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The Odes

The Odes, Satyrs, and Epistles of Horace. Done into English

Horace (Quintus Horatius Flaccus); Creech, Thomas (translator) First edition of this seventeenth-century English translation of the Roman lyric poet Horace, dedicated to John Dryden and wonderfully illustrated with two plates by Michael Burghers. The frontispiece depicts Horace's imagined metamorphosis in the second book of the Odes: "No weak, no common Wing shall bear / My rising body thro the Air; / Now chang'd I upward go . . . Rough Skin o'er both my Legs is spread, / And shining Feathers Crown my Head; / Above I'me turn'd a Swan." Several variants of this 1684 edition are recorded, no priority established, all with erratic pagination: this copy includes the bookseller Goodwin in the imprint, an opening signature of seven leaves (A2 a stub), no engraving on the verso of A8, and no errata leaf. Wing H2774A, ESTC R216475. A near-fine example of a major classical poet, published on the eve of England's own Augustan age. Octavo, measuring 7.25 x 4.5 inches: [14], 1-142, 103, 144-153, 114, 155-166, 147, 168-183, [1], 369-432, 449-480, 465-482, 583, 484-532, 433, 534-538, 537, 540-570, [4] (text continuous despite erratic pagination). Contemporary mottled calf rebacked with original spine laid down, raised bands, boards decoratively ruled in blind, all edges speckled red. Frontispiece before main title, engraved plate inserted at Book 1 of Satyrs. Two leaves of publisher's ads at rear. Early ownership signature, "Eliza Coryton," to title. Lightest shelfwear.
The Westing Game; with: Newbery and Caldecott Awards dinner program for 1979; with: The Westing Game souvenir $1000 bill

The Westing Game; with: Newbery and Caldecott Awards dinner program for 1979; with: The Westing Game souvenir $1000 bill

Raskin, Ellen; [Goble, Paul] First edition of Ellen Raskin's dizzying comic mystery, winner of the Newbery Medal for 1979. Samuel Westing, a reclusive millionaire, leaves an unconventional will, drawing an apparently random group of neighbors into a search for his own killer. "Who were these people, these specially selected tenants? They were mothers and fathers and children. A dressmaker, a secretary, an inventor, a doctor, a judge. And, oh yes, one was a bookie, one was a burglar, one was a bomber, and one was a mistake." The Westing Game is accompanied by the original program for the 1979 Newbery and Caldecott Awards dinner, where Raskin received her medal, and a souvenir $1000 bill featuring "Uncle Sam" Westing, possibly the ticket to the event. A near-fine, unmarked copy of a classic novel, with scarce related ephemera. Single volume, measuring 9 x 6 inches: [6], 185, [1]. Original red cloth spine lettered in black, orange paper boards, red endpapers, original clipped color pictorial dust jacket designed by 1979 Newbery winner Ellen Raskin, with no Newbery medal affixed. Pinpoint foxing to edges, lightest shelfwear, tape reinforcement to jacket verso. With: side-stapled Newbery and Caldecott Awards dinner program, measuring 9 x 7 inches: [8]. Color pictorial wrappers designed by 1979 Caldecott winner Paul Goble. With: double-sided souvenir $1000 bill.
A Kuklapolitan Diary." With: Kuklapolitan Courier Year Book annotated by Washburn. With: publicity photograph inscribed to Washburn by show creator Burr Tillstrom

A Kuklapolitan Diary.” With: Kuklapolitan Courier Year Book annotated by Washburn. With: publicity photograph inscribed to Washburn by show creator Burr Tillstrom

