account of the Sikh’s proved to be<br />

superior to any written by his predecessors. Malcolm was the first to fully embrace<br />

historical methodology, modern scholarship, and advanced analysis. This book<br />

remains among the finest books on Sikhism ever written. Small closed marginal<br />

tear to page 23, faint scattered foxing and dampstaining to interior, binding<br />

lovely. A near-fine, wide-margined copy.<br />

Viscount Valentia’s Splendidly Illustrated Voyages And Travels Through India And Egypt,<br />

With Plates After Henry Salt<br />

217. (INDIA) (EGYPT) (ABYSSINIA) VALENTIA, George Viscount. Voyages and Travels to India, Ceylon, The Red Sea,<br />

Abyssinia, and Egypt. London, 1809. Three volumes. Large quarto, modern half pebbled black morocco. $6000.<br />

First edition, illustrated with 69 superb engraved plates and maps, 12 folding, including two large folding charts of the Red Sea.<br />

Viscount Valentia left England in June 1802 on the Minerva, for a Grand Tour<br />

of the East and “the first British mission to Abyssinia… to conclude an alliance<br />

to obtain a port in the Red Sea in case France, under Napoleon, should seize<br />

Egypt” (Abbey, Travel 515). Henry Salt had earlier finished his training with<br />

the topographical draughtsman and diarist, Joseph Farington, and Valentia<br />

appointed him to be his official artist and secretary for the tour. The plates in<br />

this edition were engraved after Salt’s magnificent drawings. Many of Salt’s<br />

drawings for his own Twenty-Four Views in St. Helena, the Cape, India, Ceylon,<br />

the Red Sea, Egypt and Abyssinia (1809) were made while on this expedition<br />

with Valentia; a large part of the text contains his narrative. Bound with all<br />

half titles. Also with engraved vignette illustration at the beginning of each<br />

volume. Large folding map of the Red Sea at rear of Volume II and of Alexandria<br />

at rear of Volume III each with skillful repair to closed tear near stub. Only a<br />

handful of plates lightly foxed. Wide-margined text and plates generally quite<br />

clean and fine. An attractively bound copy in excellent condition.<br />

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First Edition Of Perry’s A View Of The Levant, 1743,<br />

With 33 Beautiful Plates Of Plans And Views<br />

218. (NEAR EAST) PERRY, Charles. A View of the Levant: Particularly<br />

of Constantinople, Syria, Egypt, and Greece. London, 1743. Folio (10<br />

by 15-1/2 inches), modern full brown calf. $6500.<br />

First edition of this narrative of travel throughout the Middle East and<br />

Southern Europe, with 33 lovely plates (six folding) depicting art, architectural<br />

features, and views spread over 24 pages, handsomely bound.<br />

A physician, author, and traveler, Charles Perry was one of the most<br />

prolific and talented travel writers of his day. This work was spurred by<br />

a 1739 journey he took to France, Italy, and the Middle East. In particular,<br />

he spend time in Constantinople, Egypt, Palestine, and Greece, where<br />

he learned much about the landscape, cultures, and customs of those<br />

who inhabited the various location. “On his return he published his<br />

valuable View of the Levant, particularly of Constantinople, Syria, Egypt,<br />

and Greece, 1743” (DNB). This work was tremendously popular. It went<br />

through two editions in German and even a 1770 quarto printing<br />

dedicated to the Earl of Sandwich. Very mild embrowning and some foxing to interior, binding fine. A lovely copy in near-fine<br />

condition, handsomely bound.<br />

One Of The Greatest<br />

Lithographic Works Ever Printed:<br />

Beautiful Copy Of Roberts’<br />

Holy Land, Egypt And Nubia<br />

219. (NEAR EAST) ROBERTS, David. The<br />

Holy Land, Syria, Idumea, Arabia, Egypt, &<br />

Nubia. London, 1855-56. Six volumes in three.<br />

Quarto, original full dark brown morocco gilt<br />

expertly recased. $19,000.<br />

First quarto edition of this monumental early<br />

visual record of the Middle East by the first<br />

Westerner permitted to enter sacred sites, with<br />

250 magnificent tinted lithographs, a lovely set<br />

in publisher’s full morocco-gilt.<br />

Inquisitive Western minds first glimpsed the mysteries of Egypt and the<br />

Middle East in detail through David Roberts’ folio-sized Holy Land, issued in<br />

41 parts from 1842 to 1849 and containing 250 full-page hand-colored<br />

lithographs produced from his magnificent, on-site drawings. Roberts was<br />

the first Westerner to be granted permission to enter whichever sacred<br />

mosque or monument he desired. His images of these sacred places established<br />

what many people even today envision as the aura of Egypt and the Holy<br />

Land. This is the first quarto edition of 1855-56, containing all 250 lithographic<br />

plates contained in the folio edition, including a frontispiece portrait of<br />

Roberts, six pictorial title pages, and two engraved maps. A considerable<br />

number of plates are printed in two tints; plates 213 and 240 printed in three.<br />

Interiors expertly cleaned, text blocks recased into original bindings with<br />

renewed endpapers and headbands. Beautiful contemporary morocco-gilt<br />

with minor restoration, gilt bright. An exceptional copy.


“A Classic Of Travel Literature”: First Editions Of Franklin’s<br />

First And Second Arctic Journeys, With Fine Hand-Colored Plates<br />

220. (POLAR EXPLORATION) FRANKLIN, John. Narrative of a Journey to<br />

the Shores of the Polar Sea, In the Years 1819, 20, 21, 22. London, 1823. WITH:<br />

Narrative of a Second Expedition to the Shores of the Polar Sea, in the Years<br />

1825, 1826, and 1827. London, 1828. Together, two volumes. Quarto, contemporary<br />

three-quarter polished brown calf gilt rebacked with original spine laid down,<br />

marbled boards (Journey), matching period-style three-quarter brown calf gilt,<br />

marbled boards (Second Journey), custom quarter leather slipcase. $9200.<br />

First editions of John Franklin’s first and second overland Arctic expeditions, an<br />

outstanding chronicle of a journey whose “harrowing obstacles—all stamp him<br />

as one of the true, one of the most persistent Arctic explorers” (Mirsky), profusely<br />

illustrated with ten large engraved folding maps (one outlined in color) and 61<br />

fine engraved plates (11 vividly hand-colored).<br />

Franklin’s “two expeditions together added 1,200 miles of coast line to the<br />

knowledge of the American continent. The views of Arctic scenery are of extreme<br />

beauty” (Hill, 111-12). The extensive appendices, not included in later editions,<br />

include geological, astronomical and botanical and zoological sections. Journey<br />

with errata slip. Arctic Bibliography 5194, 5198. Sabin 25624, 25628. Field 560, 561.<br />

Graff 1406, 1407. Streeter 3699. Wagner-Camp 23:1, 35.1. Abbey Travel 635. Bookplates. Journey with early owner signature, small<br />

bookseller tickets (one tipped to contents leaf); Narrative with institutional inkstamps to title page. Interiors generally fresh and<br />

clean with light scattered foxing; two maps with small closed gutter tears; expert archival repair to one leaf minimally affecting text<br />

(Narrative, 237). Extremely good condition, hand coloring vibrant.<br />

First Edition Of Shores Of The Polar Sea, With 16 Handsome<br />

Chromo-Lithographic Plates After Drawings By Edward L. Moss<br />

221. (POLAR EXPLORATION) MOSS, Edward L. Shores of the Polar Sea. A<br />

Narrative of the Arctic Expedition of 1875-6. London, 1878. Folio (14 by 19-1/2<br />

inches), original black- and gilt-stamped blue cloth rebacked with original spine laid<br />

down. $8500.<br />

First edition, with 16 handsome mounted chromo-lithographic plates and numerous<br />

engravings after illustrations made on the spot by Edward L. Moss, and a map of the<br />

expedition route, in beautiful publisher’s cloth.<br />

“Moss was a naval surgeon aboard Nares’ flagship, Alert, but also served as artist for the<br />

expedition, producing this sumptuous volume two years after the expedition returned.<br />

Although his Preface disclaims a narrative intent for the book and places his emphasis<br />

on pictorial efforts, the book still provides a substantial and engaging account of the<br />

Nares expedition (1875-76). Fitzgerald 489. Library stamp on title page. Faint scattered<br />

foxing and soiling to text and plates, only light wear and soiling to original cloth. An<br />

exceptional copy in near-fine condition, nicer than usually found.<br />

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Signed By Scott: Four-Page Autograph Account Of<br />

His First Antarctic Expedition, Written Upon His<br />

Return In 1904, Framed With Portrait<br />

222. (POLAR EXPLORATION) SCOTT, Robert F. Autograph<br />

manuscript draft for a telegram signed (“Rob. F. Scott”) to an<br />

unknown recipient. Auckland Island, circa March 20, 1904. Four folio<br />

pages. Framed, entire piece measures 34 by 37-1/2 inches. $16,500.<br />

Fine four-page autograph account intended for telegram of Scott’s<br />

expedition to the Antarctic written upon his return in 1904,<br />

handsomely framed.<br />

Scott launched his journey of exploration in 1901 and remained<br />

within the frigid reaches of the southern hemisphere for the next<br />

three years. Scott takes note of several expeditions that met with<br />

varying degrees of success. He happily notes that “these journeys<br />

performed under very unfavorable conditions of weather & surface<br />

have added much to our information.” The official account of the expedition was not<br />

published in book form until 1905 (The Voyage of the ‘Discovery’). Scientifically speaking, this first expedition was the more<br />

important of Scott’s two expeditions, although historically it is overshadowed by his tragic second journey, during which he<br />

perished. Perforation in upper left corner of each leaf, small loss to corner and edge of page 3, not affecting text. An exceptional<br />

document in excellent condition, handsomely framed.<br />

“An Important Addition To Nautical Science”: Phipps’ Voyage To The North Pole, 1774<br />

223. (POLAR EXPLORATION) PHIPPS, Constantine John. Voyage Towards the North Pole Undertaken by His Majesty’s<br />

Command 1773. London, 1774. Quarto, contemporary full specked light brown calf sympathetically rebacked. $7500.<br />

First edition of the official account of Phipps’ polar voyage, with three folding<br />

maps, 12 engraved folding plates and numerous charts and tables, 11 of which<br />

are folding.<br />

Commodore Phipps, later Lord Mulgrave, led this expedition in June 1773 “for<br />

the purpose of discovering a route to India through the North Polar regions.<br />

North of Spitzbergen the sea was absolutely blocked with ice and the vessels<br />

had to return. Although unsuccessful the voyage was an important addition to<br />

nautical science… The expedition is also of interest from the fact that Lord<br />

Nelson, then 14, accompanied it as a midshipman” (Maggs II:870). The account<br />

includes “the valuable appendix to the work [which] gives geographical<br />

and meteorological observations, zoological and botanical records, accounts<br />

of the distillation of fresh water from the sea, and astronomical observations”<br />

(Hill, 206-07). Sabin 62572. Fitzgerald 560. Delgado, 55. Lowndes, 1860.<br />

Bookplate of a Matthew Lewis, Esq., father of the Gothic novelist, Matthew<br />

“Monk” Lewis. Bookplate of “Panshanger,” referring to the Earls Cowper. Ink<br />

shelf number. Occasional marginal pencil markings. Maps and plates fine, text<br />

generally fine, tiny hole to folding plate at page 182, light expert restoration to<br />

contemporary boards. An about-fine copy.


