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![Betjeman [John]: An Oxford University Chest, first edition 1938, pub by John Miles, Amen Corner, London EC 4, marbled boards.](https://cdn.globalauctionplatform.com/f101a16a-9d8a-4fbb-b3fa-ab0c00db81f3/4e757153-f877-400d-b06c-ab1300f4c3e1/468x382.jpg)
![Betjeman [John]: Old Lights For New Chancels, Topographical and Amatory Verses, proof copy, first edition 1940, pub by John M](https://cdn.globalauctionplatform.com/f101a16a-9d8a-4fbb-b3fa-ab0c00db81f3/4ca28059-d127-4008-9897-ab1300f4c5a3/468x382.jpg)
![Betjeman [John]: High and Low, first edition 1966, pub by John Murray, Albermarle Street, dustwrapper; Betjeman [John]: A Few](https://cdn.globalauctionplatform.com/f101a16a-9d8a-4fbb-b3fa-ab0c00db81f3/3c1b9417-8ec8-4d9e-a975-ab1300f4c689/468x382.jpg)
Lot 1354
Betjeman [John]: High and Low, first edition 1966, pub by John Murray, Albermarle Street, dustwrapper; Betjeman [John]: A Few Late Chrysanthemums, first edition 1954, pub by John Murray, Albermarle Street, dustwrapper and Betjeman [John]: A Nip in the Air, first edition 1974, pub by John Murray. (3)
![Betjeman [John]: Poems in the Porch, first edition 1954, pub by SPCK London, book plate for John Sparrow (Academic Warden of](https://cdn.globalauctionplatform.com/f101a16a-9d8a-4fbb-b3fa-ab0c00db81f3/704a7c64-576d-4e6d-8345-ab1300f4c78d/468x382.jpg)
Lot 36
Peter Graham R.A., H.R.S.A (Scottish 1836-1921) A Mountain Road Signed and dated 1881, oil on canvas (Dimensions: 136cm x 184cm (53.5in x 72.5in))(136cm x 184cm (53.5in x 72.5in))Footnote:Exhibited: The exhibition of the Royal Academy, 1881. The 113th., 1881, no. 55 Note: Peter Graham was a Scottish artist renowned for his landscape works, which were magnificent in both scale and execution. He had a remarkable ability to capture the transient character of nature and the romance of the Scottish Highlands in his grand paintings. In a review of the Royal Scottish Academy’s Exhibition of 1860, one critic remarked that Graham’s paintings ‘are a very luxury to the eye; the colour is so fresh and true, the mosses are so soft and velvety, the lichens are so grey-green. You smell the fir-trees when you stand before the first, the joy of summer-tide seems to slide into the sense when you look at the second’ ( “Iconoclast” Reviewed , Maulstick, 1860, p.6). Graham began his artistic career at the Trustees' Academy in Edinburgh, training under Robert Scott Lauder and initially concentrating on figure subjects. However, a holiday to Deeside in 1859 inspired him to turn his attention to landscape paintings. Graham’s work was heavily influenced by the evocative poetry of Sir Walter Scott, as well as the dramatic landscape paintings of Horatio McCulloch. When he moved to London, he began to paint on a grand scale, emphasising the awe-inspiring magnificence of the Scottish scenery. These large paintings particularly appealed to an urban-based audience, and Graham continued to gain popularity across the UK. Reflecting on Graham’s training and success, James L. Caw wrote, ‘His earlier pictures revealed him as an acute observer of Nature, as a careful student of atmospheric effect and natural form’ ( Scottish Painting: Past and Present, James L. Caw, 1908, p.255). Graham was well received at the Royal Scottish Academy, where he started exhibiting in 1855, and made a name for himself in England, becoming an Associate of the Royal Academy in London in 1877. He was then elected a full Royal Academician at the end of 1881, and a Senior Royal Academician in 1919.Condition report: Largely good unlined condition - some minor work to browns in foreground and to lower right hand hillside above valley - slight stretcher marks in oblique light in largely original condition
Lot 37
Peter Graham R.A., H.R.S.A (Scottish 1836-1921) To Valley Pastures Signed and dated 1900, oil on canvas (Dimensions: 165.5cm x 138cm (65in x 54.5in))(165.5cm x 138cm (65in x 54.5in))Footnote:Exhibited:The exhibition of the Royal Academy, 1900. The 132nd., 1900, no. 49Provenance: Arthur Tooth & Sons, London Note: Peter Graham was a Scottish artist renowned for his landscape works, which were magnificent in both scale and execution. He had a remarkable ability to capture the transient character of nature and the romance of the Scottish Highlands in his grand paintings. In a review of the Royal Scottish Academy’s Exhibition of 1860, one critic remarked that Graham’s paintings ‘are a very luxury to the eye; the colour is so fresh and true, the mosses are so soft and velvety, the lichens are so grey-green. You smell the fir-trees when you stand before the first, the joy of summer-tide seems to slide into the sense when you look at the second’ ( “Iconoclast” Reviewed , Maulstick, 1860, p.6). Graham began his artistic career at the Trustees' Academy in Edinburgh, training under Robert Scott Lauder and initially concentrating on figure subjects. However, a holiday to Deeside in 1859 inspired him to turn his attention to landscape paintings. Graham’s work was heavily influenced by the evocative poetry of Sir Walter Scott, as well as the dramatic landscape paintings of Horatio McCulloch. When he moved to London, he began to paint on a grand scale, emphasising the awe-inspiring magnificence of the Scottish scenery. These large paintings particularly appealed to an urban-based audience, and Graham continued to gain popularity across the UK. Reflecting on Graham’s training and success, James L. Caw wrote, ‘His earlier pictures revealed him as an acute observer of Nature, as a careful student of atmospheric effect and natural form’ ( Scottish Painting: Past and Present, James L. Caw, 1908, p.255). Graham was well received at the Royal Scottish Academy, where he started exhibiting in 1855, and made a name for himself in England, becoming an Associate of the Royal Academy in London in 1877. He was then elected a full Royal Academician at the end of 1881, and a Senior Royal Academician in 1919.Condition report: Largely good unlined condition - heavy craquelure may require re-lining but largely untouched
Lot 49
Norah Neilson-Gray R.S.W. (Scottish 1882-1931) Sisters with a kitten Signed, oil on canvas (Dimensions: 51cm x 41cm (20in x 16in))(51cm x 41cm (20in x 16in))Footnote: Note: One of the first woman artists who sought out and established a commercially successful career, Glasgow Girl Norah Neilson Gray was best known for her stylised portraits. Carefully composed, the individuality and bold colour in her portraits brought Grey recognition from art critics and spectators in the flourishing Glasgow art circles of the time. She painted many portraits of well-known Glasgow figures and their families and was well known in Glasgow as excelling in child portraiture. Sisters with Kitten brings the essence of Gray’s portraiture together with bold colours, flowers and strong contrasts. She has the full attention of the cherub-like children who sit in a wooded scene amongst flowers that blend seamlessly into a bright yellow background. The background light shining on the sitter’s head simulates sunset and creates a halo effect, drawing one’s attention to the expression of the child in the yellow dress tightly clutching the kitten in her arms. A wonderfully talented portraitist and Sisters with Kitten epitomises Gray’s superb handling of paint and use of bold colour.
