SCHULBERG, Budd
Full Description: SCHULBERG, Budd. What Makes Sammy Run? New York: Random House, 1941. First edition, first printing of the author's first novel. Inscribed by the author to actor Joe Pantoliano aka "Joey Pants" on half-title. Octavo (8 x 5 3/8 inches; 204 x 135 mm). [vi], 303, [3, blank pp]. Title-page printed in blue and black. Inscription reads: "For Joe Pantoliano,/ whose acting career I've/ followed with enthusiastic interest, and whose Hoboken roots/ fascinate me./ Onward,/ Budd Schulberg/ 5/5/06." Original light blue and dark blue cloth. Boards ruled in center in gilt. Spine lettered and stamped in gilt. Top edge dyed gray. Cloth with some minimal rubbing to gilt. Endpapers with some toning from glue. In publisher's dust jacket. Jacket has some professional restoration along creases and top and bottom edge. Some of the gilt on boards is a bit rubbed. Still, a beautiful, about fine copy of this classic. Budd Schulberg, Academy Award-winning writer (for the screenplay for On the Waterfront,1954) wrote this novel about the hyper-ambitious and mercenary Sammy Glick in 1941, four years after he began his writing career in Hollywood (with uncredited writing on A Star is Born). The novel is told from the standpoint of one of Glick's colleagues (he doesn't have any real friends), Al Manheim, who watches Sammy with a mixture of awe and disgust, much in the way narrator Nick Carraway watches Jay Gatsby in Fitzgerald's The Great Gatsby. HBS 69247. $3,500.
UNITED STATES CONSTITUTION
BROADSIDE. Transportation of the Mail on the Sabbath. In the Senate of the United States. Kentucky: 1829. Full Description: [UNITED STATES CONSTITUTION]. [BROADSIDE]. Transportation of the Mail on the Sabbath. In the Senate of the United States. [Kentucky]: January 19, 1829. An important and interesting broadside supporting the separate of church in state, in so as it applies to the delivery of mail on Sunday, the Sabbath. Broadside, folio (16 3/4 x 10 1/2 inches; 428 x 266 mm). With a caption title, printed above three columns, separated by rules. All within a decorative woodcut border. Mounted at the top edge within a portfolio mat. Some minor toning and a few small spots of dampstaining. A One and one half-inch closed tear at right-hand margin, just touching the border. Overall very good. This is a significant document in the history of the United States Constitution, in relation to the concept of the separation of church and state. Christian leaders demanded that the Government institution of the Postal Office not work on Sunday as their God had deemed this the Sabbath. The following document discusses that while many Christians observe the Sabbath on Sunday, others, including their Jewish neighbors observe the Sabbath on Saturday. Demanding that the government institution not work on Sunday for religious reasons goes directly against the Constitution. The report states "With these different religious views, the committee are of opinion that congress cannot interfere.It is not the legitimate province of the legislature to determine what religion is true, or what false. Our government is a civil, and not a religious institution. Our constitution recognizes in every person, the right to choose his own religion, and to enjoy it freely, without molestation. Whatever may be the religious sentiments of citizens, and however variant, they are alike entitled to protection from the government, so long as they do not invade the rights of others." It goes on to powerfully state "Extensive religious combinations, to effect a political object, are, in the opinion of the committee, always dangerous. This first effort of the kind, calls for the establishment of a principle, which, in the opinion of the committee, would lay the foundation for dangerous innovations upon the spirit of the Constitution, and upon the religious rights of the citizens. If admitted, it may be justly apprehended, that the future measures of government will be strongly marked, if not eventually controlled, by the same influence. All religious despotism commences by combination and influence; and when that influence begins to operate upon the political institutions of a country, the civil power soon bends under it, and the catastrophe of other nations furnishes an awful warning of the consequence." The five-person committee for this report consisted of Richard Johnson of Kentucky who later went on to serve as the country's 9th vice president under Martin Van Buren, as well as future President John Tyler of Virgina, Ellis of Mississippi, Silsbee of Massachusetts and Johnson of Louisiana. "The opening of post offices on Sunday led to a national debate about the relationship of the federal government to the Sabbath day. The argument, which raged from 1810 to 1830, involved whether the national government would exist as a secular commercial republic committed to a separation of church and state or as a Christian commonwealth. The U.S. postmaster general, Gideon Granger, responded by persuading Congress in 1810 to pass legislation to open all 2,300 post offices seven days a week and transport mail every day. Congress immediately began to receive petitions from numerous religious denominations urging repeal of the law. Under strong public pressure, House and Senate committees formed to study the postal law. While the chair of the House committee waffled on the subject, the head of the Senate committee swayed Congress to keep the law. Gen. Richard M. Johnson of Kentucky, a devout Baptist, wrote in the committee's 1829 report that congressional action to stop Sunday mail would be unconstitutional. Johnson reminded Americans that they had religious freedom and that government had no right to coerce the religious homage of anyone. The invention of the telegraph in 1844 ultimately spelled the end of Sunday mail. It was now possible to get market information without the mail system. By the 1850s, postmaster generals were eliminating the movement of most mail on Sunday." (Free Speech Center, Caryn E. Neumann). HBS 69246. $1,750.