MANUSCRIPT]. Washburn, Patricia; Tillstrom, Burr; Allison, Fran A fascinating document of early television fandom, chronicling one Chicago woman's obsessive attention to the improvised daily puppet show "Kukla, Fran, and Ollie." Created by puppeteer Burr Tillstrom, and featuring radio actress Fran Allison, "Kukla, Fran, and Ollie" began as a local Chicago broadcast in 1947, but was picked up by NBC in 1949, becoming a nationwide sensation among adults as well as children. The show was unscripted, ad-libbed live by Tillstrom (via his cast of Kuklapolitan puppets) and Allison. The surviving kinescopes of the original broadcasts would not be released until 2010, though Tillstrom would go on to mentor many influential younger puppeteers, including Shari Lewis and Jim Henson. This group of materials chronicles Patricia Washburn's daily viewing of "Kukla, Fran, and Ollie" in 1951, with a few notes from 1952. Her diary opens with an essay explaining her investment in the show, admitting that "when I was first told about, 'the cute puppet show named Kukla, Fran + Ollie,' I thought it disgusting that adults should want to watch such childish antics, and vowed never to so much as even look at them." Washburn had a change of heart, however, as she became fascinated by "genius" puppeteer Burr Tillstrom: "a man who I feel will never truly be appreciated until he is dead, and maybe not even then, in this world of fakes and falsities." She identifies each of the Kuklapolitan puppets as a facet of Tillstrom -- "the gentle, fatherly, but firm Burr," "the dramatic, dynamic, tempermental [sic] Burr," "the sweet, coy, but unpredictable Burr" -- and recounts highlights from some of her favorite episodes to date. The diary itself consists of detailed summaries of live broadcasts of "Kukla, Fran, and Ollie" from January through April, 1951. Also included is Washburn's copy of the 1951 Kuklapolitan Courier Year Book, an illustrated publication for fans. She has annotated the yearbook with a lengthy original poem about her daily television ritual: "At 6 o'clock from day to day / I fly like mad from work or play. / An eager flip of knob & dial / a breathless flop all in a pile. / 'Oh hurry set please do get bright' / It's 'magic time' for me each nite." A publicity photograph of Burr Tillstrom, inscribed "to Pat," completes the collection. A compelling deep dive into the early days of television fandom. Spiral-bound notebook, measuring 9 x 6 inches: (108). Brown paper boards titled in ink, two pastedown typed title labels, typed address label of Patricia Washburn affixed to inner front cover. All pages filled with handwritten diary entries in blue and black ink. Laid in are five folded leaves of handwritten notes from April 1951 (clipped together), three leaves of typed notes from April through August 1951, and two leaves of handwritten notes from August 1952. With: printed spiral-bound yearbook, measuring 11 x 8.5 inches: (64). Original color pictorial paper boards. Illustrated in color and black and white throughout text, annotated by Washburn with an original poem on page 29. With: glossy publicity photograph of Burr Tillstrom and the puppet Kukla, inscribed: "To Pat -- / Sincerely / Kukla & Burr.".
Pride and Prejudice: A Novel. In Two Volumes. By the Author of "Sense and Sensibility

Pride and Prejudice: A Novel. In Two Volumes. By the Author of “Sense and Sensibility,” &c

Austen, Jane] Third edition of Jane Austen's most popular novel, first published in 1813. This was the final edition of Pride and Prejudice issued by her original publisher Thomas Egerton, and the first two-volume edition; Austen is still identified only as "the Author of 'Sense and Sensibility'" on the title pages, although an early owner has penciled "Miss Austen" in the first volume. The rocky courtship of Elizabeth Bennet and Fitzwilliam Darcy would set the tone for the next two centuries of romantic comedy: "After abusing you so abominably to your face, I could have no scruple in abusing you to all your relations." The presentation inscriptions in these volumes read: "To Margaret Dixon / with love from / Geoffrey Sparrow / Salisbury April 5 1921." (Dixon and Sparrow would marry soon after.) Gilson A5. A very good example of an English literary classic, in an attractive nineteenth-century binding. Two twelvemo volumes: [4], 289, [1]; [4], 311, [1]. Later nineteenth-century three-quarter red calf, marbled boards, raised bands, spine compartments decorated and lettered in gilt, green morocco spine labels, robin's-egg blue endpapers, all edges stained blue. Bound with half-titles and without terminal blanks; binder's tickets in both volumes: "Broadbere, Pembroke Square, Bargate, Southampton." Library stamps of Pyt House, Tisbury, Wiltshire, to front endpapers. Ink presentation inscriptions in both volumes. Pencil notes to title of Volume I and page 65 in Volume II, faint occasional foxing, light shelfwear to bindings.
It's A Good Thing I'm Not Macho. A Cycle of Poems