Lot 269
O'HARA, JOHN. 1905-1970.Appointment in Samarra. New York: Harcourt, Brace and Company, (1934). 8vo. Publisher's errata slip tipped at dedication page. Publisher's smooth black cloth, lettered in gilt, original pictorial dust-jacket, custom cloth clamshell box, with morocco title label to spine, subtle professional restoration to extremities of jacket.Provenance: 'Miss Beirne' (Publisher's 'Presentation Copy' bookplate to paste-down).FIRST EDITION, FIRST ISSUE JACKET, OF AUTHOR'S FIRST AND GREATEST BOOK. 'If you want to read a book by a man who knows exactly what he is writing about and has written it marvelously well, read Appointment in Samarra' (Ernest Hemingway, 'Old Newsman Writes,' Esquire, December, 1934). A fine copy in a bright jacket. Bruccoli A2.1.a.
Lot 93
DOYLE, ARTHUR CONAN. 1859–1930.2 titles: 1. The Adventures of Sherlock Holmes. London: George Newnes Ltd., 1892. Original light blue cloth over beveled boards, cover and spine blocked and lettered in gilt and black, edges gilt. Spotting to early leaves and endpapers, shelfwear.Provenance: bookseller's ticket (W. Davenport Taylor ... Ashover, Gilham Grove) to front pastedown; ownership signature to half title.FIRST EDITION, with 'Violent' for 'Violet' on p 317, but without the street name 'Southampton Street' visible on the sign to the upper cover. Green and Gibson A10.2. The Memoirs of Sherlock Holmes. London: George Newnes Ltd., 1894. Royal 8vo. Original dark blue cloth over beveled boards, front board and spine lettered and blocked in black and gilt, edges gilt. Very minor spotting, a bright copy.FIRST EDITION.
Lot 103
JOYCE, JAMES. 1882-1941.Dubliners. London: Grant Richards, 1914. 8vo. Half-title with publisher's advertisement on verso. Publisher's red cloth, spine and upper cover gilt-lettered, custom cloth slipcase, spine faded, some soiling and rubbing, spotting to early leaves. Provenance Ava Heslow; S. Steel (owner's names on front free endpaper). FIRST EDITION. Slocum & Cahoon A8.
Lot 104
KING JR, MARTIN LUTHER. 1929-1968.Where Do We Go From Here: Chaos or Community? New York: Harper & Row, 1967. 8vo. Publisher's black cloth, over yellow paper boards, spine lettered in gilt and red, original pictorial dust-jacket, small scuff to front panel, unobtrusive dampstain to upper jacket spine.FIRST EDITION, PRESENTATION COPY, INSCRIBED by King to the front fly to Wilfred Cohen. King's final book, called by Cornel West '...his last grand expression of his vision....' A handsome copy.
Lot 105
KNIGHT, HILARY. B.1926.An original ink and gold paint sketch for 'The Dance Theatre of Harlem' for a poster for the four week run at The Theater at Davis Hall/CCNY, March 10-April 5, 1987, ink and gold paint, 740 x 470 mm, on two sheets, affixed, signed and dated in gold lower right 'Hilary Knight 1986;' WITH: printed poster for same, color lithograph in black and gold, 865 x 540 mm, matted.This second season of Arthur Mitchell's dance company at Davis Hall was called 'Harlem Homecoming 2.' The program comprised the company's first production of Jerome Robbins' American classic, Fancy Free; Footprints Dressed in Red, a new work choreographed by Garth Fagan; and John Taras's reinterpretation of the Stravinsky Firebird. Mr. Knight blocked out 'HARLEM' on a separate sheet of thin paper and then attached it to the larger drawing.
Lot 106
LONDON, JACK. 1876-1916. AND ANNA STRUNSKY. 1877-1964.The Kempton-Wace Letters. New York: The Macmillan Company, 1903. 8vo. Publisher's original grey-green cloth, stamped in black, lettered in white to upper cover, and gilt to spine, spine lightly faded, front hinge professionally conserved with Japanese paper, front fly leaf backed.Provenance: Arnold Genthe (1869-1942, inscription from the author, dated January 28, 1907).FIRST EDITION, INSCRIBED BY LONDON TO PHOTOGRAPHER ARNOLD GENTHE, 'Dear Genthe- 'Love? It is a great word. It is in all the dictionaries.' Yours faithfully, Jack London.' A collaboration between London and Anna Strunsky, The Kempton-Wace Letters is an epistolary novel that explores the nature of love and marriage, a particularly poignant topic for the two. Strunsky lived with London and his wife Bess while they completed the novel, and London proposed marriage to his writing partner. Famed San Francisco photographer Arnold Genthe was a friend of both, and frequently photographed London. A fine association, better for the circumstances of the sentiment. Sisson & Martens p 11.
Lot 109
NEILL, JOHN REA. 1877-1943.Two original metal printing plates and one fine proof of double-page illustration, 280 x 340 mm, custom-made half green levant morocco folding case with spine lettered in gilt.Published: Ruth Plumly Thompson, The Silver Princess in Oz, Chicago: Reilly & Lee Co., 1938, pp. 98-99. WITH: 'John R. Neill: Imperial Illustrator of Oz' by Michael Patrick Hearn, South Freeport, ME: Ascensius Press, 2014, finely printed essay in original wrappers limited to 80 copies.Rare pair of printing plates for a late double-page Oz illustration by John R. Neill, showing the meeting of King Randy of Regalia and Kabumpo the Elegant Elephant with Princess Planetty of Anuther Planet and Thun the Thunder Colt. Mr. Hearn writes in the accompanying essay: 'It had long been assumed that all of the original printing plates for the Oz Books had been destroyed over the years first during the scrap metal drives of World War II and after Reilly & Lee was purchased by Henry Regnery, who eventually dropped all of the Oz titles except Baum's. Unexpectedly last December a significant number of these long-forgotten plates turned up in New York. They came from the internationally renowned Richard Manney collection of rare books and comprise the only set known to have survived.' The case's spine is mis-lettered 'PATCHWORK GIRL' and 'CHICAGO 1913.'