POETRY
The rare deluxe autograph edition, published two years after the trade edition. Signed or inscribed by each of the six poets. Small octavo (7 1/8 x 5 3/4 inches; 180 x 147 mm). [2], 35, [1, blank] pp. With a sheet signed by each of the authors inserted to face the beginning of their respective poem. With frontispiece, historiated initials and engraved vignettes throughout. Publisher's original red-brown cloth binding bound in at the back. Beautifully bound by Grabau in full nineteenth-century brown morocco. Boards stamped in gilt with green and red morocco floral onlay. Spine lettered and stamped in gilt with red and green morocco onlay. Gilt board edges. Gilt dentelles. Tan watered silk endpapers. Top edge gilt. With previous owner's armorial bookplate on front free endpaper, and inscription in old ink on front fly-leaf. Housed in a brown cloth slipcase. An about fine copy. Provenance: The bookplate in this copy is or Roy Arther Hunt. The inscription on the facing page reads "To Roy Arthur Hunt, a descendant of Reverend Thomas Thacher the first Pastor of the Old South Church. Born in England, May 1, 1620. Installed as Pastor of Old South, February 16, 1670. Died in Boston, October 15, 1678." "The Old South Meeting House, also known as the Old South Church (Boston, Mass.), was built in 1729 as a Puritan meeting house. It was an assembly spot for prominent meetings from colonial times through the American revolution. The building was restored after the revolution and remained an active church until 1872. It was saved from demolition in 1877 when it was established as a museum. A volume was published to help raise funds for the preservation entitled, Poems of the "Old South" (Boston: William F. Gill & Co., 1877). It was published again in 1879 by the Old South Fair Committee. Both published versions include a note on verso of the title page: 'Published for the benefit of the Old South preservation fund.'" (Harvard, Houghton Library). It is estimated that less than 100 copies of this edition were produced, and has been considered the rarest limited signed edition of nineteenth century American literature. "The book was first published in 1877 and features works that reflect the culture, history, and traditions of the American South during the antebellum period. The poems in this collection cover a wide range of themes, including love, nature, patriotism, slavery, and the Civil War." (Amazon). BAL 9134. HBS 69242. $4,500.
CARADOC OF LLANCARFAN, Saint
Full Description: [CARADOC OF LLANCARFAN, Saint]. The Historie of Cambria. now called Wales: A part of the most famous Yland of Brytaine, written in the Brytish language aboue two hundreth yeares past. Translated into English by H. Lhoyd, and edited by David Powel. London: Rafe Newberie and Henrie Denham, 1584. First edition of this rare and important history of Wales and Welsh royalty, illustrated throughout with woodcut portraits and woodcut frames for coats-of arms (presumably to be filled in by hand). Octavo (7 11/16 x 5 7/16 inches; 195 x 138 mm). [16], 22, [2, blank], 401, [1, errata], [12, table]. With the blank at B4, but with without final blanks. Printed in Roman and black letter. Title-page printed within ornate architectural woodcut border. Also illustrated with woodcut portraits, initials (some historiated), tailpieces and printer's device. This work was the first to attribute the original discovery of America to the Welsh in the 12th century and contains two very early references to King Arthur, including a description of the discovery of the bones of King Arthur and his queen. Nineteenth-century (?) paneled sheep. Boards ruled and stamped in blind. Spine stamped in blind. Dark red morocco spine label, lettered in gilt. Top edge dyed brown. A small amount of early ink marginalia and underlining. Front outer hinge repaired. Some minor rubbing to spine and along hinges. Some light marginal dampstaining. Leaf H8 trimmed a quarter-inch short at bottom margin with no loss of text. Small bookseller sticker to bottom of rear pastedown. Overall a very good copy. "The first and rarest of all the editions" (Sabin 40914) of this famous history of Wales and Welsh royalty from the 7th to 13th centuries and the "Princes of Wales of the blood royall of England" from Edward I to Elizabeth. Caradoc of Llancarfan, a 12th-century Welsh ecclesiastic and historian, "was a friend of Geoffrey of Monmouth, who at the conclusion of his famous 'British History' [one of the earliest and most important sources for the legends of King Arthur]. says: `The princes who afterwards ruled in Wales I committed