It’s A Good Thing I’m Not Macho. A Cycle of Poems

Eisenberg, Susan; Levertov, Denise (foreword); Paine, Freddy (introduction); Melnechuk, Eve (illustrator) First edition of Susan Eisenberg's first book of poems, one of 1000 copies. Introduced by poet Denise Levertov and union organizer Freddy Paine, this collection explores the experience of one of the first women in the United States to achieve journey-level status as a union electrician: "Electricity! At its core / political: / the transformation of power / in a safely grounded system." This copy is inscribed by the author: "For Lonnie, Thanks for your comments and questions here in Vancouver! Warmly, Susan Eisenberg." Eisenberg would later observe: "Writing those poems was one way that I survived hostility and isolation, and celebrated entry into a world that was new and mysterious to me. It was quite a surprise to learn that the poems in that chapbook -- which I thought were unique to my experience as a female electrician in Boston -- resonated with other tradeswomen across the country and even with men who worked in the industry." Although the poems in this collection, written during the first wave of federal affirmative action, are guardedly optimistic about the prospects for women in construction, Eisenberg would come to take a more critical view. After fifteen years in the International Brotherhood of Electrical Workers, she left her career as an electrician. Her oral history, We'll Call You If We Need You: Experiences of Women Working Construction, was a 1998 New York Times Notable Book, and would be re-issued in 2018. A near-fine inscribed copy of a compelling document of feminist and labor history. Single volume, measuring 9 x 6 inches: xiii, [1], 37, [3]. Original color pictorial wrappers. Printed in purple ink, illustrations throughout text. Inscribed by the author on the half-title.
RSC in Macbeth by William Shakespeare (theater program)

RSC in Macbeth by William Shakespeare (theater program)

Derbyshire, Delia]; Royal Shakespeare Company Original program for the August 1967 Royal Shakespeare Company production of Macbeth, directed by Peter Hall and starring Paul Scofield in the title role. The production was a landmark in experimental sound design, featuring a score by electronic music pioneer Delia Derbyshire (1937-2001), credited under the name of her company, Unit Delta Plus. A classically trained musician, Derbyshire worked for the BBC Radiophonic Workshop from 1962 to 1973, where she produced music and sound effects for hundreds of radio and television programs, most famously, the original 1963 theme to Dr. Who, constructed entirely of electronic sounds. She also composed independently through Unit Delta Plus, Kaleidophon, and Electrophon studios, emerging as one of the most innovative creators of musique concrète and sonic manipulation. This 1967 production of Macbeth employed two distinct soundscapes. Longtime RSC composer Guy Woolfenden arranged a live instrumental score, while Derbyshire engineered an otherworldly electronic counterpoint, played on two tape decks. "Two completely different sound worlds are created -- the live sounds of the innocent characters . . . and the distorted, processed electronics of the witches and those they infect with murderous intent" (Taylor, Theatre Music and Sound at the RSC, 79). At least one of Derbyshire's tapes for Macbeth survives: "attic tape" DD040 at the John Rylands Library in Manchester. An evocative artifact of Derbyshire's early work in electronic music. Side-stapled booklet, measuring 12.5 x 8 inches: [16]. Original pictorial wrappers printed in red, black, and white, full-color advertisements printed on inner wrappers. Illustrations and photographs throughout text, printed in red, green, and black. Royal Shakespeare Company Profile Sheet Number 26 (Jeffery Dench and Nicholas Selby) laid in. Light shelfwear to wrappers.
Five pieces of ephemera related to the Joan Little murder trial