Lot 118
STEIG, WILLIAM. 1907-2003.58 original ink and wash drawings for About People, each individually titled by the artist in pencil with printers' notes on versos, various sizes, each signed in ink ('Wm. Steig'), some glue residue at top from previous mounting but not affecting images. WITH: Autograph Note Signed ('Wm. Steig') to an editor or art director: 'John--Here it is. Don't lose it. Bill.'Published: About People, New York: Duell, Sloan and Pearce, 1939.Provenance: William Steig, the artist; by descent.Bill Steig was one of the most admired cartoonists of his generation. Selling his first cartoon to Harold Ross in 1930, he became one of the longest running contributors to The New Yorker in the magazine's history. Steig admitted that he had the greatest admiration for Pablo Picasso, whose influence is apparent in much of his more 'serious' work. In 1936, Steig began making drawings of various states of mind, his 'symbolic drawings,' and collected them in About People and other books. His brother Arthur explains in the foreword: 'Here unconscious experiences are for the first time given a plastic expression that is neither innate or absolute (as in surrealistic works), but organized, and related in specific terms to the real world.' The book is full of archetypal neurotics. Ross turned down these drawings as not being funny enough to appear in The New Yorker. But they were praised by his sister-in-law, anthropologist Margaret Mead. 'Mr. Steig has the rare faculty of sensing the essentials of human nature and the capacity of depicting them in a most poignant manner,' wrote noted psychologist and Freud's translator Dr. A. A. Brill. As apparent from these perceptive and sometimes haunting sketches, Steig suffered from severe depression and eventually sought treatment from controversial psychologist Wilhelm Reich. He even purchased an orgone box and an orgone blanket despite their being called frauds by the government. Steig credited Dr. Reich with saving him and dedicated one of his books to him. Three drawings ('Self-satisfaction,' p 37; 'Self-consciousness,' p 38; and 'Loss of a memory,' p 94) are rubberstamped on the versos 'Random House' and that they were reproduced in Life, January 8, 1940, pp. 52-53. Sold with a copy of the first edition in frayed dust jacket.
Lot 121
STEIG, WILLIAM. 1907-2003.Original maquette for The Agony in the Kindergarten, 222 pp, drawn and annotated in ink and pencil, with typed slips pasted-in for front-matter, in commercial black card sketch book stamped 'Sketch Book' to upper cover, 240 x 185 mm, [New York, ca. 1950,] with earlier pencil and ink versions of the published work, heavily annotated by Steig indicating placement of images and captions.WITH: 69 loose finished drawings for the book (plus five photostats), ca. 1950, ink, graphite and/or color pencil, various sizes, five drawings signed ('Steig' or 'W. Steig') and most with printers' marks, some wear and discoloring. Published: The Agony in the Kindergarten, New York: Duell Sloan and Pearce, 1950.Provenance: William Steig, the artist; by descent.MAQUETTE AND FINISHED DRAWINGS FOR ONE OF STEIG'S MOST IMPORTANT ADULT BOOKS. This archive traces the evolution of Steig's wonderfully dark The Agony in the Kindergarten, his often disturbing exploration of the little traumas of childhood. 'Despair is the human condition,' he told The New York Times in 1972. 'I always felt that something went wrong and it was my business to find out what happened.' The maquette shows the placement of each image and caption within a 222-page sketch book of earlier versions of the published art (with a few stats), the whole copiously annotated by the artist. The additional 69 finished childlike drawings and photostats formed much of the published book; and discarded sketches may be found on the versos of some of the final art. The commentary is typed below nearly all of these designs. The text that appears opposite the pictures in the book comprises common insensitive and often cruel remarks adults make about children ('That brat needs a good spanking,' 'Shut up!,' 'What the hell does she want now'). 'They're not actual people,' Steig explained, 'they're character traits,' representing the fears and anxieties of early youth. Steig supplied a quote from William Blake to serve as the book's motto; and his brother Arthur provided the foreword in verse in the manner of Blake ('Who gave him shame?/They who were lame;/They taught their pain/All over again'). The author dedicated the book to controversial psychiatrist Dr. Wilhelm Reich, who Steig said saved his life. '... the surreal drawings of The Agony in the Kindergarten were perhaps [Steig's] most brilliant breakthrough into a purer kind of art, but his representations of childhood have always implied a continuity with adult experience; children are not a zoo of entertainingly exotic creatures but an array of mirrors in which the human predicament leaps out at us' (John Updike, 'Introduction,' The World of William Steig, 1998, p. 6). Ironically Steig's childhood was the happiest period of his life; and he often looked back to those early days when creating his popular prize-winning children's books. Includes a copy of the first edition of the book.
Lot 13
SHAKESPEARE, WILLIAM. 1564-1616.Macbeth, A Tragedy: With all the Alterations, Amendments, Additions, and New Songs. London: Printed for Hen. Herringman, sold by Jos. Knight and Fra. Saunders, 1687. 4to (213 x 161 mm). 20th century half calf, custom red morocco box. Browning, especially to first and last two leaves, a few repairs at margins of title, ink mark after imprint.Provenance: Ralph Vallone (bookplate).FOURTH QUARTO EDITION. This adaptation, by William Davenant, was first printed in 1674. This is the second edition of Davenant's version. Jaggard 381; Pforzheimer 914; Wing S-2932.
Lot 130
VERNE, JULES. 1828-1905.Twenty Thousand Leagues Under the Seas. Boston: George R. Smith, 1873. 8vo. Numerous wood-engraved illustrations. Publisher's green pictorial cloth decorated in black and gold, edges gilt. Spine ends bumped, foxing to first few leaves, otherwise very minor wear. SECOND AMERICAN EDITION, after the very rare Osgood edition which was mostly destroyed in the Great Boston Fire of 1872. This example does not have 'THE END' on p 303, which is sometimes referred to as an issue point, but more likely a case of type slippage during the print run, as there are examples known with the words present, but only partially printed.
Lot 131
VERNE, JULES. 1828-1905.A Journey to the Centre of the Earth. New York: Scribner, Armstrong & Co., 1874. 8vo. Frontispiece, title page vignette, and 50 plates by Edouard Riou. Publisher's pictorial orange cloth decorated in gold and black. Slightly rubbed, hinges starting, gift inscription to free front endpaper.FIRST AMERICAN EDITION, published in 1873 but dated 1874. It was issued in three colors of cloth, orange, blue and green, in no particular precedence. Myers 35; Taves & Michaluk V002.