to Caradog of Llancarvan, for he was my contemporary. And to him I gave the materials to write that book'. Caradog's chief work ["Brut y Tywysogion"] was a sort of continuation of Geoffrey's fictions from the beginning of really historical times down to his own day. In its original form Caradog's chronicle is not now extant" (DNB). The work was translated into English in the 16th century by Humphrey Llwyd but remained in manuscript. David Powell (1552-1598), a Welsh historian, "was requested by Sir Henry Sidney, lord president of Wales, to prepare for the press an English translation. The work appeared, under the title 'The History of Cambria,' in 1584, with a curiously admonitory dedication to Sir Philip Sidney, the president's son; though Llwyd's translation was the basis, Powell's corrections and additions, founded as they were on independent research, made the 'Historie' practically a new work. and later historians of Wales have to a large extent drawn their material from it" (DNB XVI: 238). This work also contains two very early references to King Arthur. The first reference, on page 13, is a note about the creation of Glastonbury monastery on the Isle of Avalon by Ivor in the 7th century. According to St. Gildas, Joseph of Aramathea converted the Britains to Christianity "about the yeare of Christ 53" and built a church on the Isle of Avalon, "which Church, this Iuor. converted to an Abbey, and endowed the same with large possessions which was the more famous, because the bodies of the said Ioseph of Aramathia and King Arthur were there buried" (p. 13). This reference is presumably derived from Caradoc's Vita Gildae (Life of St. Gildas), the first known text to associate King Arthur with Glastonbury, leading to the association of Glastonbury with Avalon. Lacy, 83. The second and more dramatic reference occurs on page 238, describing the discovery in 1179 of the bones of King Arthur and Guinevere: "This yeare the bones of noble king Arthur and Gwenhouar his wife were found in the Ile of Aualon, (that is to saie, the Ile of Aples) without the Abbie of Glastonburie, fifteene foote within the earth, in a holow elder tree, and ouer the bones was a stone and a crosse of lead, with a writing turned towards the stone, wherein were ingrauen these words. Hic iacet sepultus inclytus rex Arthurus in insula Aualonia. The bones were of marvelous bignes, and in the scull were ten wounds, of which one was great, and seemed to be his deaths wound: the Queenes haire was to the light faire and yellowe, but as soone as it was touched it fell to ashes." (p. 238). Of "special interest. for the American collector," this was the first work to attribute the original discovery of America to a Welshman (Sabin 40914). "On page 227 begins a detailed account of the voyage of Madoc ap Owen Gwyneth to America in 1170, crediting that Welshman with the discovery of the New World. Montezuma told Cortez that he was descended from a group of white men who had come to Mexico many years before, and Caradoc claims that these were the followers of Madoc whom he left in America. A most interesting contribution to the pre-Columbian voyages of exploration, cited by Hakluyt" (Rosenbach 19: 107). Sabin 40914. HBS 69241. $8,000.
CHURCHILL, Sir Winston S.
Full Description: CHURCHILL, [Sir] Winston S. The Story of the Malakand Field Force. An Episode of Frontier War. London: Longmans, Green, and Co., 1898. First edition, first state, without the errata slip tipped in preceding the first folding map. Octavo (7 1/2 x 5 inches; 190 130 mm). xiv, [1], [1, blank], 336, [32 publisher's catalogue] pp. Photogravure frontispiece portrait, with tissue guard, and six maps (including two color folding maps). With half-title. Publisher's apple green cloth ruled in blind and lettered in gilt on front cover and ruled and lettered in gilt on spine. Black coated endpapers. Previous owner's old ink inscription on half-title, dated 1898. A tiny bit of rubbing to cloth at bottom os spine. Internally very clean, and partially unopened. Overall, a near fine copy of Churchill's first book. "Sir Winston Churchill's first published work of non-fiction, it details an 1897 military campaign on the Northwest Frontier (an area now part of Pakistan). Churchill participated in the campaign as a second lieutenant in the cavalry; he volunteered for the posting, having become bored of playing polo in India. His experiences in this campaign meant that, unlike most military thinkers of the time, he could better understand the stalemate of WWI trench warfare." (Amazon Synopsis). Woods A1(a). HBS 69240. $3,500.