Duggan-Cronin settled in South Africa in 1897 to take a job with De Beers Consolidated<br />

Mines in Kimberly. Later, on vacation in Ireland in 1904, he bought a 10-shilling box<br />

camera, and upon returning to Africa, pursued “what he called a ‘sympathetic interest’ in<br />

the different tribal people he met working at the mines. They became his first subjects and<br />

his photography might have remained there, had it not been for a push from Dr. Maria<br />

Wilman, Director of the McGregor Museum. Wilman sent him off to photograph the<br />

Bushmen of the Langeberge in Griqualand West” and he was later supported by grants and<br />

subsidies, which also enabled the publication of these volumes. Without Volume I<br />

(Bavenda) and Volume III, <strong>Section</strong>s I-III (Ciskei, Transkei, Mpono, Mpondomise and<br />

Zulu). Hosken, 52-53. Text and plates fine, contemporary morocco boards with only light<br />

expert restoration. A near-fine set.<br />

An Achievement Likened To The Groundbreaking<br />

Work Of Edward Curtis In America,<br />

Duggan-Cronin’s Bantu Tribes Of South Africa<br />

224. (SOUTH AFRICA) DUGGAN-CRONIN, Alfred Martin. The<br />

Bantu Tribes of South Africa. Reproductions of Photographic<br />

Studies. Cambridge, 1929-54. Seven volumes. Quarto, contemporary<br />

full black morocco gilt (monogrammed “H.W.R.”) rebacked (Volume<br />

III in original stiff gray paper covers, custom clamshell box). $9800.<br />

First editions of seven (of 11) volumes in Duggan-Cronin’s photographic<br />

masterpiece, an exceptional collection of 235 (of 376) collotypes<br />

printed on heavy card stock, a record of the lives and cultures of<br />

the Bantu peoples—including<br />

the Suto-Chuana,<br />

Bechuana, Nguni, Swazi,<br />

Baca, Hlubi, Vathonga,<br />

and Vachopi tribes.<br />

Barrow’s Voyage To Cochinchina, 1806,<br />

With Fine Hand-Colored Plates<br />

225. (VIETNAM) BARROW, John. A Voyage to Cochinchina,<br />

in the Years 1792 and 1793. London, 1806. Large quarto, periodstyle<br />

full diced burgundy calf gilt. $9500.<br />

First edition of Barrow’s account of the Macartney Mission to<br />

present-day Vietnam, with 18 hand-colored plates, folding map<br />

hand-colored in outline, and two hand-colored folding charts. A<br />

lovely copy.<br />

En route to Cochin China, now known as Vietnam, this groundbreaking<br />

diplomatic mission traveled to Madeira, Jamaica, Rio de<br />

Janeiro, various islands along the coast of South America, and<br />

Java and Djakarta. The latter part of this narrative describes<br />

Barrow’s travels to the Booshuana Nation, the region now known<br />

as Botswana in southern Africa. The handsome color plates include<br />

views of Rio and Santa Cruz, the plants of Java, and an<br />

African woman, while the folding map shows the southern tip of<br />

Africa. “The aquatinting is of excellent quality” (Abbey, Travel<br />

514). Plates vivid and lovely. Small open tear to fold of plate at 135,<br />

expert reinforcement to verso of folds of a few plates and map, a<br />

few spots of foxing and offsetting to text. Beautifully bound.<br />

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<strong>Section</strong> 9: BiBleS And religion


vinegar bible<br />

Baskett’s Magnificently Illustrated 1717 Elephant Folio “Vinegar Bible”<br />

226. BIBLE. The Holy Bible Containing the Old Testament and the New. Oxford, 1717, 1716. Thick elephant folio (14-1/2 by<br />

22 inches), contemporary full red morocco gilt rebacked and recornered with original elaborately gilt-decorated spines laid<br />

down. $19,500.<br />

First edition of the monumental, splendidly illustrated “Vinegar Bible,” with 60 detailed copper engravings, handsomely bound<br />

in contemporary, elaborately gilt-decorated morocco.<br />

In 1709 John Baskett purchased the exclusive royal patent to print Bibles in England, control of which his family retained until<br />

1799. This magnificent edition of the Bible is Baskett’s most important work, highly regarded for its large, elegant type; its 60<br />

striking copper-engraved vignette head- and tailpieces depicting some of the most dramatic moments of Scripture; and its many<br />

delicately engraved historiated initials. “Unfortunately the book contained many misprints and earned the nickname ‘A Baskettfull<br />

of Errors’” (Darlow & Moule). Most notably, this edition takes its name from a misprint found in the headline above Luke<br />

20 that mentions the parable of the “vinegar” instead of the “vineyard.” Typographical mistakes notwithstanding, scholars and<br />

collectors alike today esteem the “Vinegar Bible” as one of the most beautiful and legible editions of Scripture ever published.<br />

This copy with additional engraved general title page bound in as frontispiece, with view of Oxford on other general title page,<br />

and with vignette title page for New Testament depicting the Annunciation dated 1716. Includes Apocrypha. Darlow & Moule<br />

735. Herbert 942. Bible 100 Landmarks 70. Bookplates of H.E. The Governor of Bengal. Interior fine, stunning contemporary<br />

morocco with expert restoration. A beautiful copy.<br />

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holy land<br />

“The Definitive Layout Of One Of The World’s Most Historic Cities”:<br />

Adrichom’s Influential Theatrum Terrae Sanctae, With Landmark Large Folding Maps Of<br />

The Holy Land And Jerusalem—A Beautifully Hand-Colored Copy<br />

227. (HOLY LAND) ADRICHOM, Christian von. Theatrum Terrae<br />

Sanctae et Biblicarum Historiarum. Cologne, 1593. Folio (10 by 15<br />

inches), period-style full vellum. $28,000.<br />

Second edition of Adrichom’s important and influential atlas and<br />

history of the Holy Land, published only three years after the first,<br />

with two landmark large folding maps that would be imitated by<br />

subsequent mapmakers for two centuries, one of Palestine and one of<br />

Jerusalem, along with ten other folding maps of the tribes of Israel<br />

that provide greater detail. An excellent copy with skillful<br />

contemporary hand-coloring, not only in the maps, but in the woodcut<br />

initials and typographic head- and tailpieces as well.<br />

“This famous work, published posthumously, is divided into three<br />

main parts: the geography of Palestine; an important description of<br />

Jerusalem and a history of the world up to the death of St. John the<br />

Evangelist. Von Adrichom is thought to have been engaged for some<br />

30 years in the compilation of this work” (Blackmer). “Christian von<br />

Adrichom’s delineation of Jerusalem is the most dramatic and<br />

important of the 16th century. Oriented to the north, the large-scale<br />

plan illustrates Jerusalem and its immediate surroundings at the time<br />

of Christ. The most important divisions of the city, and the walls and<br />

gates, are labeled… Until the discoveries of 19th-century archeologists,<br />

this was the definitive layout of one of the world’s most historic cities”<br />

(Nebenzahl). Likewise, Adrichom’s map of the Holy Land impressed<br />

the leading cartographers of Europe as soon as it appeared. Jan<br />

Jansson, Nicholas Visscher and Thomas Fuller all published adaptations of Adrichom’s delineation with only minor alterations—<br />

mostly in the decoration. “Maps after Adrichom’s, which was the most fully developed of the biblical school, account for more<br />

delineations than any other until well into the 18th century, 200 years after his death” (Nebenzahl). The first edition was published by<br />

Birckmann in 1590; this is a page-by-page reprint of that edition. Nebenzahl, Plates 33 and 35. See Blackmer 7; Tobler, 234; Röhricht,<br />

Bibliotheca 101:2. Ex-libris Societatis Iesu Monastery, with contemporary ink ownership marks on title page and colophon, dated<br />

1597; another owner signature dated 1840. A few ink underlinings in “Chronicon” only. Folding maps with some early reinforcement<br />

to versos and minor expert repairs to a few minor splits at folds. Text clean. Large folding maps of Jerusalem and Palestine tipped back<br />

in on new stubs; all maps in excellent condition, with vibrant contemporary hand-coloring. A splendid copy of this influential work.


“Redesigning The Shape Of History…<br />

Augustine Would Dominate Western<br />

Thought For The Next Millennium”<br />

228. AUGUSTINE. Of the Citie of God.<br />

London, 1610. Small folio (8 by 11 inches), early<br />

18th-century full paneled calf rebacked with<br />

original spine laid down. $12,500.<br />

Scarce first edition in English of Augustine’s monumental<br />

“scheme of universal history… providing<br />

a vocabulary for Christian thinking in the West<br />

for centuries” (Boorstin, Creators, 59). Because of<br />

the innovative conception of history he presents in<br />

this work, Augustine was considered “the founder<br />

of a new science, to which Voltaire assigned the<br />

name ‘philosophy of history.’ For the first time a<br />

comprehensive survey of human history is presented”<br />

(PMM 3).<br />

When, more than 1100 years after the founding of the “Eternal City,” Rome fell to Alaric’s<br />

barbarian hordes in the year 410, many people blamed Christians for provoking the wrath of the city’s protecting gods and thereby<br />

bringing catastrophe upon it. In such accusations Augustine discovered “the point of departure for his Christian view of history…<br />

The 13 years (413-26) he spent on his City of God created a new kind of defense of the new religion… Augustine proceeded to create<br />

his own philosophy of history, which would dominate Western thought for the next millennium. And he provided the most potent<br />

weapon against historical pessimism and the classic cycles. His ideas would show an uncanny power to be transformed into a<br />

modern idea of progress” (Boorstin). The work exercised enormous influence throughout the Middle Ages and well into the 18th<br />

century. “This translation of Vives’ text and commentaries of Augustine’s great work is the only one published in English until the<br />

latter half of the 19th century” (Pforzheimer 19). With the rare index and errata, often lacking. Bound with first and final blank leaves.<br />

STC 916. See PMM 3. Early paper shelf label affixed to spine head. Short early manuscript inscription on final blank. Scattered<br />

manuscript additions to the index and pencil annotations in the margins. Minor ink stain to title page. Occasional foxing and<br />

staining, a very few minor closed tears, not affecting legibility. Expert restoration to handsome 18th-century calf binding. An<br />

extremely good copy of this scarce work, quite desirable in early calf binding.<br />

Handsome 1611 Barker Geneva Bible<br />

229. BIBLE. The Bible, Translated according to the Ebrew and Greeke… London,<br />

1611, 1610. Thick octavo, contemporary full blind-tooled paneled brown calf over<br />

wooden boards rebacked, brass central bosses, cornerpieces and catches. $8500.<br />

1611 edition of the Geneva Bible (the “Breeches Bible”), bound with a contemporary<br />

edition of the eloquent Book of Common Prayer in handsome full contemporary<br />

tooled calf and original brass fittings.<br />

Set in double columns of Gothic type, with marginal notes in Roman type. With<br />

elaborate woodcut general title page and separate, similar New Testament woodcut<br />

title page (dated 1610). Includes Apocrypha. Bound with contemporary editions of<br />

the Book of Common Prayer (with title page printed in red and black), Speed’s<br />

Genealogies, Sternhold and Hopkins’ popular metrical psalter, and concordances.<br />

Darlow & Moule 238. Herbert 307. STC 2214. Griffiths 1613:3. Old owner inscriptions<br />

and marginalia. Interior with scattered light marginal dampstaining, occasional<br />

light foxing and soiling. Prayer book with marginal restoration to first few leaves.<br />

Map at front of Bible with minor marginal restoration to fore-edge. Bible with minor<br />

worming, affecting lettering but not sense of text. Metrical psalter with restoration<br />

to a few corners. Handsome contemporary binding without clasps, catches present.<br />

A distinguished and excellent Bible.<br />

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“Of Cardinal Importance For Its Influence On<br />

The English Language, Literature And Thought”<br />

230. BIBLE. The Bible, Translated according to the Ebrew and Greeke…<br />

London, 1594. Small thick quarto, contemporary full blind-tooled paneled<br />

brown calf over wooden boards rebacked, brass central bosses, cornerpieces,<br />

clasps and catches, custom clamshell box. $8500.<br />

1594 Barker quarto edition of the Geneva Bible (popularly known as the<br />

“Breeches Bible”)—arguably the most significant Protestant translation of<br />

Scripture prior to the King James Version—with beautiful, ornate woodcut<br />

title pages and numerous in-text woodcuts, handsomely bound in contemporary<br />

blind-tooled calf and brass fittings.<br />

Upon Queen Mary’s accession in 1553, “publication of the English Bible ceased<br />

in England. Many Protestants who fled to the Continent were attracted to<br />

Calvin’s Geneva. Among these exiles were eminent English Bible scholars who<br />

began work on a new translation” (Bible 100 Landmarks 62). First published in<br />

1560, the Geneva Bible—often called the “Breeches Bible” for its rendering of<br />

Genesis 3:7—as “more scholarly than any previous translation… [It] achieved<br />

immediate popularity and exerted an extremely powerful influence… The<br />

Geneva Version included prefaces, maps and tables; and for the first time in an English Bible the verses were divided and numbered…<br />

It has been more properly called the Elizabethan family Bible, since it was this version which was the first to enter the English home”<br />

(PMM 83). “It became the textus receptus for the Puritan element in England. It was read by Shakespeare, Bunyan and the soldiers of<br />

the Civil War, and is thus of cardinal importance for its influence on the English language, literature and thought” (Great <strong>Books</strong> and<br />

Book Collectors, 105-8). Printed in double columns of Gothic type. With elaborate engraved general title page, separate New Testament<br />

title page (misdated 1495), woodcut initials, woodcut head- and tailpieces. With Apocrypha and Concordances. Darlow & Moule 168.<br />

Herbert 219. Old owner initials to title page and top edge of text block, occasional ink marginalia and owner inscriptions. Some loss<br />

to pastedowns. Leaves trimmed close, affecting marginal notes only but usually not the biblical text itself. Scattered mild foxing and<br />

dampstaining. Closed tear to F4, touching text. Small burn hole to leaf [D5] of Concordances, affecting adjacent leaves. Small tape<br />

repair to verso of general title page. An exceptional volume in 16th-century tooled and brass-fitted binding.<br />