![VERNE, JULES. 1828-1905.The Mysterious Island [Trilogy]. London: Sampson Low, Marston, Low & Searle, 1875. 3 volumes. 8vo](https://cdn.globalauctionplatform.com/e4eb5919-aacc-4acb-a34e-ab050126a074/6fcd587b-d9da-46ba-bcb4-ab0900cff48f/468x382.jpg)
Lot 132
VERNE, JULES. 1828-1905.The Mysterious Island [Trilogy]. London: Sampson Low, Marston, Low & Searle, 1875. 3 volumes. 8vo. Consisting of three titles, Dropped From the Clouds, Abandoned, and The Secret of the Island. 149 wood-engraved illustration plates, publisher's catalog at end of last two volumes. Publisher's pictorial cloth in red, purple and magenta, respectively, decorated in black and gilt, gilt edges. Covers soiled, spines faded, slight cracking to hinges.FIRST EDITION of all three volumes, translated from the French by W.H.G. Kingston. In the process of translation, Kingston also took some liberties with the text, particularly altering the dying words of Captain Nemo, so as not to offend British readers with his condemnation of Imperialism. Myers 42; Taves & Michaluk V013.
![WARHOL, ANDY & RALPH THOMAS WARD.Love is a Pink Cake by Corkie and Andy. [New York: privately printed, 1952.] Folio (280](https://cdn.globalauctionplatform.com/e4eb5919-aacc-4acb-a34e-ab050126a074/b6d8362e-e6d6-4b88-a8d7-ab0900d00e43/468x382.jpg)
Lot 133
WARHOL, ANDY & RALPH THOMAS WARD.Love is a Pink Cake by Corkie and Andy. [New York: privately printed, 1952.] Folio (280 x 216 mm). 25 Loose leaves, each with illustration after Warhol. Some leaves toned at extremities.WARHOL'S FIRST BOOK, PRIVATELY PRINTED IN AN EDITION OF APPROXIMATELY 100 COPIES. Feldman & Scheilmann IV.27-50.
Lot 135
WASHINGTON, BOOKER T. 1856-1915.Up From Slavery: An Autobiography. New York: Doubleday, Page & Co., 1901. 8vo. Publisher's red cloth, lettered in gilt. A fine copy.WITH: July 18th [1902] / Grand Trunk Railway System / Excursion Rates / to / Cassopolis [Michigan] affording all an opportunity to hear the address of Booker T. Washington. Detroit: Printed by Schoeber Printing Company, [1902]. Printed broadside, 524 x 173 mm, old folds, hole from posting, small tear at lower crease.Provenance: S.B. McCracken (bookplate, pencil note dated 'March 20, 1901').FIRST EDITION, SIGNED BY WASHINGTON, and dated 'Tuskegee, Aug 11, 1906' to the verso of the contents page, with rare broadside advertisement for a Booker T. Washington speech.
Lot 138
WILLIAMS, TENNESSEE. 1911-1983.Annotated Typescript Draft for The Municipal Abattoir (mistitled 'Municipal Abbatoir' at the head), with significant holograph corrections by Williams, 9 pp, numbered 1 - 9 in blue pencil lower left, the final sheet blank except for the holograph note 'Variations' writ large, on onion skin paper, late 1960s, minor creasing to corners.Provenance: The estate of Lee Hoiby.ANNOTATED DRAFT OF A LATER WILLIAMS PLAY, originally produced posthumously in 2004 at the Kennedy Center, taken from a script Lee Hoiby provided to Artistic Director Michael Kahn. In the 2005 book publication by New Directions, they note that their copy-text is taken from Hoiby's script given to Kahn, 'the only text of the play we know to be extant' (Mister Paradise and Other One-Act Plays, ND, 2005, 'Notes,' p 237). This is likely an earlier (presumably) draft of that manuscript of this darkly wry political gem.Lee Hoiby and Tennessee Williams worked together on the operatic setting of Summer and Smoke, with a libretto by Lanford Wilson, which premiered at the St Paul Opera in 1971. Williams had accompanied Hoiby to the opening night of his first full length opera A Month in the Country (then in an early version titled Natalie Petrovna) in September 1964. The finale of that work was widely praised, with Paul Hume of the Washington Post calling it 'an octet of overwhelming beauty.... This is a supreme moment in opera, and Hoiby's genius has done nothing finer.' Even Tennessee, who had a distinct dislike for opera, liked 'all those voices at the end singing together' and therefore offered Hoiby the highly coveted choice of any of his plays. 'Take your pick!'He chose the delicate Summer and Smoke, which is still the only play Williams allowed to be made into an opera. Hoiby was born in Wisconsin in 1926, becoming a bemused performer with Harry Partch at the University of Wisconsin, a student of Darius Milhaud and Egon Petri for composition and piano at Mills and Cornell, received a scholarship to the Curtis Institute to study composition with Menotti, and became a close associate of both Menotti and Barber. He received a fellowship at Yaddo, the MacDowell colony, and a Fulbright award to Rome, where he was refused entrance to classes at the Accademia di Santa Cecilia because his style was insufficiently radical. (With thanks to Mark Shulgasser for his notes and insights.)
Lot 147
CALDWELL, ERSKINE. 1903-1987.Tobacco Road. New York: Charles Scribner's Sons, 1932. 8vo (188 x 128 mm). Original cloth, lettered in blind on gilt boxes, publisher's dust-jacket, minimal wear. FIRST EDITION OF THE AMERICAN CLASSIC, brought alive on the screen in 1941 by director John Ford. A bright, tight copy.
Lot 148
CAPOTE, TRUMAN. 1924-1984.In Cold Blood. New York: Random House, 1965. 8vo. Original cloth; slipcase.FIRST EDITION, LIMITED ISSUE, number 267 of 500 copies SIGNED by Capote. With In Cold Blood, Capote invented a new genre of literature, the 'non-fiction novel,' by exploiting 'a whole battery of novelistic techniques which enforce the structure and hence the meaning of the Clutter case' (Wiegand, 'The Non-fiction Novel,' New Mexico Quarterly 37, 1967). A fine copy.