STEINBECK, John
n.p.: 1953. Full Description: STEINBECK, John. Manuscript draft for essay entitled "My Short Novels". [n.p.n.d ca: 1953]. Manuscript draft in Steinbeck's hand for the essay entitled "My Short Novels, which served as a preface to the Literary Guild's 1953 edition of "The Short Novels of John Steinbeck." A near word for word representation of the essay which was originally published by The Literary Guild Review and found in their magazine "Wings" in October 1953 (Pages 4-8). This manuscript is exciting because it is an close representation but still a draft of what was finally printed. In comparing the two documents, you can see that the published piece was trimmed down a bit from what Steinbeck wrote in this manuscript draft. Many of the edits are eliminations of a few words here and there, but there are a few places where whole sentences and ideas have been cut. Most of these are some what self-deprecating, which is interesting to watch him ultimately play down. Apart from punctuation changes, the parts of this manuscript that are not found in the final publication have been indicated by us below by being housed within brackets. Four foolscap legal-sized pages (12 1/2 x 8 inches; 318 x 202 mm). Written in pencil on recto only of each page. With a few notes and corrections. Each page is approximately 28 lines long. Lacking a final leaf which would go on to discuss the final two stories. Some minor toning and a small bump to bottom left corner of all leaves. Still a near fine example of a wonderful Steinbeck manuscript. Housed in a blue quarter morocco clamshell. Another manuscript draft version of this essay was sold at auction in 2023 for 32,500 Euros and was also incomplete. [Together with] A copy of the The Literary Guild Review Magazine "Wings" which includes the entire essay. In the four present pages he discusses the origins of the stories The Red Pony, Tortilla Flat, Of Mice and Men, and The Moon is Down. The final page which is lacking goes on to discuss Cannery Row and The Pearl. The Manuscript reads: "I have never written a preface [nor a comment] to one of my books before believing that the work should stand on its own feet even if it's legs ankles were slightly wobbly. When I was asked to comment on the [five] short novels of this volume, my first impulse was to refuse. And then, thinking over the things that have happened to these stories since they were written, I was taken with the idea that [the things that] happen to a book are very like [those that happen] to a man. These stories cover a long period of my life. As each [one] was finished, that part of my life [it represented] was finished. It is true that while [he is doing it], the writer and his book are one. When the book is finished, it is a kind of death, a matter of pain and sorrow to the writer. [And] then he starts a new book and a new life, and if he is growing and changing, a new life starts. [And] the writer like a fickle lover, forgets his old love. It is no longer his own- the intimacy and the surprise are gone. So much I knew but I had not thought of the [poor] little stories, thrust out into an unfriendly world to make their way. They have experiences too, they grow and change or wane and die just as everyone does. They make friends or enemies, and sometimes they waste away from neglect. [Remembering the careers of these short novels, has been interesting to me. All of the have been experiments. That is why no two of them are remotely alike. And experiments are rarely accepted all at once.] [My stories have been slow starters almost like shy young men who do not make friends quickly. Indeed most of my books have succeeded without trying in making quick and fierce enemies at first. It is pleasing to me that they do in time make lasting and loyal friends.] The Red Pony was written a long time ago when there was desolation in my family. The first death had occurred- and the family which every child believes immortal, was shattered. Perhaps this is the first adulthood of any man or woman- the first tortured question why, and then acceptance and [your] child [was] a man. The Red Pony [then] was an attempt, an experiment if you [must] to set down loss and acceptance, [death a the transfiguration the adult mind must create for itself.] At that time I had had three books published and [all of them had failed to] come any where near selling their first editions. The Red Pony could not find a publisher. It came back over and over again until at last a [foolishly] brave editor bought it for The North American Review and paid 90 dollars for it. [This was] more money than I thought the world contained. What a great party we had in celebration. [The Magazine went broke almost immediately and my story disappeared for a good number of years. That it ever came back is the remarkable thing. But it not only did but it seems to gather friends as it goes.] It takes only the tiniest pinch of encouragement to keep a writer going, and if he gets none, he sometimes learns to feed even on the acid of failure. Tortilla Flat grew out [of a reading of the sources] of The Arthurian cycle- [from Mabinogion Through Geoffrey and through the ? to Tennyson.] I wanted to take the stories of my town of Monterey and cast them into a kind of folklore. The result was Tortilla Flat. It followed the pattern. Publisher after publisher rejected it until Pascal Covici finally published it. But it did have one distinction the others had not. It was not ignored. Indeed, the Chamber of Commerce of Monterey, fearing for its tourist business, issued a statement that the book was a lie and that certainly no such disreputable people lived in that neighborhood. But perhaps the chamber did me a good service for this book sold two editions, [I think] and this was almost more encouragement than I could stand. I was afraid I might get used to such profligacy on the part of the public and I knew it couldn't last. A moving picture company bought it and paid 4,000
MILLER, Henry
8220;Untitled Portrait" Original Lithograph. [N.p.]: 1967. A beautiful, brightly colored lithograph, signed "Henry Miller" and dated "1967" in the lower right corner in brown ink. Additionally inscribed in the lower left corner "For Dean" in blue ink. No edition statement at bottom but according to another instance of this lithograph, this is probably from an edition of 200. Matted, framed and glazed. Image size: 20 3/4 x 15 3/4 inches; 522 x 400 mm. Frame size: 24 1/4 x 18 1/2 inches; 610 x 475 mm. Image is an semi-abstract portrait in broad strokes of blues, greens, yellows and oranges. Colors are very vibrant and beautiful. Bottom edge has a portion trimmed off, not affecting image. A small piece of paper is adhered to blank bottom edge, perhaps covering something written in the margin. Image is tipped on to the mat, with no back covering. Back of paper very slightly toned. Housed in a gilt frame and matted in blue. Overall a very nice piece. HBS 69243. $1,250.