“The Most Celebrated Book In The English-Speaking World”<br />

231. BIBLE. The Holy Bible, Containing the Olde Testament, and the New…<br />

London, 1614. Thick 12mo, contemporary full embroidered binding over wooden<br />

boards, all edges gilt and gauffered, custom chemise and slipcase. $6800.<br />

Early edition of the magisterial King James Bible in contemporary embroidered<br />

binding.<br />

First published in 1611, the King James Version of the Bible has exercised an incalculable<br />

impact on piety, language and literature throughout the English-speaking world. It is<br />

“the most celebrated book in the English-speaking world… Other translations may<br />

engage the mind, but the King James Version is the Bible of the heart” (Campbell, 1,<br />

275). This early edition has been lovingly bound in embroidered cloth over wooden<br />

boards, worked in silver, yellow, green and red threads featuring a floral motif. The<br />

highly decorative and unusual style of emboridered binding reached the height of its<br />

popularity and the pinnacle of its artistic development in the first half of the 17th<br />

century. It is rarely found after the Restoration. Professional members of the Guild of<br />

Embroiderers executed the majority of such bindings. Includes Apocrypha. Illustrated with elaborate woodcut general and New<br />

Testament title pages (the latter dated 1615), woodcut headpieces, decorative woodcut initials. Bound with contemporary editions<br />

of John Speed’s Genealogies Recorded in the Sacred Scriptures (first published 1611)—a collection of 34 engraved charts and a map<br />

and description of Canaan—and Sternhold and Hopkins’ popular metrical psalter. Entire volume ruled in red throughout. Darlow<br />

& Moule 259. Herbert 334. STC 2236. Occasional light foxing and marginal dampstaining. Genealogies with repair to gutter of title<br />

page, mild edge-wear to first few leaves. An excellent Bible in striking embroidered binding.


king james bible<br />

The King James Bible, 1619, In Magnificent 17th-Century Embroidered Binding<br />

232. (BIBLE) (BOOK ARTS). The Holy Bible, Containing the Old Testament and the New. London, 1619. Thick 12mo,<br />

contemporary full white satin fully embroidered in colored silks and silver thread, all edges gilt and gauffered, custom<br />

clamshell box. $16,000.<br />

Early edition of the King James Bible, bound with the Book of Common Prayer, Metrical Psalter and the Genealogies, which<br />

includes 34 pages of woodcut genealogies and a double-page woodcut map of the Holy Land (with an inset map of Jerusalem),<br />

in a splendid contemporary embroidered binding.<br />

This early edition of the magisterial King James Bible, which was first published in 1611, has been lovingly bound in embroidered<br />

red satin. On both covers, a floral centerpiece in white, red, light green and dark green silks is surrounded by intricate silver<br />

thread work and smaller floral designs in blue, white and green. The spine is similarly adorned in floral designs of silver thread<br />

and multicolored silks. A roll border worked over with silver thread ornaments the outer edges. Bible bound with an edition<br />

from the same year of Sternhold and Hopkins’ Metrical Psalter (bound after the New Testament), and with an edition from<br />

the same year of the Book of Common Prayer and the Genealogies (both bound before the Bible). With separate woodengraved<br />

New Testament and Book of Common Prayer title pages. Includes Apocrypha. Text hand-ruled in red throughout.<br />

Darlow & Moule 287. Herbert 369. STC 2257. Early owner signature. Interior exceptionally clean. A few signatures partially<br />

sprung, cords holding. Far less than the expected age-wear to beautiful and delicate embroidered binding; colors still bright<br />

and beautiful. A splendid volume.<br />

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With Over 200 Engravings, Folding Maps Of The Holy Land,<br />

And Book Of Common Prayer<br />

233. (BIBLE) (BOOK OF COMMON PRAYER). The Holy Bible. London,<br />

1723. Thick folio (9 by 14 inches), contemporary full red paneled morocco<br />

gilt rebacked with original spine laid down. $6000.<br />

Impressive 1723 King James Bible, illustrated with over 200 copperplate<br />

engravings by James Cole, handsomely bound, together with the Book of<br />

Common Prayer, in beautiful full contemporary morocco-gilt. A magnificent<br />

volume with fine folding maps.<br />

This edition is illustrated with more than 200 copperplate engravings by<br />

James Cole, arranged four per plate. “Before 1750… the illustrations in most<br />

English Bibles came from separately published suites of designs engraved by<br />

John Sturt (1716) and James Cole (1724) and added to plain texts of the Bible<br />

by the bookseller or the purchaser” (Oxford Companion to the Bible). This<br />

Bible also contains six folding maps with a separate title page, printed in red<br />

and black, “Sacred Geography Contained in Six Maps” (also published by<br />

Ware, 1727). Bound before the biblical text is an Oxford 1726 edition of the<br />

magisterial Book of Common Prayer. Bible with additional engraved title<br />

page and separate New Testament title page (dated 1722). Prayer book with<br />

engraved frontispiece portrait of King George II and additional engraved<br />

architectural title page (by Sturt). Includes Apocrypha. Also bound with a 1726 edition of Downame’s Concordance. Darlow &<br />

Moule 754. Herbert 965. Griffiths 1726:2 (prayer book). Folding map of Paradise with closed tear, loss to lower left corner; closed tear<br />

with loss to folding map of Jerusalem; text and plates generally quite clean with only minor marginal dampstaining; contemporary<br />

morocco-gilt very handsome. A beautiful Bible in excellent condition.<br />

Beautiful 18th-Century Dutch Stained<br />

Vellum Binding<br />

234. DURAN, Simeon ben Zemah, et al. Sefer ha-<br />

Tashbets. Amsterdam, 1738-39. Four volumes in<br />

one. Small, thick folio, contemporary full Dutch<br />

vellum. $5200.<br />

Handsome Dutch stained vellum paneled binding,<br />

with gilt centerpieces depicting Moses with the<br />

tablets and Abraham sacrificing Isaac, on Simeon<br />

Duran’s four-part Tashbez (1738-39).<br />

In the 17th century, under the auspices of the Guild<br />

of Saint Luke, Dutch bookbinders perfected the<br />

techniques of mottling, sprinkling and staining vellum.<br />

This wonderful vellum binding is designed with<br />

rose-colored cover-panels containing gilt-stamped<br />

corner and centerpieces, surrounded by wide rose<br />

and green mottled borders. The intricate centerpiece<br />

stamps depict Moses with the Ten Commandments<br />

on one cover and the Sacrifice of Isaac on the other. This splendid Dutch binding holds the four parts of Simeon Duran’s Tashbez<br />

(abbreviation of Teshuvot Shimon ben Zemah), the first three parts being rabbinic exchanges of letters on halakhic matters, and the<br />

fourth part, called Hut ha-Meshullash, being the letters of three rabbis of North Africa, including Simeon’s descendant Solomon.<br />

Texts in Hebrew. Bookplate. Internally quite clean and bright, with minor edge-wear to first and last few leaves, inner hinges expertly<br />

reinforced. Covers of contemporary stained vellum binding near-fine, gilt centerpieces slightly rubbed, spine darkened. A<br />

wonderful example of 18th-century Dutch craftsmanship, in extremely good condition.


“Perhaps The Most Important Landmark In<br />

Doré’s Career”<br />

235. (DORÉ, Gustave). The Holy Bible. With<br />

Illustrations by Gustave Doré. London and New York,<br />

circa 1867. Two volumes. Thick folio (12 by 15 inches),<br />

contemporary full crimson pebbled morocco gilt. $7200.<br />

One of the earliest editions in English (all undated) of<br />

Gustave Doré’s great folio Bible, splendidly illustrated by<br />

him with 238 full-page wood-engravings and beautifully<br />

bound in contemporary full morocco-gilt. A fine copy.<br />

“In the 1870s, The Doré Bible was perhaps the most treasured<br />

(and expensive) book in the world” (Malan, 81).<br />

Certainly, it proved a milestone in the artist’s career. “The<br />

Bible was enthusiastically sponsored by one of the greatest<br />

French publishers of illustrated books of the day, Mame of<br />

Tours… Looking through these illustrations today it is<br />

impossible to recapture the positive furor of enthusiasm<br />

with which they were received on their first appearance…<br />

A second edition of the Bible was called for almost at<br />

once… Editions appeared in almost every European country…<br />

One of the first off the mark was an English edition from Cassell, Petter and Galpin,<br />

1867. This caused an even greater sensation than the French edition, and the demand<br />

among collectors for any and everything by Doré was clamorous” (Muir, 224). Because<br />

of the demand, a number of editions in English saw print between 1867 and 1903 in a<br />

variety of formats, none of which were dated on the title page. This set is among the<br />

earliest editions, containing 238 plates (later editions had only 205) and in the large<br />

format of 12 by 15 inches. Malan, 239. Herbert 1977. Text and plates clean, with none of<br />

the foxing often found. A splendidly bound and illustrated Bible in fine condition.<br />

“Chief Among The Guiding Spirits Of The First Generation<br />

Of The Massachusetts Bay Colony”<br />

236. COTTON, John. The Way of the Churches of Christ in New England.<br />

London, 1645. Small quarto, modern half brown morocco gilt. $6500.<br />

Scarce first edition of Cotton’s strong, scriptural defense of Congregational<br />

church polity—and a revealing witness to growing, pre-Revolutionary tensions<br />

between imperial England and her democratic colonies, even in matters of faith.<br />

“Chief among the guiding spirits of the first generation of the Massachusetts Bay<br />

Colony in New England was the Reverend John Cotton, teacher of the First<br />

Church in Boston” (Tuttle, 363). In addition to his long and influential preaching<br />

ministry from that pulpit, Cotton played a major role in translating the psalms as<br />

published in the Bay Psalm Book (1640)—the first true book printed in America.<br />

His Way of the Churches “is an answer to Cotton’s critics (unnamed) as well as a<br />

description of American [ecclesiastical] practices…[Cotton] recognizes that it<br />

may sound dangerously like democracy for the people to have so much power [in<br />

governing their congregations], but he protests that he is compelled to accept the<br />

principle since Christ gave the power of the keys to the church” (Emerson, 47-8). Tuttle 38. Sabin 17090. Wing C6471. Institutional<br />

inkstamps to title page. Scattered light foxing. Leaves occasionally closely trimmed, affecting signature marks. Title page with<br />

marginal restoration at top toward gutter. An excellent copy, handsomely bound. Scarce.<br />

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“The Spokesman Before God Of A Virile,<br />

Unconquerable Humanity”<br />

237. DONNE, John. LXXX Sermons Preached By That<br />

Learned And Reverend Divine, John Donne, Dr. In Divinity.<br />

a London, 1640. Folio (9-1/2 by 14 inches), contemporary full<br />

brown calf rebacked. $8000.<br />

<strong>Rare</strong> first edition of the first collection of sermons by “the outstanding<br />

preacher of his day” and one of the greatest poets in the<br />

language (Baugh et al., 613), a landmark of English literature<br />

and piety.<br />

Donne remains a towering figure in English literature no less for<br />

his preaching than for his poetry. “Of Donne’s estimated 180<br />

sermons, the extraordinary total of 160 survive—monumental<br />

evidence that he was both a prolific and a popular preacher. The<br />

reasons for his popularity are clear: the sermons are not only<br />

rich in learning and curious lore; they are characteristically<br />

personal and powerful in their phrasing… At his most characteristic,<br />

he is the spokesman before God of a virile, unconquerable<br />

humanity” (Norton, 913, 918). Now considered “very rare,”<br />

this volume of sermons is one of three folios issued posthumously<br />

by Donne’s son between 1640 and 1660 (Allibone, 513).<br />

In addition to Donne’s addresses for major Christian festivals<br />

and his masterful expositions of the penitential psalms, LXXX Sermons also contains the first appearance of Walton’s Life of Donne,<br />

the standard biographical text, “written with an extraordinary grace and spontaneity” (Keynes, 239). Engraved title page supplied<br />

in facsimile; without the first and last blank leaves. STC 7038. Keynes 29. Grolier Club 62. Lowndes, 660. Text remarkably clean and<br />

bright, only minor rubbing to corners of contemporary calf. An about-fine copy.<br />

Beautifully Illustrated 1716 Judeo-Italian<br />

Haggadah, Printed In Venice<br />

238. (HAGGADAH) Seder Haggadah shel Pesah.<br />

Venice, 1716. Folio, 19th-century Dutch marbled paper<br />

boards; ff. 25. $8500.<br />

Beautifully illustrated 1716 Venice Haggadah, with<br />

Italian translation printed in Hebrew characters.<br />

Includes Leone Modena’s commentary (Tzli Esh), based<br />

on Isaac Abrabanel’s earlier commentary, Zevah Pesah.<br />

This early 18th-century Venice Haggadah was printed in<br />

the esteemed tradition established in the same city in the<br />

previous century. “Among its visual highlights were a<br />

magnificent architectural border surrounding every page<br />

of text, woodcut initials enclosing miniature figures and<br />

scenes, and large woodcut illustrations placed at the top<br />

or bottom of almost every page… arranged into a<br />

meaningful biblical cycle that begins with Abraham and<br />

later focuses on the narratives actually recalled in the text<br />

of the Haggadah” (Yerushalmi 44-55, regarding the<br />

extremely scarce 1609 and 1629 Venice editions, accurate<br />

for this edition as well). Title page and each page throughout with decorative architectural woodcut border. Yaari 81. Yudlov 131.<br />

Most leaves remargined or repaired along edges, at times affecting decorative border and text (supplied in neat facsimile). A very good<br />

copy of this lovely illustrated Haggadah, an excellent example of the Venetian tradition.