Lot 150
CAPOTE, TRUMAN. 1924-1984.Breakfast at Tiffany's. New York: Random House, 1958. Publisher's yellow cloth, red dust jacket printed in black and white. Very minor sunning to spine and a few small creases to jacket. FIRST EDITION, A FINE COPY.WITH: Other Voices, Other Rooms. New York: Random House, 1948. Publisher's cloth, dust jacket, few small corner chips and toning to jacket. FIRST EDITION, FIRST ISSUE JACKET, AUTHOR'S FIRST BOOK.WITH: The White Rose. Newton, IA: Tamazunchale Press, 1987. Miniature (60 x 43 mm). Publisher's white vellum gilt. Fine. Limited edition, number 115 of 250.WITH: ARLEN, HAROLD. House of Flowers. New York: Random House, 1968. Publisher's black cloth and boards, pictorial dust jacket. Fine. Scarce.
Lot 152
CLEMENS, SAMUEL LANGHORNE ('MARK TWAIN'). 1835-1910.The Celebrated Jumping Frog of Calaveras County. New York: C.H. Webb, 1867. 8vo. Publisher's green cloth, stamped and lettered in gilt, upper cover with gilt frog design, lower center-left, and frog in blind to lower cover, custom cloth dust-jacket, cloth slipcase, minor wear to joints.FIRST EDITION, SECOND ISSUE, of Twain's first book, without ad leaf, and broken type on pp 21, 66, and 198. A tight, bright copy. 'Perhaps no short sketch of Twain's so quickly won wide popularity as did 'The Jumping Frog.' Calaveras County, California, is known to thousands who have never seen the Golden State simply because of this gem of humor' (Zamarano 80 17). BAL 3310.
Lot 153
CLEMENS, SAMUEL LANGHORNE ('MARK TWAIN'). 1835-1910.The Adventures of Tom Sawyer. Hartford: American Publishing Company, 1876. 8vo. 4 pp publisher's ads dated December 1, 1876. Publisher's blue cloth, stamped in black and gilt, rebacked, original spine laid-down, new headbands.FIRST AMERICAN EDITION OF TWAIN'S CLASSIC AMERICAN NOVEL, BAL's second printing, issue A, on laid paper, with frontispiece to the verso of half-title and contents beginning on the verso of the preface. '...let fresh air into the minds of parents who had shut the door on their own childhood, and they will be classics the world over as long as there are boys' (Grolier American 79). BAL 3369.
Lot 155
CLEMENS, SAMUEL LANGHORNE ('MARK TWAIN'). 1835-1910. ET AL.Liber Scriptorum. The First Book of the Author's Club. New York: Published by the Author's Club [by the De Vinne Press], 1893. Folio. Title-page printed in red and black, wood engraved headpieces, initials and tailpieces for each contribution. Publisher's straight-grain morocco, decoratively stamped in gilt and black, titles in gilt, top edge gilt, gilt floral endpapers, upper cover skillfully reattached, rubbed at the extremities, minor wear at corners. FIRST AND ONLY EDITION, SIGNED BENEATH THEIR CONTRIBUTION BY ALL 109 AUTHORS, including Mark Twain, Theodore Roosevelt, Theodore Low De Vinne and Andrew Carnegie, among others, number 140 of 251 copies. Sumptuously produced and printed by Theodore Low De Vinne, this beautiful book includes the first appearance of Twain's 'A Californian's Tale' and Roosevelt's 'A Shot at a Bull-Elk,' among 109 original contributions, each signed. Merle Johnson notes that of the 251 copies, 30 were 'split up into their component articles' (Johnson, Bibliography of Mark Twain [1910 ed], p 70-71). BAL 3438 (for Clemens).
Lot 156
CLEMENS, SAMUEL LANGHORNE ('MARK TWAIN'). 1835-1910.Early Works of Mark Twain, in original cloth, 9 titles: 1. Roughing It. Hartford: 1872. Light fraying to spine ends. Provenance: Jno. H. Myers (inscription dated 1872). FIRST EDITION, FIRST STATE. BAL 3337. Zamarano 80 18.2. Sketches New and Old. Hartford: 1875. Spine ends frayed. FIRST EDITION, FIRST STATE. BAL 3364.3. The Prince and the Pauper. Boston: 1882. Rubbed, frayed at spine ends, front hinge repaired with Japanese paper. FIRST AMERICAN EDITION, FIRST STATE, FIRST BINDING. BAL 3402.WITH: Innocents Abroad. 1872. FIRST EDITION, 3RD ISSUE. * Life on the Mississippi. 1883. FIRST EDITION, MIXED STATE. * Roughing It. 1874. Early printing. * A Tramp Abroad. 1880. Front hinge started. FIRST EDITION, FIRST STATE. * The Stolen White Elephant. 1882. FIRST AMERICAN EDITION. * Library of Humor. 1888. Hinges repaired. FIRST EDITION, FIRST ISSUE.
Lot 157
CLEMENS, SAMUEL LANGHORNE ('MARK TWAIN'). 1835-1910.Works of Mark Twain, in publisher's cloth, 1889-1897, 10 titles: 1. A Connecticut Yankee in King Arthur's Court. NY: 1889. Clean copy, hinges started. FIRST EDITION, FIRST STATE (of p 59). BAL 3429.2. Tom Sawyer Abroad. NY: 1894. Some soiling (as usual). FIRST EDITION. BAL 3440.3. The Tragedy of Pudd'nhead Wilson. And the Comedy Those Extraordinary Twins. Hartford: 1894. FIRST AMERICAN EDITION, FIRST STATE, frontispiece in state A. BAL 3442.4. Following the Equator. Hartford: 1897. A FRESH COPY OF THE FIRST EDITION. BAL 3451.WITH: American Claimant. 1889. FIRST EDITION. * The £1,000,000 Bank Note. 1893. FIRST EDITION. * The £1,000,000 Bank Note. 1893. FIRST ENGLISH EDITION. * Pudd'nhead Wilson. 1894. FIRST (ENGLISH) EDITION. * Personal Recollections of Joan of Arc. 1896. A FINE COPY. FIRST EDITION, 2ND STATE. * How to Tell a Story. 1897. FIRST EDITION, FIRST ISSUE.