DUNCOMBE, John
Full Description: [DUNCOMBE, John]. The Dens of London Exposed. Third Edition. London: Printed For and Published by the Author, 1835. [also printed on recto of title page] [DUNCOMBE, John]. A Peep into the Holy Land; or, Sinks of London laid open! Forming a Pocket Companion for the Uninitiated. : Cadging Made Easy I, Doings of the Modern Greeks. Unfinished Gentlemen at Home! Snoozing Kens Depicted. Description of the Cribs. City Aldermen Outdone. Stakes and Beef Steaks. Crockford's in Miniature. What's Trumps? -"flats to be Sure, what Tips!" A Picture of the Literary Fund Society. The He-she Man. The Common Lodging House. a Model of a Regular Cadger. The Thieves School. The Brothel! Good Advice from an Old Ranger. A Lesson to Lovers of Dice. The Cadging House Gallant. The Gaming Table. Saturday Night in St. Giles's. The Ladies of the Pave. The Wind-up. A Free and Easy. A Picture, Etc. London: John Wilson. [n.d.c.a.1835]. Third edition. Small octavo (6 1/2 x 4 3/16 inches; 166 x 106 mm). [2], 106 pp. With hand-colored frontispiece. Recto of frontispiece is page xv of contents from "Dens of London." We could find no other copies of this edition at auction in the past forty years. Contemporary quarter brown morocco over marbled boards. Boards bumped and rubbed. Title-pages leaf a bit soiled and toned. A repair to upper outer corner of page [1]. Internally very clean. A very good copy of this rare item. "One of the first exposés of the 'cadging houses' in St Giles Rookery, an area that influenced Dickens's creation of Tom-All-Alone's in Bleak House. This book gives an account of the living conditions of 'cadgers', street workers and 'that class denominated unfortunate.' The children living in such lodgings were often runaways and orphans and, although safer than some options, living alongside the men and women of the 'lowest classes' in these dens was seen to inevitably lead to a life of crime and ruin. The book is an example of the Victorian appetite for works documenting the lives of the poor for the enlightenment, or possibly entertainment, of the middle classes. (University of London). HBS 69227. $1,000.
DULAC, Edmund
The Sack of Gold". [N.p.: n.d., ca. 1949-1950]. Original watercolor drawing. Signed by Dulac at lower left. This watercolor was produced for the illustration on the front cover of The American Weekly, Published January 28th, 1951. Visible image size: 11 1/2 x 10 1/4 inches; 290 x 260 mm, but paper extends under the mat. Matted, framed and glazed in a beautiful gilt frame. Frame size: 21 7/8 x 20 inches; 550 x 510 mm. This vibrant watercolor depicts a scene from "The Arabian Nights" where "Ali Baba dumps bags of gold before his amazed wife." "In 1923, 'Edmund Dulac, the Distinguished English Artist,' as he was billed on the covers, was contracted by the Hearst Organization to paint watercolors for The American Weekly Sunday magazine. The contract lasted 30 years and Dulac painted 107 watercolors for thirteen series until his last Arabian Nights in 1951." (Alamy Images). HBS 69236. $15,000.