Five pieces of ephemera related to the Joan Little murder trial

Little, Joan]; Davis, Angela In August 1974, Joan Little escaped from the Beaufort County Jail in Washington, North Carolina, where she was being held for breaking and entering. The body of guard Clarence Alligood, stabbed with an icepick, was discovered on Little's bunk, naked from the waist down, with semen on his leg. Little turned herself in the following week, claiming that she had killed Alligood in self-defense when he attempted to rape her. She was charged with capital murder, which carried a mandatory death sentence. Little's case attracted the interest of the civil rights, feminist, and anti-death-penalty movements, in intersecting and sometimes conflicting ways. The Southern Poverty Law Center and the National Organization for Women both offered support, as did the Southern Christian Leadership Conference, which broke with Little over her reluctance to use the funds raised in her defense on marches: "You don't need to agitate the way you did in the '60s. In my case, people should deal with reality." Rosa Parks co-founded the Detroit chapter of the Joan Little Defense Committee, and members of Congress, including Shirley Chisholm, called on the Justice Department to ensure Little a fair trial. In August 1975, Little became the first woman in United States history to be acquitted of murder on the grounds that the use of deadly force was justified in resisting sexual assault. This group of materials includes five items produced in the months before Little's 1975 trial. Joan Little pronounced her name "Jo Ann," and her name appeared variously in print as Joan, Joann, and Joanne throughout the coverage of the trial. The materials offer a survey of the way that Little's story was pitched to different audiences, from the respectability politics of JET Magazine, which pictures a smiling Little with her pet dog, and emphasizes her calm demeanor and work ethic, to the Marxist analysis of Angela Davis's essay, "Joann Little: The Dialectics of Rape," which locates Little's experience in a history of racial and sexual terrorism. 1. Simms, Gregory. "Joan Little: Fights to Avoid Death Sentence" (cover story). JET Magazine XLVIII:7. Chicago: Johnson Publishing Company, May 8, 1975. Illustrated throughout text, 20-24. 2. "Support Joan Little" flyer. Student Coalition Against Racism, University of California, Berkeley. 11 x 8.5 inches, dated in ink: June 14, 1975. Printed slightly off-center, text shaved at left margin. 3. "Free Joan Little! Drop All the Charges!" flyer. July 14 Committee to Free Joan Little, Berkeley. 11 x 8.5 inches, dated in ink: June 29, 1975. 4. Davis, Angela, et al. Save Joann Little. Oakland: Women's Press Collective, [1975]. Single volume, measuring 8.5 x 5.5 inches: [56]. Original poetry by Little, an interview with an unnamed activist ("b,g.") on the ground in North Carolina, Angela Davis's "Joann Little: The Dialectics of Rape," and a list of "Demands of Women from Raleigh Prison." Illustrated throughout text. Ink notes ".50" to front wrapper and "1.00" to flyleaf. 5. "Free Joanne Little!" pinback button. National Student Coalition Against Racism. 1.75 inches in diameter, [1975]. A compelling collection, reflecting the significance of the Little trial to a range of American audiences.
A Version of Solomon's Song of Songs; Together with the XLV. Psalm