Lot 158
CLEMENS, SAMUEL LANGHORNE ('MARK TWAIN'). 1835-1910.Later Works of Mark Twain, in original cloth, 10 titles, 3 with dust-jackets: 1. Extract from Captain Stormfield's Visit to Heaven. NY: 1909. FIRST EDITION, a beautiful copy IN SCARCE DUST-JACKET. BAL 3511.2. The Curious Republic of Gondour. NY: 1919. FIRST EDITION IN SCARCE DUST-JACKET. BAL 3527.3. Mark Twain's Autobiography. NY: 1924. 2 volumes. FIRST EDITION, BAL STATE A, in dust-jacket and slipcase. BAL 3537.WITH: A Double Barreled Detective Story. 1902. FIRST EDITION, on laid paper. * Editorial Wild Oats. 1905. FIRST EDITION. * Extract from Adam's Diary. 1906 printing. * Eve's Diary. 1906 but later 'F-O.' * Horse's Tale. 1907. FIRST EDITION. * What is Man? London, 1910. FIRST ENGLISH EDITION. * The Mysterious Stranger. 1916, but later 'B-Y,' Wyeth illustrations.
Lot 159
COOPER, JAMES FENIMORE. 1789-1851.The Last of the Mohicans; A Narrative of 1757. Philadelphia: H.C. Carey & I. Lea, 1826. 2 volumes. 12mo. With all blanks, including conjugate with title page in vol 2. Publisher's paper boards, and printed spine labels, uncut, custom cloth chemise for each volume, morocco spine labels, dropback cloth box, with skillful repairs to spines, some foxing throughout, as usual. Provenance: H.C. Thompson (ink signature); Minnie S. Lewis (faint pencil note); Jean Hersholt (1866-1956, translator of Hans Christian Andersen, bookplate); Dr. Thomas A. McGraw (sold Parke-Bernet, 1967, lot 41); Carol G. and William E. Simon (bookplate).FIRST EDITION OF COOPER'S MOST POPULAR NOVEL, THE FIRST PUBLISHED LEATHER-STOCKING TALE, with all first edition points, including BAL's state A of the copyright page in vol 2, and all blanks, including the conjugate to the title page in vol 2. 'The most famous of the Leatherstocking Tales, and the first in which the scout Natty Bumppo was made the symbol of all that was wise, heroic and romantic in the lives and characters of the white men who made the American wilderness their home ... The novel glorified for many generations of readers, in England, France, Russia, and at home, some aspects of American life that were unique to our cultural history' (Grolier American 34). BAL 3833; Spiller & Blackburn 7.
Lot 16
SHAKESPEARE, WILLIAM. 1564-1616.Julius Caesar: a Tragedy as it is now Acted at the Theatre Royal. London: Henry Herringman, 1691. 4to (219 x 160 mm). 19th century half green morocco and marbled boards, marbled endpapers, modern custom quarter green morocco box. Small repairs at fore-edge of title, scattered spotting. Provenance: Frederick William Cosens (1819-1889, bookplate); Ralph Vallone, Jr. (bookplate).SECOND QUARTO EDITION. Julius Caesar was one of the twenty plays which made their first appearance in the 1623 First Folio. Of these, three were issued in quarto format during the 17th century: The Taming of the Shrew, Macbeth, and Julius Caesar. The first quarto of Julius Caesar appeared in 1684. Bartlett placed four undated quartos between this and the present 1691 edition (making this the sixth). However, more recently Wing gave priority to this edition, placing the undated editions at around 1695. Bartlett 117; Pforzheimer 886 ('Sixth(?) edition'); Wing S-2922A.
Lot 160
COOPER, JAMES FENIMORE. 1789-1851.The Pioneers, or the Sources of the Susquehanna. New York: Charles Wiley, 1823. 2 volumes. 8vo (180 x 103 mm). Contemporary sheep, red morocco spine labels, modern blue cloth chemise and quarter blue morocco slipcase. Rubbed, free front endpaper of Volume I loose, scattered staining and foxing. FIRST EDITION, Volume I in first state, printed by J. Seymour; Volume II in state B, with p 329 numbered at right hand margin. Wright 671; Spiller & Blackburn 3.Provenance: Hillsdale Union Library (bookplates).WITH: Home as Found. Philadelphia: Lea & Blanchard, 1838. 2 volumes. 8vo. Publisher's purple cloth, paper spine labels. Rubbed, spines sunned, foxing. FIRST EDITION, second printing, without apology for paper quality opposite title page. Provenance: Frederick Bronson (bookplates).
Lot 161
CULLEN, COUNTEE. 1903-1946.Seven works by the Harlem Renaissance Poet: 1. The Black Christ & Other Poems. New York: Harper, 1929. Publisher's cloth backed blue boards; part of the original glassine dust jacket, publisher's slipcase, splitting to edges. LIMITED EDITION number 91 of 128 copies SIGNED by Cullen. 2. Caroling Dusk. An Anthology of Verse by Negro Poets. New York: Harper, 1927. Publisher's black cloth with black lettered pink paper labels on cover and spine; pictorial dust jacket, flaps detached, some light chipping to edges. FIRST EDITION. The anthology of African American poets includes: Paul Laurence Dunbar, Anne Spencer, Jessie Fauset, Georgia Douglas Johnson, Jean Toomer, Langston Hughes and Countee Cullen. 3.The Black Christ & Other Poems. New York: Harper, 1929. Frontispiece and illustrations by Charles Cullen. Publisher's black cloth backed blue boards. Pictorial dust jacket design by Charles Cullen. FIRST EDITION. WITH: Color. New York, 1925. FIRST EDITION, PRESENTATION COPY, inscribed and signed by Cullen on front free endpaper. * Copper Sun. New York, 1927. LIMITED EDITION, number 23 of 100 copies SIGNED by Cullen. *The Ballad of the Brown Girl. New York, 1927. LIMITED EDITION, number 119 of 500 copies. PRESENTATION COPY signed by Cullen on front free endpaper. *The Medea and some Poems. New York, 1935. Publisher's cloth and dust jacket.
Lot 162
DANA, RICHARD HENRY. 1815-1882.Two Years Before the Mast: A Personal Narrative of Life at Sea. New York: Harper & Brothers, 1840. 12mo. Publisher's cloth, spine decorated and lettered in gilt 'THE FAMILY LIBRARY No 106' and titled [BAL's binding A], chipping to spine ends, some foxing.Provenance: Mrs. Rachel Myers (contemporary inscription).WITH: To Cuba and Back. Boston: Ticknor and Fields, 1859. 8vo. 16 pp ads dated April 1859. Publisher's cloth.FIRST EDITION, FIRST ISSUE, with dotted 'i' in copyright line and unbroken running head at p 9, 'one of the most sought-after books in American Literature and very rare' (Hill pp 78-79). Dana's narrative of a voyage to Alta California in 1834-36 was one of the first to come from a deckhand rather than a ship's officer or passenger, and gives a clear picture of California in the years just prior to the influx of American settlers in the 1840s, 'our only trustworthy account before the 1849 gold rush' Grolier American 46. BAL 4434; Cowan I p 62; Graff 998; Howes D49; Johnson High Spots 26; Zamorano 80 26.