SCHAEFER, Jack
Full Description: SCHAEFER, Jack. Shane. Boston: Houghton Mifflin Company, 1949. First edition of this scarce title, with the date printed on the title-page. Signed by Schaefer on the title-page. Octavo (7 1/2 x 5 1/8 inches; 192 x 133 mm). [viii], 214, [2, blank] pp. Original light brown cloth, front cover and spine lettered in dark brown. Some light toning to pastedowns. In original unclipped dust jacket with $2.50 on flap. Jacket has some minor chipping to top and bottom of spine and some rubbing to top and bottom edge. Overall, a near fine copy of this very rare and sought-after title. This novel was the basis of the beloved film of the same title (1953, directed by the legendary George Stevens) which starred Alan Ladd in the title role and with Jean Arthur, Van Heflin, and a youthful [Walter] Jack Palance. HBS 69237. $9,500.
. VOLTAIRE, François Marie Arouet de. Candide. Illustrated by Rockwell Kent. New York: Random House, 1928. Limited edition, hand-colored issue. One out of 95 , this being number 56, colored in the studio of the artist and signed by Rockwell Kent, from a total edition of 1,470. Quarto (11 x 7 1/2 inches; 280 x 190 mm). 111, [1, colophon] pp. With a full page illustrated title-page, copyright page and colophon. Also with numerous engraved vignettes and historiated initials, all of which are richly colored by hand in water-color. Original quarter crushed brick-red morocco over patterned cloth. Cloth printed in brown and green with the Random House logo. Spine lettered in gilt. Satin ribbon marker, detached but laid in. Some minor rubbing to joints and minor chipping to headcaps. Spine a bit sunned. Housed in publisher's matching slipcase. Some edge-wear and scuffs to publisher's slipcase. Internally very clean and bright. "Of thid first book with imprint of Random House, 1470 numbered copies are printed on all rag French paper and 95 coloured in the studio of the artist. Hand set in type designed by Lucian Bernhard, paragraph design by Rockwell Kent; both cast by the Bauersche Giesserei, Frankfort. The composition and press work completed by the Pynson Printers in the month of April MCMXXVIII. Rockwell Kent. New York." (Colophon) HBS 69251. $6,000.
Full Description: CASSIN, John. Illustrations of the Birds of California, Texas, Oregon, British and Russian America. Intended to contain descriptions and figures of all North American birds not given by former American authors, and a general synopsis of North American ornithology.1853 to 1855. Philadelphia: J.B. Lippincott & Co., 1862. Second edition (with the same plates as the first edition). Large octavo (10 1/2 x 7 inches; 267 x 180 mm). viii, 298, [2, ads] pp. Fifty hand-colored lithographed plates, including frontispiece, after George G. White by Wm. E. Hitchcock, printed and colored by J.T. Bowen. Each plate with tissue guards. Publisher's original full brown morocco-grained cloth. Rebacked with original spine laid down. Boards ruled in blind with a large central device stamped in blind. Spine stamped and lettered in gilt. Yellow coated endpapers. Previous owner's pencil notes on front flyleaf. Overall, a very good, clean copy, the plates in excellent condition. Originally issued in ten parts between 1853 and 1855, this work was intended as a supplement to the octavo edition of Audubon's Birds of America. Hitchcock, who transferred White's drawings to stone, and Bowen, who printed and colored them, had both worked extensively on that earlier work, as well as on the octavo edition of Audubon and Bachman's Quadrupeds of North America. Cassin was the first American ornithologist to use trinomials to designate geographical races. "The work was intended by Cassin as a general revision of the ornithology of the United States, and he expresses the hope that he may be able to issue two additional volumes or series; however, no more than this one volume ever appeared" (Anker). According to Ayer, three species are described as new in the first edition. Ayer/Zimmer, pp. 124-125 (first edition). Copenhagen/Anker 92 (first edition). Fine Bird Books, p. 64 (first edition). McGill/Wood, p. 281. Nissen, IVB, 173 (first edition). Sabin 11369 (first edition). HBS 69249. $2,750.
The Picture of Dorian Gray. London: Petersburg Press, 1968. Full Description: WILDE, Oscar. DINE, Jim, [artist]. The Picture of Dorian Gray. London: Petersburg Press, [1968]. Limited edition signed and numbered by the artist, Jim Dine on the limitation page in green ink. This being number 11 of 200 in Edition B. Folio (17 3/8 x 12 1/4 inches; 440 x 310 mm). Complete with frontispiece and twelve lithographs in color, with a set of an additional 4 loose lithographs issued in a portfolio, each annotated "Edition B" on the reverse and numbered 11/200 and signed by the artist in pencil on the front lower margin. Original full green velvet boards. Front board lettered in silver. Pictorial patterned endpapers. Housed in a black cloth slipcase. With additional black cloth portfolio. Cloth portfolio with a small split at top of hinge. A fine copy. "A working script for the stage from the novel by Oscar Wilde with original images and notes on the text by Jim Dine" (From the title page). "The original colour lithographs, etchings and text pages comprising this book were prepared on zinc and aluminum plates by the artist at Bath Academy of Art, Corsham, ini February, 1968; and subsequently printed on Velin Arches at the Atelier Desjobert and Atelier Leblanc in Paris." (Colophon) HBS 69253. $4,500.