A Version of Solomon’s Song of Songs; Together with the XLV. Psalm

BIBLE]; Stennett, Joseph (translator) First edition of this verse translation of the Song of Songs by Joseph Stennett (1663-1713), the first important Baptist hymnwriter in England: "Thy Lips, my Spouse, that move with skill, / Drops like the Hony-comb distil. / Hony and Milk's beneath thy Tongue, / Which feeds the Weak as well as strong." In his scholarly preface, Stennett is quick to assure readers that the Hebrew text is not about sexual desire, despite appearances: "some have denied that [Solomon] wrote it by Divine Inspiration; and make his Design to be only that of celebrating his Amours with Pharoah's Daughter, or some other person." The passion of the bridegroom and the bride is to be understood, however, as a divine allegory of Christ's love for his church, the same "mystical Espousals" found in the 45th Psalm, which Stennett also translates here. Wing B2633AC, ESTC R212810. We locate four institutional holdings in North America (Emory, Huntington, NYPL, and the American Baptist Historical Society; ESTC adds Harvard, but that appears to be an error). A scarce early English translation of the most lyrical book of the Old Testament, in a handsome contemporary binding. Small octavo, measuring 6.5 x 4 inches: xxiv, 40. Contemporary full red paneled morocco gilt, raised bands, spine compartments decorated in gilt, marbled endpapers, all edges gilt. Old ink prices to verso of front free endpaper. Dampstaining to binder's flyleaves (not affecting text), light wear to binding, joints starting at head of spine.
Original watercolor depicting Walt Whitman's Brooklyn home during the first printing of Leaves of Grass

Original watercolor depicting Walt Whitman’s Brooklyn home during the first printing of Leaves of Grass

Whitman, Walt]; Parker, Robert Andrew Original artwork by American painter Robert Andrew Parker, depicting the wooden frame house at 99 Ryerson Street in Brooklyn, a few blocks from the Navy Yard, where Walt Whitman lived from May 1855 to May 1856. Whitman finished the first draft of Leaves of Grass in a second-floor bedroom, and printed the book in Brooklyn Heights in the summer of 1855; that December, Ralph Waldo Emerson visited the Ryerson house to congratulate Whitman on his groundbreaking literary debut. The Ryerson house is the only one of Whitman's New York City residences to survive into the twenty-first century; it remains, surprisingly, unlandmarked. A third story was added at some point, and the whole structure clad in vinyl siding; the Brooklyn-Queens Expressway now rumbles overhead at the end of the block. Parker's watercolor depicts the house as it would have appeared in Whitman's day. Painter Robert Andrew Parker's work is held by the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum, and the Morgan Library. He has illustrated over forty children's books, and received a Caldecott Honor for Pop Corn and Ma Goodness (1970). Although a note on the verso identifies this illustration as a New Yorker commission, it does not appear to have been published in the magazine. A striking image. Single sheet, measuring 12.5 x 10 inches. Ink and watercolor illustration, signed vertically along the lower left edge. Light smudge to top lefthand corner, ink note "New Yorker" to verso.
You Can Design

You Can Design

Reiss, Winold; Schweizer, Albert Charles; [Bossange, E. Raymond] First edition, dedication copy, of this striking guide to graphic design by artist Winold Reiss and architect Albert Schweizer. They aim to reach the amateur artist: "You can design. Whether you realize it or not, the power of creating forms and patterns lies within you, and you should give yourself the pleasure that comes from this kind of self-expression." Starting with simple black and white abstractions, Reiss and Schweizer propose an increasingly complex series of creative exercises -- borders, patterns, forms inspired by nature, half-tone and color designs - as well as ideas for their practical application. The exercises are accompanied by artwork produced by the authors' students at New York University. Reiss and Schweizer have warmly inscribed this copy to E. Raymond Bossange, Dean of the NYU School of Architecture and Allied Arts, who is thanked in the printed dedication for "his interest and kindness in permitting the use of the students' drawings which illustrate the work." A near-fine dedication copy of a compelling book. Spiral-bound volume, measuring 12 x 9 inches: [126]. Original blue cloth boards lettered in darker blue, orange endpapers. Monochrome and color illustrations throughout text. Ink presentation inscription on the half title: "N.Y. Jan. 30. 39 / to Dean and Mrs. E. Raymond Bossange / with the sincere respects and compliments / of the authors / Winold Reiss / Albert Chas Schweizer." Light shelfwear to boards, no dust jacket.