Lovely Illuminated Leaf From A Medieval French<br />

Book Of Hours, Depicting King David In Prayer<br />

240. ILLUMINATED LEAF. Illuminated leaf from a Book of<br />

Hours. France, circa 1450-75. One vellum leaf, measuring 4-1/2<br />

by 6-1/2 inches, matted and framed; entire piece measures 14 by<br />

16 inches. $12,500.<br />

Lovely illuminated leaf from a mid 15th-century French Book of<br />

Hours, with a miniature depicting King David on the recto and<br />

the Latin Vulgate text of Psalm 6 with a leafy, colorful border on<br />

the verso, handsomely matted and framed.<br />

This lovely, illuminated vellum leaf from a mid-15th century<br />

French Book of Hours (a medieval book of prayer containing<br />

“offices,” or sets of psalms, lessons, antiphons and prayers for<br />

recitation during each of the eight liturgical hours of the day)<br />

features, on its recto, a lovely miniature (measuring 2 by 3-1/4<br />

inches). Done in red, blue, green and gold, it depicts King David,<br />

repenting of his affair with Bathsheba, kneeling at an altar on<br />

which sit the tablets of the Law, praying to God, who is signified<br />

by the rays of light shining on him from above. David’s golden<br />

harp appears behind him. The three lines of text are the opening<br />

verse of Psalm 6 in the Latin Vulgate (the first of the seven<br />

penitential psalms): “Domine, ne in furore tuo arguas me, neque<br />

in ira tua corripias me” (O Lord, do not rebuke me in your fury,<br />

nor chastise me in your anger). A splendid piece in fine condition.<br />

1765 Illustrated Haggadah Printed In Furth,<br />

“Little Jerusalem”<br />

239. (HAGGADAH) Haggadah Seder shel Pesach. Furth,<br />

1765. Slim folio, 20th-century boards; ff. 14. $4200.<br />

Very scarce 1765 Haggadah, containing important commentary<br />

by Abravanel, “the outstanding historical figure<br />

among Jews in the closing period of the Middle Ages,” illustrated<br />

with decorative title page and 13 woodcuts depicting<br />

scenes from the Bible and the Passover story.<br />

Published in Fürth, Bavaria, the Haggadah reflects the<br />

area’s importance as refuge to a number of Viennese Jews<br />

in 1670 following their expulsion by Emperor Leopold I. By<br />

1840 Fürth became home to more than half of all Bavarian<br />

Jews. Text also embellished with woodcut initials. Expected<br />

wine stains and other signs of ritual use, including light<br />

wear to pages edges, not affecting text or illustrations. A<br />

very good copy of this scarce edition.<br />

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illuminated leaf<br />

Illuminated Leaf From A Medieval French Book Of Hours,<br />

Depicting The Prophet Nathan And King David In Prayer And The Slaying Of Goliath<br />

241. ILLUMINATED LEAF. Illuminated leaf from a Book of Hours. Rouen, France, circa 1480-90. One vellum leaf, measuring<br />

4-1/2 by 6-1/2 inches, matted and framed; entire piece measures 13 by 16 inches. $13,500.<br />

Lovely illuminated leaf from a late 15th-century French Book of Hours, boasting two exceptional miniatures depicting King David<br />

and the slaying of Goliath on the recto and the Latin Vulgate text of Psalm 6 with a leafy, colorful border on the verso, handsomely<br />

matted and framed.<br />

This lovely, illuminated vellum leaf from a late 15th-century French Book of Hours, according to the practice of Rouen, features a<br />

full-page miniature (measuring 4-1/2 by 6-1/2 inches). Done in red, blue, green and gold and executed in the style of the Playfair<br />

Hours (a noted contemporary illuminated manuscript, also from Rouen), it depicts, in its upper portion, King David, having been<br />

confronted by the prophet Nathan about his affair with Bathsheba, kneeling and praying to God for forgiveness (2 Samuel 12:13-<br />

16). The lower, much smaller portion (bas-de-page) depicts David slaying Goliath (1 Samuel 17). In between the images are three<br />

lines of text, the opening verse of Psalm 6 in the Latin Vulgate (the first of the seven penitential psalms): “Domine, ne in furore tuo<br />

arguas me, neque in ira tua corripias me” (O Lord, do not rebuke me in your fury, nor chastise me in your anger). A splendid piece<br />

in fine condition.


Extremely Large 14th- Or 15th-Century<br />

Illuminated Persian Manuscript Koran Leaf<br />

242. ILLUMINATED LEAF. Manuscript Koran leaf.<br />

Persia, 14th or 15th century. Single large leaf, measuring 11-1/2<br />

by 15-1/2 inches; handsomely matted, entire piece measures 20<br />

by 24 inches. $7500.<br />

Lovely and extremely large 14th- or 15th-century illuminated<br />

manuscript Koran leaf from Persia, with nine lines of bold<br />

black naskhi script and illuminated rosettes between verses<br />

executed in gold, blue, and black inks, as well as a large illuminated<br />

marginal device in blue, gold, black, white, and orange<br />

inks, handsomely matted.<br />

This highly desirable and quite large leaf is from a 14th or<br />

15th-century Koran of Persian origin, a magnificent calligraphic<br />

example. It bears nine lines of bold and elegant black<br />

naskhi script with diacritics and vowel points also in black<br />

ink. The lovely illuminated rosettes between verses are rendered<br />

in gold, black, and blue inks. The large marginal device<br />

with a circular center medallion is rendered in blue, black,<br />

gold, white, and orange inks. Tiny marginal paper repair, very<br />

occasional smudging, and a bit of very faint waterstaining and<br />

discoloration mainly to margins. An exceptionally early and<br />

desirable piece.<br />

First Edition Of Sale’s Landmark English Translation<br />

Of The Koran, 1734<br />

243. SALE, George. The Koran, Commonly Called the Alcoran of<br />

Mohammed. London, 1734. Quarto, contemporary full brown paneled<br />

and speckled calf gilt rebacked. $4500.<br />

First edition of George Sale’s important translation of the Koran, the first<br />

to translate directly from the Arabic into English, with genealogical charts,<br />

folding map of Arabia and folding plan of the Great Mosque of Mecca.<br />

For Muslims, Islam’s sacred scripture can only truly be read in Arabic, for<br />

it is the literal, revealed word of God. Among English translations, however,<br />

George Sale’s remains an important landmark. “As a translator, Sale had<br />

the field almost entirely to himself. The only full translation of the Koran<br />

in any modern language previously published was the despicable French<br />

version by Du Ryer, issued in 1649. A very poor English rendering of Du<br />

Ryer’s from French was issued by Alexander Ross in London in the same<br />

year… Sale’s translation is remarkably accurate. Throughout he has made<br />

full use of native commentators, as regards both the interpretation of the<br />

text and its illustration in the notes… His version remains the best<br />

[translation] in any language” (DNB). English readers regarded it as the<br />

standard through the 19th century. With engraved folding map of Arabia by R.W. Seale, folding plan of the Great Mosque of Mecca<br />

and three genealogical plates (two folding). Title page printed in red and black. Occasional marginal annotations. Occasional scattered<br />

light foxing, some marginal damp staining; text with expert paper repairs to wormholing; expert restoration to contemporary calf<br />

boards. An extremely good copy, handsomely bound.<br />

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18th Or Early 19th-Century Illuminated Manuscript Qur’an<br />

244. (KORAN). Illuminated Qur’an [Koran]. Iran or northern India, 18th or<br />

19th century. 24mo (2 by 4 inches), later half red morocco and hand-painted floral<br />

boards. $8000.<br />

Illuminated 19th-century manuscript Qur’an, beautifully bound in exquisite<br />

hand-painted floral boards.<br />

Likely a commercial production by a highquality<br />

atelier, this Qur’an in small Arabic and<br />

Persian script contains a three-page index in<br />

red, black and gilt, four pages of additional<br />

prayers, a medallion leaf (with the date) and<br />

the text. The text (within ruled borders of<br />

black and gilt) is written in 22 lines of fine<br />

naskhi script per page of polished paper and is<br />

fully vocalized, with two gilt polychrome<br />

opening pages for al-Ftihah and al-Baqarah<br />

within elaborate borders of red, blue, black and gilt, opposite ornamental notes in nasta’liq<br />

script within gilt arabesques. The script may have been accomplished with a starched hair<br />

brush; it is remarkably legible for its size. According to one source, there are callouts referring<br />

to Shi’a notables, for example, Iman Ja’far [al-Sadiq, the fifth Shi’a Imam of 12]. Interior<br />

generally very clean. A superb small-format Qur’an in a fine, highly legible naskhi script with<br />

extensive commentary. About-fine condition.<br />

19th-Century Miniature Illuminated Manuscript Qur’an<br />

245. (KORAN). Illuminated Qur’an [Koran]. Iran or Northern India, mid- to late<br />

19th century. 64mo (2 by 3-1/2 inches), later hand-painted botanical expertly rebacked<br />

with brown morocco, hand-painted botanical doublures. $4000.<br />

Illuminated 19th-century manuscript Qur’an, beautifully bound in hand-painted<br />

botanical boards.<br />

This Qur’an’s beauty derives from its uncomplicated<br />

script and lovely hand-painted<br />

boards. Portions of the Qur’an are clearly<br />

indicated. Written in 22 lines per page of<br />

fine, fully vocalized ghubari (or “dust”)<br />

script on polished paper (easily legible with<br />

magnification). The script is quite tiny and<br />

more easily legible with magnification. With<br />

gilt polychrome opening page of al-Baqarah,<br />

titled in red, gilt dot ayah markers, small<br />

polychrome illuminations at hizb and juz’ sectional markers, and short, three-line pious<br />

concluding formula after the final surah. Text within ruled borders in black, blue and gilt.<br />

Without first leaf (colophon and first surah). Interior generally very clean, with only a few<br />

smudges to text. A lovely miniature Qur’an.


illuminated qur’an<br />

Beautiful Early 19th-Century Illuminated Manuscript Qur’an<br />

246. (KORAN). Illuminated Qur’an [Koran]. Persian or Ottoman, early 19th century. Thick 12mo, contemporary full gilt-tooled<br />

burgundy morocco rebacked, matching fore-edge flap remounted. $9000.<br />

Illuminated early 19th-century manuscript Qur’an, handsomely bound in<br />

contemporary gilt-tooled “wallet-style” morocco.<br />

Islam’s sacred scripture and, for Muslims, the literal, revealed word of God, the<br />

Qur’an is also “the most extraordinary beautiful discourse… The Arabic is extraordinary<br />

and it does evoke a significant response… [The Qur’an] invades us [and]<br />

gets below the level of rational, cerebral judging of content to a core of receptivity<br />

that we sometimes don’t even know that we have” (Karen Armstrong). This undated<br />

and unsigned manuscript Qur’an has 15-line fine black naskhi calligraphic script<br />

on polished paper (fully vocalized in black and red, with catchwords) within gilt<br />

borders, with double page opening elaborately gilt with pink, blue and green floral<br />

motifs and frames; also with gilt disc markers (aya markers) between verses and<br />

elaborate floral sectional markers (juz’ markers), some with faint color. Scattered<br />

old marginalia. Text with only very rare smudges of occasional letters. Occasional<br />

closed tears along edge of gilt borders. Archival tissue repairs toward gutter of approximately<br />

the last 35 leaves. Mild rubbing to boards. An excellent and attractive<br />

manuscript Qur’an.<br />

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<strong>Section</strong> 10: giFt SuGGestions and<br />

otHer interestinG <strong>Books</strong><br />

Give a Great Book<br />

What gift could be more personal than a book that has been loved throughout the recipient’s life? Especially<br />

a copy of the book that has significant value—a copy that is rare, original and, in some cases, unique?<br />