MERYMAN, Richard, [editor]. Andrew Wyeth. Boston: Gambit, Incorporated, 1969. Full Description: [WYETH, Andrew]. [MERYMAN, Richard]. Andrew Wyeth. Boston: Gambit, Incorporated, 1969. Limited edition, One of 300 copies signed by the artist, this being number 92. Large oblong folio (13 x 16 3/4 inches; 330 x 425 mm). ix, [1, blank], 194 [4] pp. Profusely illustrated with sketches, studies, and finished artwork by Andrew Wyeth. Publisher's quarter light-blue suede over cloth tan boards. Front board inlayed with blue suede rectangle stamped "AW" in gilt. Spine lettered in gilt. All edges gilt. White satin ribbon marker. Pictorial endpapers. Housed in publisher's original blue cloth folding case, stamped "AW" in gilt on front board. Overall about fine. "Andrew Wyeth was a widely celebrated American artist who specialized in realist watercolor and tempera paintings of people and landscapes. His best-known work, Christina's World (1948), depicts a young women laying in the grass and looking towards a farmhouse. Despite the work's everyday subject matter, it is filled with a haunting sense of urgency and foreboding dread. While his work has been deemed melancholic, the artist preferred to describe it as thoughtful." (Artnet) HBS 69254. $1,650.
Full Description: FRANKLIN, Benjamin. Bowles's Moral Pictures or Poor Richard Illustrated. Being Lessons for the Young and the Old on Industry, Temperance, Frugality &c. by Dr. Benjamin Franklin. Manchester: Bancks & Co., [n.d.c.a.1796]. Early, if not the first edition of this broadside illustrating maxims from Franklin's "Way to Wealth." This broadside was also issued about the same time in London by Bowles & Carver. The different editions are undated, but this present Manchester edition is the only one listed in the Ford Franklin Bibliography (137*). Broadside, folded. Size unfolded: (19 x 23 1/2 inches; 485 x 600 mm). Binding size: (7 7/8 x 5 inches; 200 x 125 mm). Engraved sheet comprising 25 oval vignettes after Robert Dighton. One of which is an engraved portrait of Franklin, and twenty-four of which are engraved vignettes illustrating Franklin's maxims. Each engraving has one of Franklin's maxims printed on the ovals' borders. These maxims include familiar saying such as "Early to bed, and early to rise, makes a man healthy, wealthy and wise" "There are no gains without pains" and "A rolling stone gathers no moss." Broadside comprising a large folding sheet mounted on linen and folded in the original octavo cloth book-form case. Case is original full purple cloth, with front board stamped in gilt. Boards a bit sunned. Spine with some minor splitting and chipping of cloth. A bit of toning to paper. Some foxing to linen backing, occasionally showing through at folds. Still a very good copy of this rare item seldom found in the original cloth binding. "According to OCLC, there are less than a dozen copies of this Benjamin Franklin broadside in the United States and three of them are at Princeton. Folded into a stamped binding, the undated broadside was published after 1790 (Franklin's death) at the shop of Carington Bowles (1724-1793). Its twenty-five engraved oval vignettes (including a central Franklin portrait) were designed by Robert Dighton (1752-1814) to illustrate Franklin's maxims." (Princeton University, Graphic Arts Collection) Ford Franklin Bibliography, 137*. HBS 69261. $6,500.