Lot 163
ELIOT, THOMAS STEARNS. 1888-1965.The Waste Land. New York: Boni & Liveright, 1922. 8vo. Publisher's black flexible cloth, lettered in gilt, lacking dust jacket, spine lightly faded.'April is the cruelest month...'FIRST EDITION, FIRST ISSUE, with 'mountain' correctly spelled on p 41 and number '482' (of 500 in the first state) on colophon 5 mm high. Upon reading the manuscript of The Waste Land, Ezra Pound wrote to John Quinn, 'About enough, Eliot's poem, to make the rest of us shut up shop.' A sharp copy without the rare dust jacket of perhaps the most important poem of the 20th-century.
Lot 165
ELIOT, THOMAS STEARNS. 1888-1965.Poems 1909-1925. London: Faber and Gwyer, 1925. 8vo. Publisher's blue cloth, printed paper spine label, original dust jacket, slight dust soiling to panels, some staining to endpapers and edges.Provenance. H.N. Davy (bookplate). FIRST EDITION. Eliot added to 'The Waste Land,' the dedication to Ezra Pound (borrowed from Dante): 'il miglior fabbro'. An important collection, containing 'The Love Song of J. Alfred Prufrock,' 'The Wasteland,' and the first book appearance of 'The Hollow Men.' Scarce in dust jacket. Gallup A8a.
![ELIOT, THOMAS STEARNS. 1888-1965.Poems 1909-1925. London: Faber & Gwyer Ltd, 1925 [but 1926]. 8vo. Original white cloth,](https://cdn.globalauctionplatform.com/e4eb5919-aacc-4acb-a34e-ab050126a074/5eb36d81-e40d-46ca-903a-ab0900da5bef/468x382.jpg)
Lot 166
ELIOT, THOMAS STEARNS. 1888-1965.Poems 1909-1925. London: Faber & Gwyer Ltd, 1925 [but 1926]. 8vo. Original white cloth, titled in gilt to spine, lightly soiled.Provenance: T.S. Fairley (neat ink inscription to endpaper).FIRST EDITION, SIGNED ISSUE, one of 85 numbered copies, this one out-of-series and unnumbered. Gallup A8b.
Lot 169
ELIOT, THOMAS STEARNS. 1888-1965.JONES, DAVID. 1895-1974. In Parenthesis seinnyessit e gledyf ym penn mameu. London: Faber and Faber Limited, (1961). 8vo. Publisher's blue buckram, stamped in gilt and gray on the spine, and lettered in blind, original glassine wrapper.FIRST EDITION WITH ELIOT'S INTRODUCTION, SIGNED ISSUE, number 37 of 70 copies signed by Eliot and David Jones. Jones created important works in both literature and the visual arts, with In Parenthesis perhaps his greatest achievement. In his introduction, Eliot calls it a 'work of genius,' and separately it has been praised as 'one of the great poems of the century' Graham Greene) and 'the greatest book about the First World War' which does for 'for the British and the Germans what Homer did for the Greeks and the Trojans' (W.H. Auden). An oft-overlooked modernist high spot.
Lot 17
SHAKESPEARE, WILLIAM. 1564-1616.K. Henry IV. With the humours of Sir John Falstaff. A Tragi-comedy. London: Printed for R.W. and Sold by John Deeve, 1700. 4to (212 x 163 mm). Modern paneled calf, Custom black cloth box. Repairs and ownership stamp to title, light browning and soiling. Provenance: John Brown (ownership stamp dated 1756); Mary Hyde [Viscountess Eccles] (bookplate; her sale, Christie's New York, April 14, 2004, lot 95); Ralph Vallone, Jr. (bookplate).NINTH EDITION and the first edition of Thomas Betterton's adaptation. Abridged and—as printed on the title page—'Revived, with Alterations' by Betterton (1635-1710). In his time, Betterton was the preeminent actor and theater manager in England. Wing S-2928.
Lot 170
ELIOT, THOMAS STEARNS. 1888-1965.The Waste Land. New York: Boni and Liveright, 1922. 8vo. Publisher's stiff black cloth boards, lacking dust-jacket. Minor rubbing, corners slightly bumped. FIRST EDITION, SECOND ISSUE, number 652 of 1000 copies.Provenance: Hale Moore (bookplate).WITH: The Sacred Wood. London: Methuen, 1930. Publisher's cloth, dust-jacket. Front flap detached, sunning to spine. FIRST EDITION, FIRST BINDING.WITH: Ezra Pound: His Metric and Poetry. New York: Knopf, 1917. Frontispiece portrait of Pound by Gaudier-Brzeska. Publisher's cloth, lacking scarce dust-jacket, spine sunned. FIRST EDITION of the author's 2nd book, published anonymously.
Lot 171
ELIOT, THOMAS STEARNS. 1888-1965.Five limited edition works: 1. Journey of the Magi. New York: William Edwin Rudge, 1927. Publisher's printed wrappers. LIMITED EDITION OF 27 COPIES, of which only 12 were offered for sale.2. A Song for Simeon. London: Faber & Gwyer, 1928. Illustration by E. McKnight Kauffer. Publisher's boards stamped in gilt. Browning to edges. LIMITED LARGE PAPER EDITION, number 137 of 500.Provenance: Daniel M. Friedenberg (bookplate). 3. JOHNSON, SAMUEL. 1709-1784. London: a Poem and the Vanity of Human Wishes ... with an introductory essay by T.S. Eliot. London: Frederick Etchells & Hugh MacDonald, 1930. 4to. Publisher's boards, green paper lettering piece on upper cover. Corners slightly bumped, first few leaves creased at bottom corner. SIGNED LIMITED EDITION, number 69 of 150 on Kentish rag paper.4. Ara Vus Prec. London: The Ovid Press, 1919. 4to. Publisher's cloth, paper spine label, black cloth chemise and slipcase. Top hinge cracked, upper joint loose, corners bumped. LIMITED EDITION of 264 copies.5. John Dryden, the Poet, the Dramatist, the Critic. New York: Terence & Elsa Holliday. 1932. Publishers quarter black cloth and marbled boards. Slightly rubbed. SIGNED LIMITED EDITION, number 110 of 110.