This gift guide includes some of our recommendations for books that will be treasured by the recipient for<br />

years to come. We offer books in a wide range of subjects and prices; please don’t hesitate to ask about<br />

authors and titles not included here. Our staff will be delighted to answer your questions and to help you<br />

find a book that matches the interests of the recipient.<br />

Signed By Ansel Adams<br />

247. ADAMS, Ansel. Yosemite and the Range of Light.<br />

Boston, 1979. Oblong folio, original red and blue cloth,<br />

dust jacket, shipping carton. $2000.<br />

First trade edition, first printing, of Adams stellar<br />

photobook, containing 116 striking black-and-white<br />

photogravures, most full-page, boldly signed by him. An<br />

exceptional copy in original dust jacket and shipping<br />

carton. Preceded the same year by a signed limited<br />

edition of 250 copies. Fine.<br />

247


“A Beautiful And Esteemed Edition”<br />

248. ADDISON, Joseph. Works. Birmingham, 1761. Four<br />

volumes. Quarto, contemporary full mottled brown calf<br />

rebacked. $1100.<br />

First Baskerville printing of the works of a writer of exceptional<br />

influence on 18th- and 19th-century literature, illustrated<br />

with ten plates. The first edition of Addison’s works was<br />

published in 1721. Without the Directions to the Binder leaf in<br />

Volume I (as often) and the frontispiece portrait.<br />

Scattered light foxing, a bit of rubbing to<br />

original label. A handsome copy.<br />

“We Are Talking Now Of Summer<br />

Evenings In Knoxville, Tennessee…”<br />

249. AGEE, James. A Death in the Family.<br />

New York, 1957. Octavo, original blue cloth,<br />

dust jacket. $650.<br />

First edition, first issue, of Agee’s Pulitzer<br />

Prize-winning novel. Fine.<br />

Signed By Edward Albee<br />

250. ALBEE, Edward. Who’s Afraid of Virginia Woolf? New<br />

York, 1962. Octavo, original black cloth, dust jacket. $2500.<br />

First edition of Albee’s award-winning play, signed by the<br />

playwright. Albee described his first three-act play as the<br />

depiction of the desire to “try to claw our way into compassion”<br />

(Hart 9). The Tony Award-winning play premiered on<br />

Broadway in October 1962. In 1966, Mike Nichols directed<br />

Elizabeth Taylor and Richard Burton in the Oscar-winning<br />

film adaptation. Book fine, dust jacket near-fine.<br />

Inscribed By Woody Allen And<br />

Actor George Segal<br />

251. ALLEN, Woody. Without<br />

Feathers. New York, 1975. Octavo,<br />

original half black cloth, dust<br />

jacket. $950.<br />

First edition of Woody’s Allen’s timeless<br />

collection, boldly inscribed by<br />

him: “Dec 18—1978, To Don—Woody<br />

Allen,” along with an inscription by<br />

actor George Segal: “To Don—George<br />

Segal.” This book’s recipient is very<br />

251<br />

possibly Don Vappie, the famed New<br />

Orleans jazz musician and banjo player. Fine.<br />

“The Ideal Prince”<br />

252. AURELIUS, Marcus. The Golden Book of Marcus<br />

Aurelius. London, 1906. 16mo (measuring 3-1/2 by 5-1/2<br />

inches), contemporary full diapered brown calf gilt, cardboard<br />

slipcase. $600.<br />

Charming gift edition of the popular, “richly drawn portrait of<br />

Marcus Aurelius as an emperor and as a man,” attractively<br />

bound by Sangorski & Sutcliffe. Purportedly composed in antiquity,<br />

The Golden Book is actually a work of<br />

imagination (first published in 1528, first translated<br />

into English in 1535) offering “a richly drawn<br />

portrait of Marcus Aurelius” (Mezzatesta). Fine.<br />

Signed By Richard Avedon<br />

253. AVEDON, Richard. An Autobiography.<br />

New York, 1993. Folio (11-1/2 by 14-1/2 inches),<br />

original brown cloth, mounted photographic<br />

self-portrait, printed acetate wrapper, shipping<br />

carton. $2200.<br />

249 First trade edition of this impressive retrospective,<br />

containing over 280 full-page and doublepage<br />

plates in tritone black and white, boldly signed and<br />

dated by Avedon in the year of publication. First trade edition,<br />

published same year as signed limited edition of 250<br />

copies. Fine.<br />

Inscribed By Russell Banks<br />

254. BANKS, Russell. The Sweet Hereafter. New York, 1991.<br />

Octavo, original half blue cloth, dust jacket. $300.<br />

First edition, inscribed: “for Deborah, Russell Banks.” With<br />

remainder mark. Fine.<br />

“Ma Terrible Passion”<br />

255. BAUDELAIRE, Charles. Les Fleurs du Mal. Paris,<br />

1935. Quarto, contemporary full brown morocco, colorprinted<br />

wrappers and spine bound in, custom quarter<br />

leather slipcase. $1600.<br />

Lovely illustrated limited edition of Baudelaire’s<br />

masterpiece in the original French, number 446 of<br />

3000 copies printed, with 16 full-page lithographs<br />

by Carlo Farneti, hand-colored en pochoir by<br />

Charpentier, and 100 in-text wood-engravings,<br />

handsomely bound by Max Fonseque. This edition<br />

includes the six “notorious” poems that were censored<br />

after the 1857 first issue. The ban was not officially<br />

lifted until 1949. Text in French. Fine.<br />

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“Baskerville’s <strong>Books</strong> Were<br />

Unusually Beautiful”<br />

256. (BASKERVILLE, John). The Book of<br />

Common Prayer… Together with the Psalter or<br />

Psalms of David. Cambridge, 1761. Octavo, contemporary<br />

full straight-grain red morocco gilt. $2400.<br />

Beautifully bound second octavo edition of<br />

Baskerville’s Book of Common Prayer. Baskerville<br />

produced three octavo editions of the prayer book<br />

between 1760-62. The title page (Gaskell’s Group 3)<br />

is a cancel, reflecting a change in price; leaves B7 and<br />

[C6] are in the earlier, uncancelled state. Nearly fine.<br />

“The King James Version Is<br />

The Bible Of The Heart”<br />

257. BIBLE. The Holy Bible, Containing the Old,<br />

and New Testaments. London, 1661. Thick 12mo,<br />

contemporary full paneled black calf gilt. $3000.<br />

1661 London edition of the magisterial King James<br />

Bible, bound with a contemporary edition of the<br />

beloved Book of Common Prayer in distinguished<br />

contemporary calf-gilt with silver clasps and catches.<br />

Without Apocrypha (not called for). With separate<br />

New Testament title page (London: John Field,<br />

1660). Bound with contemporary editions of the<br />

Book of Common Prayer (1665) and Sternhold and<br />

Hopkins’ popular metrical psalter (1666). Upper<br />

clasp engraved with previous owner’s name. Interior<br />

with scattered light foxing, occasional minor<br />

worming. Light rubbing to spine and wear to spine<br />

ends, minor abrasions to boards.<br />

FineLy Bound BiBLes<br />

256<br />

Very Handsomely Bound 1647 King James Bible<br />

258. BIBLE. The Holy Bible, Containing the Old Testament and the New.<br />

London, 1647. Thick 12mo, contemporary full black morocco gilt. $3200.<br />

1647 edition of the magisterial King James Bible, ruled in red throughout,<br />

very handsomely bound in contemporary full morocco-gilt. Bound with a<br />

1647 edition of Sternhold and Hopkins’ popular metrical psalter. Expert<br />

restoration to spine ends, gilt bright. A lovely Bible.<br />

“If Everything Else In Our Language Should Perish,<br />

It Would Alone Suffice…”<br />

259. BIBLE. The Holy Bible, Containing the Old and New Testaments.<br />

Oxford, 1743. Two volumes. Small 12mo (3 by 5-1/2 inches), contemporary<br />

full black morocco gilt. $1400.<br />

Lovely 1743 Oxford edition of the King James Bible, handsomely bound in<br />

contemporary morocco-gilt. Without Apocrypha. Interior generally fine,<br />

contemporary morocco-gilt binding in exceptionally nice condition.<br />

Handsomely Bound Pictorial Bible,<br />

With 828 Woodcut Illustrations<br />

260. BIBLE. The Pictorial Bible; Being the Old and New Testaments<br />

according to the Authorized Version: Illustrated with Many Hundred<br />

Woodcuts. London, 1836-38. Three volumes. Quarto, contemporary full<br />

polished navy calf gilt. $3200.<br />

First edition of this generously illustrated Bible, a notable Victorian<br />

attempt to interpret the Scriptures in their original, ancient Near<br />

Eastern contexts, featuring 828 wood-cuts after numerous notable<br />

artists, most half-page or larger, bound in distinguished polished calfgilt.<br />

Artists whose work is represented include Michaelangelo, Raffaelle,<br />

Rubens, Poussin and Rosellini. Volume III with map of the Sinai<br />

peninsula painted on the fore-edge. Without Apocrypha. Rear inner<br />

hinge of volume III expertly reinforced. Very handsomely bound.<br />

260


Illustrated Edition Of Lorna Doone,<br />

Handsomely Bound<br />

261. BLACKMORE, Richard D. Lorna Doone: A<br />

Romance of Exmoor. Boston, 1894. Two volumes.<br />

Octavo, contemporary three-quarter brown morocco<br />

gilt. $750.<br />

Later edition of Blackmore’s classic novel of manners,<br />

with 30 photogravures of sites mentioned in the text,<br />

numerous historiated and floriated initials, a map of<br />

Exmoor and 75 vignettes, handsomely bound. Fine.<br />

Boccaccio’s Decameron, Illustrated Limited<br />

Edition, Beautifully Bound<br />

262. BOCCACCIO, Giovanni. The Decameron…<br />

Faithfully Translated by J.M. Rigg. London, 1921.<br />

Two volumes. Small folio, contemporary full tan<br />

paneled calf gilt. $1850.<br />

Limited edition, one of 1000 copies, of Boccaccio’s<br />

sparkling portrait of love, lust and exuberant life,<br />

even in the face of death. Illustrated with 15 full-page<br />

aquatints by Art Nouveau artist Louis Chalon, beautifully<br />

bound by J.P. Gray & Son, Cambridge. Limited<br />

to 1000 copies, this fine private-press edition first appeared<br />

in the late 1890s as an imprint of the Navarre<br />

Society, which specialized in publishing classical literature.<br />

Fine.<br />

262<br />

“One Of The Great <strong>Books</strong> Of American Illustrations”<br />

263. BRYANT, William Cullen, editor. Picturesque America.<br />

New York, 1872-74. Two volumes. Thick folio, original full brown<br />

morocco gilt. $2500.<br />

First edition in book form, illustrated with 49 full-page steel-engraved<br />

early American views, including title pages and frontispiece plate of<br />

Niagara Falls, together with numerous in-text wood engravings, in<br />

handsome publisher’s deluxe morocco-gilt bindings. “The best landscapes<br />

engraved in this country are to be found here” (Hamilton, 216).<br />

First published in 48 parts. Near-fine.<br />

“If I Should Die, Think Only This Of Me:<br />

That There’s Some Corner Of A Foreign Field That<br />

Is For Ever England”<br />

264. BROOKE, Rupert. The Collected Poems of Rupert Brooke: With<br />

a Memoir. London, 1931. Octavo, contemporary full red calf gilt. $500.<br />

Later printing, with two photogravure portraits of Brooke and two<br />

poems not included in the 1918 edition, beautifully bound by Sangorski<br />

& Sutcliffe. First published in 1918, this edition with the newly revised<br />

chronological order of the 1928 edition, and the poems “Fafaïa” and<br />

“It’s not going to happen again,” not included in the first edition. Laidin<br />

bookplate of Marie-Louise and Samuel Robert Rosenthal, Chicago<br />

philanthropists and book collectors. Fine.<br />

Inscribed By William Blatty<br />

263<br />

265. BLATTY, William Peter. The Exorcist. New York, 1971. Octavo,<br />

original half maroon cloth, dust jacket. $900.<br />

First edition of Blatty’s “landmark of modern horror fiction,” inscribed:<br />

“To Dan with good wishes, William Peter Blatty.” “An intelligent<br />

exploration of possession and exorcism… an intense and dark theodicy”<br />

(Clute & Grant, 119). Horror 100 Best 68. Near-fine.<br />

169<br />

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“The Man Who Can Create<br />