BASKERVILLE, John. The Holy Bible, Containing the Old Testament and the New. Translated out of the Original Tongues, and with the Former Translations Diligently Compared and Revised, by His Majesty's Special Command. Appointed to be Read in Churches. Cambridge: Printed by John Baskerville, 1763. Full Description: [BIBLE IN ENGLISH]. The Holy Bible, Containing the Old Testament and the New: Translated out of the Original Tongues, and with the Former Translations Diligently Compared and Revised, by His Majesty's Special Command. Appointed to be Read in Churches. Cambridge: Printed by John Baskerville, 1763. First edition, with the list of subscribers in the third state, ending with "The Hon. Charles York, Esq; Attorney General." Two large folio volumes in one (19 1/8 x 12 1/4 inches; 480 x 311 mm.). Complete with [573] leaves. Text ends on leaf 13E1, and is followed by an Index and Tables (*a-*e, *f1). List of subscribers bound in after title-page and dedication. Text in double columns. Beautifully bound in early 19th-century full diced tan calf. Boards elaborately ruled and tooled in gilt and blind. Spine stamped and lettered in gilt. Front board lettered in gilt, reading "John Miles/ West End/ Hampstead." Marbled endpapers. All edges marbled. Gilt dentelles. Back board with some very mild scuffing and a tiny bit of worming to head of board and at top and bottom of outer hinge. Some light foxing to first title-page and preliminary leaves, but text is very clean. With the dates of births and deaths of the Miles family in old ink manuscript on the front free endpaper. Overall a very good, clean copy. Originally priced four guineas in sheets, for subscribers, "[t]he edition consisted of 1250 copies, of which 556 were remaindered in 1768 and bought by the London bookseller R. Baldwin at 36s. each.Baldwin was offering copies at three guineas in sheets in 1771" (Gaskell). "One of the most beautifully printed books in the world" (Dibdin). This edition "has always been regarded as Baskerville's magnum opus, and is his most magnificent as well as his most characteristic specimen" (T.B. Reed, A History of the Old English Letter Foundries, p. 279). Gaskell declared that the title-page to the New Testament is "a perfect page of fine printing." Although the Baskerville Bible is now recognized as one of the greatest Bibles of all time, it was initially a financial failure. Costing £2,000 to print, the remaining stock (about half of the edition) was remaindered five years after publication to a London bookseller. It was Baskerville's last great book. "Aesthetically, the highest point in English Bible printing so far was John Baskerville's folio printed at Cambridge in 1763. To achieve his ambition to print a folio Bible, Baskerville had to become University Printer, on not very advantageous terms. The Bible uses his types, paper and ink, and shows his characteristic 'machine-made' finish: very smooth and even in colour and impression, with glossy black ink on smooth paper. The design is traditional, but the quality of material and workmanship is so high, and the conventions are so delicately modified and consistently applied that the result is extremely impressive" (The Cambridge History of the Bible: The West from the Reformation to the Present Day, p. 464). Darlow & Moule 857. ESTC T93106. Gaskell, Baskerville, 26. Herbert 1146. Huntington Library, Great Books in Great Editions, 6. HBS 69256. $15,000.
Original Sketch of "Pepito". [n.d.n.p. New York: circa 1956]. Original ink and gouache sketch, of Ludwig Bemelman's beloved and famous character, Pepito. On off-white wove paper with the repeating J. Annonay watermark. Signed "Bemelmans" below the image. Sketch is in black ink, heightened in blue, orange brown and purple gouache on his hair, face, scarf, shirt and hat. Unframed. Full sheet size (12 3/4 x 9 7/8 inches; 325 x 250 mm). A beautiful image of this endearing character, about fine. The character of Pepito was first introduced in Bemelmans' story "Madeline and the Bad Hat" where Pepito, the son of the Spanish Ambassador, moves next door to Madeline and she calls him a "bad hat" because he is a troublemaker. HBS 69245. $7,500.
Full Description: BAUM, L. Frank. The Wonderful Wizard of Oz. With pictures by W.W. Denslow. Chicago: Geo. M. Hill Co., [1900]. First edition, second state. With the following points: on p. [2], the publisher's advertisement has no box; on p. 14, line one begins "low wail of."; p. 81, fourth line from bottom has "pieces"; p. [227], line 1 begins: "While The Woodman."; and the colophon is reset in thirteen lines with no box; with broken type in the last line of p. 100 and p. 186. The verso of the title-page has a press-printed copyright notice, with the "R"'s having tails that are on a line with the rest of the printing. Second state of plate facing p. 34 without the two dark-blue blots on the moon and the second state of plate facing p. 92 without the pink shading at the horizon. Quarto (8 5/16 x 6 3/8 inches; 211 x 165 mm). 259, [1, blank], [1], [1, blank] pp. Twenty-four inserted color plates (including title). Original light green cloth pictorially stamped and lettered in red and a darker green (variant C with publisher's imprint at foot of spine in red in serifed type, with the "C" of "Co." encircling the "o"). Pictorial pastedown endpapers (issued without free endpapers). Spine with the slightest amount of fraying to head and tail. Cloth is very bright and clean without any restoration and text is extremely clean, without any tears. Front and back inner hinges with some repair. Previous owner's old ink inscription on preliminary leaf, dated 1903. Overall, a near fine copy of a book usually found in poor condition. Housed in a custom quarter red morocco over marbled boards clamshell. Greene and Hanff, HBS 69252. $13,500.