Tarzan… Should Not Be Taken<br />

Too Lightly!” (Arthur C. Clarke)<br />

266. BURROUGHS, Edgar Rice.<br />

Tarzan Lord of the Jungle. Chicago,<br />

1928. Octavo, original green cloth, dust<br />

jacket. $2200.<br />

First edition of Burroughs’ twelfth<br />

Tarzan novel, a wonderful tale of<br />

“knighthood-in-flower, swashbuckling<br />

and… African adventure,” in scarce<br />

original dust jacket. “The most desirable<br />

of all the ERB hardbacks are the… A.C.<br />

McClurg first editions” (Zeuschner, 255).<br />

Text and plates fresh, light edge-wear, bit<br />

of loss to spine seam. Slight soiling, small<br />

closed tears along dust jacket flap.<br />

Extremely good.<br />

269<br />

“This Was The Lair Of The<br />

Great Lizard”<br />

267. BURROUGHS, Edgar Rice. A<br />

Fighting Man of Mars. New York,<br />

1931. Octavo, original red cloth, dust<br />

jacket. $1800.<br />

First edition, first issue, of Burroughs’<br />

seventh novel in the “exotic and dangerous”<br />

Martian world of his Barsoom series,<br />

where Hadron of Hastor battles<br />

menacing green warriors and ships<br />

armed with death rays, with scarce<br />

original Metropolitan dust jacket displaying<br />

the bright blue wraparound art<br />

of Hugh Hutton. Serialized in Blue Book<br />

Magazine (April-September 1930). Book<br />

fine; light edge-wear, mild crease to<br />

spine of bright dust jacket, with most of<br />

front flap supplied in facsimile.<br />

“What Strange Lands And<br />

Stranger People Lay Off There<br />

Beyond The Beyond?”<br />

268. BURROUGHS, Edgar Rice.<br />

Pirates of Venus. Tarzana, California,<br />

1934. Octavo, original blue cloth, dust<br />

jacket. $1100.<br />

First edition of the first novel in<br />

Burrough’s fascinating interplanetary<br />

adventure, his first Carson Napier<br />

adventure on Venus, a world of giant<br />

spiders, winged men, evil spies and<br />

the secret of perpetual youth, with<br />

dust jacket design and illustrations by<br />

J. Allen St. John, in scarce dust jacket.<br />

Small “First Edition” stamp, trace of<br />

label removal to front free endpaper,<br />

not affecting illustration. Front flap<br />

from another dust jacket tipped to<br />

verso of half title. Near-fine.<br />

“A More Than Respectable Rank As A Man Of Letters”<br />

269. BURTON, John Hill. The Book-Hunter. Edinburgh and London, 1862.<br />

Octavo, early 20th-century full brown crushed morocco gilt. $800.<br />

First edition of Burton’s behind-the-scenes tour of the world of book collecting,<br />

handsomely bound in full crushed morocco-gilt by Riviere & Son. Here, a<br />

distinguished antiquarian and bibliophile praises the “mighty book-hunters” of<br />

the past; presents a taxonomy of collectors including “the bohemian of literature,”<br />

“the scholar,” “the gleaner” and “pretenders”; and takes readers inside the world of<br />

elite book clubs. Near-fine.


“A Measure Of Byron’s Increasing Skill”<br />

270. BYRON, George Gordon, Lord. The Prisoner of<br />

Chillon, and Other Poems. London, 1816. Tall thin octavo,<br />

original paper boards neatly rebacked. $1400.<br />

First edition, one of 6000 copies, of Byron’s popular poem about<br />

imprisoned Swiss patriot François Bonivard. With final<br />

advertisement leaf, but without half title. This copy Randolph’s<br />

state A, no priority established. Text fine, with foxing to title<br />

page and concluding advertisement leaf. Rubbing to extremities<br />

and shallow chipping to spine ends. Extremely good.<br />

271<br />

Two Signed By Truman Capote<br />

271. CAPOTE, Truman. The Thanksgiving Visitor. New<br />

York, 1968. Octavo, original blue cloth, slipcase. $1200.<br />

Signed limited edition, one of only 300 copies signed by Capote.<br />

The first separate printing in book form of this childhood<br />

memoir, which first appeared in McCall’s magazine. Fine.<br />

272. CAPOTE, Truman. One Christmas. New York, 1983.<br />

Octavo, original maroon cloth, slipcase. $1500.<br />

First trade edition, advance review copy, signed by Truman<br />

Capote. One Christmas tells the redemptive story of a young<br />

Capote’s first Christmas with his estranged father. With<br />

publisher’s review slip laid in. Fine.<br />

Signed By Raymond Carver<br />

273. CARVER, Raymond. Cathedral. Stories. New York,<br />

1983. Octavo, original half gray cloth, dust jacket. $1100.<br />

First edition of Carver’s best known collection of short stories,<br />

signed by Raymond Carver. Includes Carver’s much<br />

anthologized stories, “A Small, Good Thing,” the first-place<br />

winner in 1983 of the prestigious O. Henry Award, as well as<br />

“Where I’m Calling From,” and the title story. Very nearly fine.<br />

“One Of The Most Picturesque Figures Of<br />

The Renaissance”<br />

274. CELLINI, Benvenuto. The Life of Benvenuto Cellini.<br />

London, 1888. Two volumes. Octavo, mid 20th-century full<br />

red crushed morocco gilt. $1250.<br />

First edition of John Addington Symonds’ translation of<br />

Cellini’s celebrated autobiography, one of only 750 copies,<br />

illustrated with portrait and eight etchings by Laguillermie<br />

and reproductions of the artist’s works, very handsomely<br />

bound by Bayntun-Riviere in full morocco-gilt. Fine.<br />

With Two Original Chagall Lithographs<br />

275. CHAGALL, Marc. The Jerusalem Windows.<br />

New York, 1962. Folio, original red cloth, dust jacket,<br />

acetate. $2800.<br />

First American edition, with two original color lithographs<br />

specially prepared by Chagall for this edition,<br />

and with numerous beautiful color reproductions of<br />

the artist’s work. Issued the same year as the first edition,<br />

entitled Vitraux pour Jerusalem (text in French),<br />

and the first edition in English. Without original<br />

cardboard slipcase. Book fine, dust jacket and acetate<br />

near-fine.<br />

275<br />

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cHiLdHood Favorites<br />

Hans Christian Andersen’s What The<br />

Moon Saw, With Over 80 Wood<br />

Engravings By The Brothers Dalziel<br />

276. (CHILDREN’S LITERATURE) ANDERSEN,<br />

Hans Christian. What the Moon Saw: And Other<br />

Tales. London, 1866. Square octavo, original giltstamped<br />

red cloth. $1600.<br />

Early edition, with frontispiece, illustrated title<br />

page, and 80 in-text wood engravings by the<br />

Brothers Dalziel after artwork by A.W. Bayes.<br />

Intended as a sequel to Andersen’s<br />

1864 Stories and Tales and aimed<br />

at slightly older children. The first<br />

edition of this collection was<br />

published in 1865; the title story<br />

was first published in 1840 in<br />

Danish and then in English, in<br />

1865, in Andersen’s Picture-Book<br />

without Pictures (also 1865).<br />

Occasional slight foxing, text<br />

block recased, small split to rear<br />

inner paper hinge, binding<br />

sound, light toning to spine, light<br />

rubbing to cloth. Extremely good.<br />

“Madeline, Madeline, Where Have You Been?<br />

We’ve Been To London To See The Queen”<br />

277. (CHILDREN’S LITERATURE) BEMELMANS, Ludwig.<br />

Madeline in London. New York, 1961. Slim folio, original<br />

pictorial red cloth, dust jacket. $950.<br />

First edition of the fifth book in Bemelmans’ beloved series.<br />

This fifth adventure finds our irrepressible heroine on the<br />

other side of the Channel amidst “tea and crumpets” and “the<br />

sound of trumpets.” Near-fine.<br />

278<br />

“For Gypsies Do Not Like To Stay—<br />

They Only Come To Go Away”<br />

278. (CHILDREN’S LITERATURE)<br />

BEMELMANS, Ludwig. Madeline and the<br />

Gypsies. New York, 1959. Slim folio, original<br />

green cloth, dust jacket. $850.<br />

First trade edition of the fourth book in the<br />

series. Madeline and the Gypsies first<br />

appeared in abbreviated form as a 16-page<br />

insert in the Christmas 1958 McCall’s<br />

magazine, with a different set of full-color<br />

illustrations. Book fine, dust jacket near-fine.


279<br />

“The Range Of His Talent As An Illustrator For<br />

Children Is Most Evident”<br />

280. (CHILDREN’S LITERATURE) CRANE, Walter. The<br />

Baby’s Own Æsop… Pictorially Pointed by Walter Crane,<br />

Engraved & Printed in Colours by Edmund Evans. London and<br />

New York, circa 1880. Square octavo (7 by 7-1/2 inches), original<br />

half green cloth; pp. 56. $550.<br />

First edition of Crane’s third popular collection of nursery rhymes,<br />

beautifully designed and illustrated with color wood-engraved<br />

frontispiece, 15 full-page color wood-engravings and charming<br />

decorations on every page, all cut by Edmund Evans, considered a<br />

forerunner in the use of color prints for children’s books. None of<br />

Crane’s early books are dated by the publishers. Frederick Warne<br />

and George Routledge broke up their partnership in 1865 and<br />

both new firms seem to have retained rights to publish Crane’s<br />

works. Fine.<br />

“One Of The Great Children’s Novels Of All Time”<br />

281. (CHILDREN’S LITERATURE) BURNETT, Frances<br />

Hodgson. The Secret Garden. New York, 1911. Octavo, original<br />

black-, gold- and rose-decorated green cloth, mounted cover<br />

illustration. $1250.<br />

Deluxe illustrated “gift issue” of “one<br />

of the greatest children’s novels of all<br />

time,” beautifully illustrated by<br />

Maria Kirk with five mounted color<br />

plates and a mounted color cover illustration.<br />

The first edition was issued<br />

in August 1911; this deluxe issue<br />

(not listed in BAL) was printed<br />

shortly after in a larger format with<br />

five beautiful color tipped-in plates.<br />

Plates and text clean and fine, cloth<br />

with minimal rubbing and slight<br />

spotting to front board.<br />

“If There Is A Universal Symbol For Childhood,<br />

Babar The Elephant Is Probably It”<br />

279. (CHILDREN’S LITERATURE) BRUNHOFF, Jean de. Histoire de Babar, Le Petit<br />

Éléphant. Paris, 1931. Folio (11 by 15 inches), original half blue cloth. $3500.<br />

First edition, first issue, of the first Babar book, with the author’s wonderful color illustrations,<br />

one of the great classics of children’s literature. “The original Babar books were<br />

oversized in format, with the text printed in script. Subsequent editions have taken every<br />

imaginable shape and form, but the luxuriously large volumes are still the best way to fully<br />

appreciate Jean de Brunhoff’s mastery of the picture-book form” (Silvey, 191). A few small<br />

closed tears and faint spots of foxing to interior, usual light wear and soiling to bright<br />

lovely boards. Extremely good.<br />

281<br />

Signed By The Original Alice:<br />

Alice’s Adventures In Wonderland<br />

282<br />

282. (CHILDREN’S LITERATURE) CARROLL, Lewis.<br />

Alice’s Adventures in Wonderland. New York, 1932. Octavo,<br />

original full red morocco gilt, slipcase. $4800.<br />

Limited edition, one of 1500 copies, signed by Alice Hargreaves<br />

(née Liddell), for whom Carroll wrote the classic. The first<br />

edition was published in 1865. Not all copies of this edition<br />

were signed by Alice as is this copy; the precise number she<br />

signed is unknown. Additionally signed on the limitation<br />

page by typographer and binder Frederic Warde. Fine.<br />

“The Crayon Is As Much A Character As Harold”<br />

283. (CHILDREN’S LITERATURE) JOHNSON, Crockett.<br />

Harold’s Fairy Tale. New York, 1956. 12mo, original half<br />

black cloth, dust jacket. $2500.<br />

First edition of the second book in Johnson’s popular Harold<br />

series. In his second outing, Harold uses his trusty purple<br />

crayon to draw a castle, a king, a witch, a flying carpet and a<br />

good fairy. About-fine.<br />

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“Watch Out, I Say, Or He’ll Lixivate The Lot Of Us!”<br />

284. (CHILDREN’S LITERATURE) DAHL, Roald.<br />

Charlie and the Great Glass Elevator. New York,<br />

1972. Octavo, original half blue cloth, dust jacket. $600.<br />

First edition of the space-based sequel to Charlie and the<br />

Chocolate Factory. Very nearly fine.<br />

Inscribed By Roald Dahl<br />

285. (CHILDREN’S LITERATURE) DAHL, Roald.<br />

Matilda. London, 1988. Octavo, original red paper<br />

boards, dust jacket. $4500.<br />

First edition of Dahl’s popular story of a young girl, her<br />

genius, and her indifferent parents, boldly inscribed: “Claire,<br />

Love Roald Dahl.” With in-text illustrations by Quentin<br />

Blake. Near-fine.<br />

Get Into <strong>Books</strong> Book Week Poster,<br />

Signed By De Paola<br />

286<br />

286. (CHILDREN’S LITERATURE) DE PAOLA, Tomie.<br />

Get Into <strong>Books</strong>. No place, 1983. Tall poster; framed,<br />

entire piece measures 18 inches by 23 inches. $750.<br />

Original poster depicting nine mimes in bookish pursuits,<br />

signed by acclaimed children’s book illustrator<br />

De Paola. This is the National Book Week poster for<br />

November 14-20, 1983. Fine.<br />

“This Is Olivia. She Is Good At Lots Of Things”<br />

287. (CHILDREN’S LITERATURE) FALCONER,<br />

Ian. Olivia. New York, 2000. Quarto, original pictorial<br />

paper boards, dust jacket. $2000.<br />

First edition of this Caldecott Honor book, signed by<br />

the author-illustrator. Fine.<br />

“The Best I Have Written”<br />

288. (CHILDREN’S LITERATURE) MONTGOMERY,<br />

Lucy Maud. Anne’s House of Dreams. New York, 1917.<br />

Octavo, original purple cloth, mounted color cover<br />

illustration, dust jacket. $2200.<br />

First edition of the fourth volume in the immensely popular Anne of<br />

Green Gables series, illustrated with front cover label and color<br />

frontispiece by Maria L. Kirk, in scarce original dust jacket, with<br />

vintage publicity postcard laid in. Book fine, dust jacket near-fine.<br />

“An Honorable Place In Any Library Of<br />

Children’s <strong>Books</strong>”<br />

289. (CHILDREN’S LITERATURE) KIPLING, Rudyard. The Jungle<br />

Book. WITH: The Second Jungle Book. London and New York,<br />

1894-95. Two volumes. Octavo, original pictorial gilt-stamped blue<br />

cloth, custom chemises and half morocco slipcase. $6500.<br />

First editions of Kipling’s classic Jungle <strong>Books</strong>, “replete with adventure<br />

and excitement,” in lovely original cloth-gilt. “Presentation<br />

Copy” stamped to Volume II. “Among the 15 stories in [these volumes]<br />

are some of Kipling’s most memorable narratives” (Abraham,<br />

36). “Presentation Copy” with circular blindstamp to title page of<br />

Second Jungle Book. About-fine.<br />

“That’s Why Whenever It’s Foggy And Gray,<br />

It’s Rudolph The Red-Nose Who Guides Santa’s Sleigh”<br />

290. MAY, Robert L. Rudolph the Red-Nosed Reindeer. No place,<br />

1939. Small quarto, original pictorial paper wrappers. $1800.<br />

First edition of the very first appearance of this beloved Christmas<br />

character, written exclusively for Montgomery Ward by Robert<br />

May, with 41 illustrations by Denver Gillen. This<br />

booklet, delightfully illustrated by Chicago-based<br />

artist Denver Gillen, proved so popular that<br />

Montgomery Ward continued to publish<br />

it until 1946. May subsequently sent a<br />

copy of Rudolph to his friend, songwriter<br />

Johnny Marks, who wrote<br />

the tune Gene Autry made famous.<br />

Near-fine.


292<br />

“This Is A Fierce Bad Rabbit; Look At His Savage Whiskers, And His Claws, And His Turned-Up Tail”<br />

291. (CHILDREN’S LITERATURE) POTTER, Beatrix. The Story of a Fierce Bad Rabbit. London and New York, 1906.<br />

16mo, original green cloth wallet, mounted cover illustration. $2200.<br />

First edition, first issue, one of only two Potter stories first published in this special wallet form, with 14 full-page illustrations<br />

and 14 pages of text in one long accordion folder with green linen backing. This accordion style of this book was not popular with<br />

booksellers; customers tended to leave them unrolled and the books were inconvenient to re-fold. Consequently, these titles went<br />

out of print after the first two printings. They were not reissued until 1916, and then in book form only. Near-fine.<br />

“It Is Said That The Effect Of Eating Too Much Lettuce Is ‘Soporific’”<br />

292. (CHILDREN’S LITERATURE) POTTER, Beatrix. The Tale of the Flopsy<br />

Bunnies. London and New York, 1909. 16mo, original brown paper boards, mounted<br />

cover illustration. $2000.<br />

First edition, first or second printing, of the further adventures of Peter Rabbit and<br />

Benjamin Bunny, with color frontispiece and 26 color plates. First edition, first or second<br />

printing, with notice board on page 14, Quinby’s Plate VII endpapers and Evans imprint<br />

on page 86. Without scarce original dust jacket. Fine.<br />

“Tiddly, Widdly, Widdly, Mrs. Tittlemouse!”<br />

293. (CHILDREN’S LITERATURE) POTTER, Beatrix. The Tale of Mrs. Tittlemouse. London and New York, 1910.<br />

16mo, original blue paper boards, mounted cover illustration. $1800.<br />

First edition of this scarce Potter title, with color frontispiece and 26 color plates. This book is one of Potter’s “comedies<br />

of manners… [and] the most subtle” of them (Carpenter, 148-49). Near-fine.<br />

“The Nest Is So Snug, We Shall Be Sound Asleep All Winter”<br />

294. (CHILDREN’S LITERATURE) POTTER, Beatrix. The Tale of Timmy Tiptoes. London<br />

and New York, 1911. 12mo, original green paper boards, mounted cover illustration. $1800.<br />

First edition of Potter’s gift to her devoted American readers, with color frontispiece and 26<br />

color plates. “It is believed that The Tale of Timmy Tiptoes was written primarily for American<br />

children because they would be familiar with both chipmunks and bears. They would also be<br />

familiar with grey squirrels like Timmy Tiptoes and his wife Goody” (Linder, 208). Without<br />

extremely scarce original glassine. Very nearly fine.<br />

291<br />

294<br />

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176<br />

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“One Of Literature’s Most<br />

Poignant And Convincing<br />

Portraits Of Childhood”<br />

295. (CHILDREN’S LITERATURE)<br />

RAWLINGS, Marjorie Kinnan. The<br />

Yearling. New York, 1938. Octavo, original<br />

pictorial cloth, dust jacket. $1000.<br />

First edition, first printing, of the beloved,<br />

Pulitzer Prize-winning classic.<br />

“Rawlings’ evocative descriptions of rural<br />

Florida and its people make The<br />

Yearling regional fiction at its best, yet<br />

the novel is universal in its depiction of<br />

the human experience. The book was<br />

awarded the Pulitzer Prize and made<br />

into a 1946 motion picture starring<br />

Gregory Peck and Jane Wyman” (Silvey,<br />

551). Near-fine.<br />

Inscribed By Schulz With Large,<br />

Original Snoopy Sketch<br />

296. (CHILDREN’S LITERATURE)<br />

SCHULZ, Charles M. Charlie Brown’s<br />

Yearbook. New York and Cleveland,<br />

1969. Square octavo, original pictorial<br />

red paper boards, dust jacket. $3600.<br />

First edition of this Charlie Brown television<br />

storybook compilation, boldly<br />

inscribed with a large original sketch of<br />

Snoopy: “For Jean — Charles M.<br />

Schulz.” This anthology brings together<br />

the color illustrated storybooks of not<br />

only It’s the Great Pumpkin, Charlie<br />

Brown (1967) but also He’s Your Dog,<br />

Charlie Brown! (1968), You’re in Love,<br />

Charlie Brown (1968) and Charlie<br />

Brown’s All-Stars (1966). Near-fine.<br />

296<br />

“Stories Are Made Of Words, And Words Are Made Of Letters”<br />

297. (CHILDREN’S LITERATURE) REY, H.A. Curious George Learns the<br />

Alphabet. Boston, 1963. Small quarto, original gray cloth, dust jacket. $2400.<br />

First edition of the sixth book in Rey’s enormously popular series. In this sixth book<br />

in the series, Curious George stumbles upon books full of little black marks and,<br />

with the help of the man with the yellow hat, learns about the alphabet. Near-fine.<br />

“So His Parents Left Him There. They Didn’t Take Him Anywhere”<br />

298. (CHILDREN’S LITERATURE) SENDAK, Maurice. Nutshell Library:<br />

Pierre, A Cautionary Tale; Alligators All Around: An Alphabet; One Was<br />

Johnny: A Counting Book; Chicken Soup with Rice: A Book of Months. New<br />

York, 1962. Four volumes. 24mo (2-3/4 by 3-3/4 inches), original pink cloth, dust<br />

jackets, slipcase. $500.<br />

First edition of this wonderfully illustrated little set of classics for children. A<br />

fine copy.<br />

Signed Limited First Edition Of Sendak’s Illustrated Nutcracker,<br />

With Original Lithograph Signed By Sendak<br />

299. (CHILDREN’S LITERATURE) (SENDAK, Maurice) HOFFMAN, E.T.A.<br />

The Nutcracker. New York, 1984. Quarto, original gray cloth, cloth slipcase.<br />

WITH: Mounted lithograph (“Faithful Nutcracker”) measuring 5 by 5 inches;<br />

matted, entire piece measures 9-1/2 by 9-1/2 inches. $2500.<br />

Deluxe limited first edition, one of only 250 copies signed by Sendak, with ten<br />

double-page full-color illustrations and numerous other color illustrations after<br />

watercolors by Sendak, and a mounted lithograph numbered and signed by<br />

Sendak. The signed limited edition includes a lovely original lithograph—<br />

“Sendak’s only published lithograph to date, and its small limitation made it<br />

highly desirable even before issuance, pre-publication orders numbered 12 times<br />

actual production” (Hanrahan A120). About-fine.<br />

298


300<br />

Scarce First Edition Of McElligot’s Pool<br />

300. (CHILDREN’S LITERATURE) SEUSS, Dr. McElligot’s<br />

Pool. New York, 1947. Quarto, original light blue-green paper<br />

boards, dust jacket. $3200.<br />

Scarce first edition of Dr. Seuss’ homage to the ol’ fishing hole.<br />

This book garnered Seuss a nomination for the Caldecott Medal<br />

in 1948. Binding is variant b. Interior with light soiling and<br />

faint dampstaining, abrasion to one page affecting image.<br />

Boards lightly soiled, slightly bowed. Dust jacket with both<br />

panels price-clipped; mild loss to spine ends, light rubbing to<br />

edges, colors bright. Very good.<br />

“Those Stars Weren’t So Big. They Were Really<br />

So Small You Might Think Such A Thing<br />

Wouldn’t Matter At All”<br />

301. (CHILDREN’S LITERATURE) SEUSS, Dr. The<br />

Sneetches and Other Stories. New York, 1961. Quarto, original<br />

pictorial paper boards, dust jacket. $1200.<br />

First edition of this collection of four Seuss stories, including the<br />

title tale, his pointed parable about “the shame of prejudice”<br />

(Cohen, 220). In 1953, Geisel published in Redbook a threestanza<br />

poem entitled “The Sneetches.” The book version of “The<br />

Sneetches,” found in this volume, retains the punch of the<br />

original; the remaining tales similarly teach tolerance, openmindedness<br />

and the celebration of individuality. Near-fine.<br />

“The Truth Of The Matter Was, The Baby Looked<br />

Very Much Like A Mouse In Every Way”<br />

302. (CHILDREN’S LITERATURE) WHITE, E.B. Stuart<br />

Little. New York and London, 1945. Octavo, original pictorial<br />

olive cloth, dust jacket, custom slipcase. $1800.<br />

First edition of White’s “outstandingly funny and sometimes<br />

touching” first book for children (Carpenter & Prichard, 568).<br />

About-fine.<br />

End of Children’s Literature section<br />

301<br />

“The Effect Is Rawther Extraordinaire”<br />

303. (CHILDREN’S LITERATURE) THOMPSON, Kay.<br />

Eloise in Paris. New York, 1957. Slim folio, original black-<br />

and silver-stamped blue paper boards, dust jacket. $950.<br />

First edition, with whimsical illustrations by Hilary Knight.<br />

This, Thompson’s second Eloise book, bears Noel Coward’s<br />

endorsement, “Frankly, I adore Eloise.” Dust jacket near-fine,<br />

book fine.<br />

304<br />

“OOOOOOOOOOOOO!<br />

I Absolutely Love<br />

Christmas”<br />

304. ( C H I L D R E N ’ S<br />

LITERATURE) THOMPSON,<br />

Kay. Eloise at Christmastime.<br />

Drawings by Hilary Knight.<br />

New York, 1958. Slim folio,<br />

original pictorial red boards,<br />

dust jacket. $900.<br />

First edition of the third book<br />

in the wonderfully illustrated series of Eloise stories. Eloise<br />

creates holiday gifts—and havoc—at the Plaza Hotel. Dust<br />

jacket near-fine, book fine.<br />

Inscribed By Chris Van Allsburg<br />

305. (CHILDREN’S LITERATURE) VAN ALLSBURG,<br />

Chris. The Polar Express. Boston, 1985. Oblong quarto,<br />

original maroon cloth, dust jacket. $2600.<br />

First edition of Van Allsburg’s lushly illustrated, enchanting<br />

tale of wonder and hope, winner of the 1986 Caldecott Medal,<br />

inscribed: “To Peter, Chris Van Allsburg.” Fine.<br />

305<br />

177<br />

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178<br />

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“Written In Letters Of Fire”<br />

306. (CIVIL WAR) DUYCKINCK, Evert A. National<br />

History of the War for the Union, Civil, Military and<br />

Naval. New York, 1862-65. Three volumes. Quarto, original<br />

deluxe full embossed dark brown morocco gilt. $1500.<br />

First edition of this contemporary Civil War history, with<br />

engraved frontispieces, title pages and over 75 illustrations<br />

engraved from paintings by Alonzo Chappel and Thomas<br />

Nast. A handsome copy in publisher’s deluxe morocco.<br />

These three illustrated volumes provide valuable, in-depth,<br />

contemporary accounts, drawn from official documents<br />

and first-hand narratives, of the war years. Near-fine.<br />

civiL War<br />

306<br />

“A Triumph Of Scholarly Tribute”:<br />

Freeman’s Biography Of Lee, Scarce Presentation/<br />

Association Copy Inscribed By Freeman,<br />

Also With A Signed Letter From Freeman To<br />

Civil War Historian William Gavin<br />

307. (CIVIL WAR) (LEE, Robert E.) FREEMAN, Douglas Southall.<br />

R.E. Lee: A Biography. New York and London, 1947. Four volumes.<br />

Octavo, original gilt-stamped red cloth, box. $1600.<br />

Later edition of Freeman’s profusely illustrated Pulitzer Prizewinning<br />

biography, an exceptional presentation/association copy<br />

inscribed by him in Volume I to a fellow Civil War historian, then<br />

serving as an officer in the U.S. Army: “Autographed for Capt.<br />

William G. Gavin, U.S. Engineers, with the best wishes of Douglas<br />

Southall Freeman,” also with his laid-in typed letter to Gavin,<br />

typewritten on Richmond News Leader letterhead, dated<br />

February 20, 1947 and signed by Freeman. In original box<br />

with printed label. Freeman served as editor at The Richmond<br />

News Leader from 1915-49. First published in 1934. Profusely<br />

illustrated with full-page photographs, facsimiles, maps and<br />

battle plans. With original box. Also containing the<br />

Richmond News Leader envelope. With occasional penciled<br />

marginalia. Interiors generally fresh with only lightest scattered<br />

foxing, bright gilt cloth; expert repairs to original box.<br />

“One Of The Epic Works On The Confederate<br />

Armies”: First Edition Of Lee’s Lieutenants,<br />

Signed By Freeman, Accompanied By<br />

A Signed Typed Letter From Freeman To<br />

The Wife Of A Prominent Marylander<br />

Thanking Her For A Lee Letter<br />

308. (CIVIL WAR) FREEMAN, Douglas Southall. Lee’s<br />

Liuetenants: A Study in Command. New York, 1942-44.<br />

Three volumes. Octavo, original black cloth. WITH:<br />

Typed letter signed. Richmond, Virginia, September 20,<br />

1934. Single sheet of letterhead, measuring 8-1/2 by 11<br />

inches. $2500.<br />

First editions of all three volumes of Freeman’s important<br />

study of Lee’s officers, profusely illustrated with numerous<br />

full-page photographs, as well as many maps and battle<br />

plans, including a double-page map and a large folding map<br />

of the Army’s battlegrounds, signed by the author in Volume<br />

I. Accompanied by a 1934 typed letter to a Mrs. Robert<br />

Goldsborough Henry of Easton, Maryland, on Richmond<br />

News Leader letterhead, thanking Mrs. Goldsborough for<br />

sending copies of letters by General Lee and asking once<br />

again to pay for the price of having them copied, signed by<br />

Douglas Southall Freeman. <strong>Books</strong> nearly fine, letter with<br />

only a few faint spots to verso.<br />

308


309<br />

“A Classic Civil War Autobiography”<br />

310. (CIVIL WAR) GRANT, Ulysses S. Personal Memoirs<br />

of U.S. Grant. New York, 1885-86. Two volumes. Octavo,<br />

original deluxe three-quarter brown morocco, circular giltstamped<br />

medallions. $3000.<br />

First edition of “one of the most valuable<br />

writings by a military commander in history,”<br />

illustrated with numerous steel engravings,<br />

facsimiles, and 43 maps. In handsome<br />

publisher’s deluxe binding. “Grant’s memoirs<br />

comprise one of the most valuable writings<br />

by a military commander in history”<br />

(Eicher 492). About-fine.<br />

“A Necessary, Primary Source…<br />

It Should Be Read Carefully<br />

And Often”<br />

311. (CIVIL WAR) JOHNSON, Robert<br />

Underwood, and BUEL, Clarence Clough.<br />

Battles and Leaders of the Civil War. New York, 1887-88.<br />

Four volumes. Quarto, contemporary three-quarter polished<br />

burgundy calf gilt. $2800.<br />

First edition of this essential Civil War reference, composed of<br />

narratives of leading military “survivors” (many generals),<br />

with hundreds of in-text illustrations (including those of<br />

Winslow Homer), maps, plans, and facsimiles. So vivid are<br />

the accounts in Battles and Leaders that Stephen Crane based<br />

Red Badge of Courage largely on his reading of this work.<br />

Interiors clean and fine. Light expert restoration, mostly to<br />

joints and extremities. A handsome set.<br />

“The Grandfather Of Civil War Histories”<br />

309. (CIVIL WAR) MILLER, Francis Trevelyan, editor.<br />

The Photographic History of the Civil War. New York,<br />

1911-12. Ten volumes. Quarto, original giltstamped<br />

blue cloth. $3000.<br />

Early mixed edition set of Miller’s famous and<br />

important 10-volume photographic history of<br />

the Civil War, containing “thousands of scenes<br />

photographed 1861-65, with text by many special<br />

authorities.” First published in 1911. Index<br />

is third issue, issued one year after the first.<br />

Vols. 4, 8, 9 and 10 are second edition; all others<br />

are first edition. Fine.<br />

“Grant Used The Weapon That McClellan<br />

Forged To Defeat Lee”<br />

312. (CIVIL WAR) MCCLELLAN, George B. McClellan’s<br />

Own Story. The War for the Union. New York, 1887. Octavo,<br />

original green cloth, gilt and red cover medallion. $550.<br />

312<br />

First edition of the Civil War memoirs of<br />

Lincoln’s controversial commander of the<br />

Army of the Potomac, with steel-engraved<br />

frontispiece portrait, nine illustrations,<br />

three full-page maps, and a two-page facsimile<br />

letter. “This controversial Union general’s<br />

memoirs are really an explanation of<br />

his wartime activities and decisions… It is<br />

seldom remembered that Grant used the<br />

weapon that McClellan forged to defeat Lee<br />

and win the war” (Union <strong>Books</strong>helf 56). Fine.<br />

“When The Battle Waged Hottest,<br />

Sheridan Was At His Best”<br />

313. (CIVIL WAR) SHERIDAN, P.H. Personal Memoirs<br />

of P.H. Sheridan. General United States Army. New York,<br />

1888. Two volumes. Octavo, original full tan sheep. $1500.<br />

First edition of Sheridan’s military autobiography, with<br />

27 maps (many folding) and 17 plates, handsome in original<br />

full sheep. “Often ranked with Grant and Sherman as<br />

the foremost Union commanders” (Mullins & Reed 82),<br />

Sheridan completed this work just days before his death in<br />

1888. Occasional marginal soiling. Light wear to publisher’s<br />

original sheep binding.<br />

179<br />

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180<br />

autumn 2011 | giFt suggestions<br />

Inscribed By Pat Conroy<br />

314<br />

314. CONROY, Pat. The Prince of<br />

Tides. Boston, 1986. Octavo, original<br />

half blue cloth, dust jacket. $600.<br />

First edition, inscribed: “to Jim and<br />

Leland, Merry Christmas, Pat<br />

Conroy.” “The ambition, invention<br />

and sheer energy in this book are admirable”<br />

(New York Times). Conroy<br />

adapted his bestseller for the 1991<br />

film starring and directed by Barbara<br />

Streisand. Book fine, dust jacket<br />

about-fine.<br />

“Old Colonial Is At Present<br />

The Only Proper Style For A<br />

Country House”<br />

315. DRAKE, Samuel Adams. Our<br />

Colonial Homes. Boston, 1894.<br />

Octavo, original gilt-stamped pictorial<br />

red cloth. $700.<br />

First edition of this survey of 20 important<br />

New England houses including<br />

those of Paul Revere, John<br />

Hancock, John Adams, and other<br />

important historical figures, with<br />

frontispiece and 20 in-text illustrations.<br />

This in-depth work discusses 20<br />

of the most famous houses in New<br />

England, from The Quincy Mansion<br />

to the early home of John Howard<br />

Payne. Bookplate of Washington D.C.<br />

art and architectural historian James<br />

M. Goode. Near-fine.<br />

Signed By Tom Clancy<br />

316. CLANCY, Tom. The Hunt for Red October. Annapolis<br />

1984. Octavo, original red cloth, dust jacket; custom half morocco<br />

clamshell box. $2500.<br />

Scarce first edition of Clancy’s “breathlessly exciting” first novel<br />

(Washington Post), signed by him. Near-fine.<br />

First Edition Of Dickens’ Hard Times, Beautifully Bound<br />

317. DICKENS, Charles. Hard Times. For These Times. London, 1854. Octavo, early<br />

20th-century full red polished calf gilt. $1800.<br />

First edition in book form of Dickens’ attack on the conditions of life in England’s<br />

industrial cities, beautifully bound by Bayntun of Bath. First published serially in<br />

Household Words from April to August, 1854, followed immediately by this first<br />

edition in book form, Hard Times focuses on the inadequacy of a lifestyle that<br />

emphasizes only the human intellect at the expense of the imagination and “the<br />

heart.” With half title. Fine.<br />

“A Deathless Niche In The<br />

Temple Of Fame”<br />

318. DICKENS, Charles. Works. London, circa<br />

1887. Thirty volumes. Octavo, contemporary threequarter<br />

brown calf gilt. $4800.<br />

Illustrated “Library Edition,” with over 400 blackand-white<br />

plates after the original illustrations,<br />

handsomely bound by Bickers & Son. This edition<br />

includes all of Dickens’ major works—including The<br />

Pickwick Papers, Great Expectations, A Tale of Two<br />

Cities, Oliver Twist, David Copperfield and the<br />

Christmas books. Armorial bookplates of Fiennes Stanley Wykeham Cornwallis,<br />

Member of Parliament. Scattered light foxing and offsetting. Volume 22 rebacked with<br />

original spine laid down, several other volumes with expert restoration. A handsome set.<br />

316<br />

318<br />

318


“Better To Reign In Hell Than Serve In Heaven”<br />

319. (DORÉ, Gustave) MILTON, John. Milton’s Paradise Lost.<br />

London and New York, 1870. Large folio (12 by 15 inches),<br />

contemporary three-quarter russet morocco gilt. $2400.<br />

Second English edition of Doré’s interpretation of Paradise Lost,<br />

with 50 stunning full-page folio engravings, “matched only by his<br />

illustrations for Dante’s Inferno.” Doré’s His wood-engravings<br />

have taken beautiful impressions on the coated stock of this<br />

edition (not used in most of the nearly 200 other editions). First<br />

published in 1866, Doré’s version was the first to contain Milton’s<br />

Life by editor Robert Vaughan. Text and plates fine, added<br />

coloring to hinges and corners of contemporary morocco.<br />

320<br />

“Hoofers, Blues Singers,<br />

Prostitutes…”<br />

320. DURANTE, Jimmy and<br />

KOFOED, Jack. Night Clubs. New<br />

York, 1931. Thick octavo, original<br />

pictorial black cloth, illustrated endpapers,<br />

uncut, dust jacket. $1200.<br />

First edition of this revealing account<br />

by famous comedian Jimmy<br />

Durante—of “everything that goes<br />

on behind the scenes… in places<br />

that were Durante’s hangouts for 20<br />

years,” with eight pages of photographs. Faint stamp of the Authors’<br />

Motion Picture and Radio Bureau. Near-fine.<br />

319<br />

Signed By Don DeLillo<br />

321. DELILLO, Don. Americana. Boston, 1971.<br />

Octavo, original half blue cloth, dust jacket. $2500.<br />

First edition of DeLillo’s first novel, signed by him. “Don<br />

DeLillo’s swift, ironic witty cross-country American<br />

nightmare doesn’t have a dull or unoriginal line”<br />

(Nelson Algren, Rolling Stone). Fine.<br />

Signed By Umberto Eco<br />

322. ECO, Umberto. On Literature. Orlando,<br />