Lot 172
EMERSON, RALPH WALDO. 1803-1882.Essays. Boston: James Munroe & Co., 1841. 8vo. Publisher's cloth, spine lettered in gilt, upper cover decorated in blind, some rubbing to cloth, minor wear at the spine ends.Provenance: Rufus Choate (ink note to early blank).'There is a time in every man's education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better, for worse, as his portion.'FIRST EDITION, FIRST ISSUE, BAL's binding C (sequence 'almost entirely arbitrary'), including the first appearance of 'Self-Reliance.' 'Their ethical inspiration and stimulation, their occasional startling phrase, their individualistic idealism, which stirred renascent Yankee New England to its depths, speaks with the same simple power and force in the midst of modern complexities' (Grolier American 47). A clean tight copy of a landmark of American thought. BAL 5189. Myerson A10.1.a.
Lot 173
FAULKNER, WILLIAM. 1897-1962.The Marble Faun. Boston: The Four Seas Company, 1924. 8vo. Publisher's mottled green paper covered boards, pictorial printed paper title label to upper cover, printed title label to spine, original glassine wrapper, without printed dust-jacket, custom green morocco backed cloth clamshell box. Front hinge started, but tight, clean.FIRST EDITION, REVIEW COPY, OF FAULKNER'S FIRST BOOK, WITH ORIGINAL GLASSINE with The Four Seas Company review slip laid in, with code '8-23-3M.' Phil Stone, who financed the small printing of the book, wrote a preface, and was its primary champion, was also assiduous in 'requesting the dispatch of review copies of The Marble Faun and in checking to see that they had arrived' (Blotner, Faulkner, p 128). There seems to have been no shortage of them sent, albeit with Stone's hectoring. However, in his extensive census in 1974, William Boozer does not mention a single copy, and we locate no review copies at auction, or in the major Faulkner collections. Given the spotty nature of the books distribution, and the undamaged survival of this copies glassine, it seems likely that this review copy was sent without the jacket. See Boozer, William Faulkner's First Book: The Marble Faun, Fifty Years Later, 1974. Petersen A1.1.
Lot 178
FAULKNER, WILLIAM. 1897-1962.Sanctuary. New York: Jonathan Cape & Harrison Smith, (1931). 8vo. Publisher's cloth-backed magenta paper boards, spine lettered in magenta, patterned endpapers, black topstain, original dust-jacket. Minor wear at spine ends of jacket, tiny tear to lower joint.FIRST EDITION, FIRST ISSUE, OF FAULKNER'S FIRST SENSATIONAL SUCCESS. When Faulkner first sent Sanctuary to Harrison Smith, he received the reply: 'Good God, I can't publish this we'd both be in jail.' So he was surprised when galley proofs arrived a year later. Faulkner replied, 'You can't print it like this; it's just a bad book,' and set about revising Sanctuary, pulping the galley proofs at his own expense. In the end, his revised text did nothing to alleviate the terror of the book, but the book found its reading audience and became his first bestseller. A fine copy in a bright, unfaded jacket. Connolly Modern Movement 69. Petersen A8b.
![FAULKNER, WILLIAM. 1897-1962.These 13: Stories. New York: Jonathan Cape & Harrison Smith, [1931]. 8vo. Original cloth-bac](https://cdn.globalauctionplatform.com/e4eb5919-aacc-4acb-a34e-ab050126a074/2e41dedd-aa8e-4f87-8a25-ab0900db7b39/468x382.jpg)
Lot 179
FAULKNER, WILLIAM. 1897-1962.These 13: Stories. New York: Jonathan Cape & Harrison Smith, [1931]. 8vo. Original cloth-backed gray linen boards, spine lettered in silver, gray endpapers, original glassine dust jacket, top edge silver, others uncut, almost imperceptible fading to spine cloth.FIRST EDITION, SIGNED ISSUE OF FAULKNER'S FIRST STORY COLLECTION, number 184 of 299 copies, signed by Faulkner to limitation page. Includes the first book appearance of 'A Rose for Emily,' one of his best. A tight, fresh copy. Petersen A9d.
Lot 18
SHAKESPEARE, WILLIAM. 1564-1616.GRANVILLE, GEORGE. 1666-1735. Editor. The Jew of Venice. A Comedy. London: Printed for Ber[nard] Lintott, 1701. 4to (219 x 160 mm). Half title. Modern blue-gray boards. Upper cover detached, slight browning and foxing, worming at bottom margin. Provenance: Arthur A. Houghton, Jr. (offsetting from bookplate visible on half-title; his sale, Christie's London, June 14, 1979, lot 233). FIRST EDITION OF GRANVILLE'S ADAPTATION of Shakespeare's The Merchant of Venice. George Granville, Baron Lansdowne, was an English politician who served in both the House of Commons and House of Lords (after being raised to the peerage), and as Secretary of War. He wrote poetry and drama in the vein of his friend, John Dryden. His adaptation of The Merchant of Venice omits nearly all of the second act from the original. Pforzheimer 916; Jaggard p 394; Nicoll II, p 333.
![FAULKNER, WILLIAM. 1897-1962.Light in August. [New York]: Harrison Smith & Robert Hass, 1932. 8vo. Publisher's tan cloth,](https://cdn.globalauctionplatform.com/e4eb5919-aacc-4acb-a34e-ab050126a074/e8de373c-cf0c-4ddf-99ea-ab0900dbaf08/468x382.jpg)
Lot 181
FAULKNER, WILLIAM. 1897-1962.Light in August. [New York]: Harrison Smith & Robert Hass, 1932. 8vo. Publisher's tan cloth, upper cover lettered in orange, and spine in blue, orange topstain, original dust jacket by Arthur Hawkins; without glassine, tape ghost to endpapers, minor wear to jacket corners.Provenance: John Miller Brabson (bookplate).'Memory believes before knowing remembers.' FIRST EDITION, FIRST ISSUE, with 'Jefferson' for 'Mottstown' on p 340, line 1. A landmark of American fiction, 'Light in August is a powerful novel, a book which secures Mr. Faulkner's place in the very front rank of American writers' (Donald J. Adams, The New York Times Book Review, October 9, 1932). A bright copy, spine unfaded. Petersen A13a.
Lot 182
FAULKNER, WILLIAM. 1897-1962.Absalom! Absalom! New York: Random House, 1936. 8vo. Folding map of Yoknapatawpha County, after a drawing by Faulkner, at rear. Publisher's green-cloth backed patterned paper boards, top edges gilt, custom folding box, cloth lightly faded at spine, with rubbing at foot.FIRST EDITION, SIGNED ISSUE, number 160 of 300 copies, signed by Faulkner at the colophon. Perhaps best summed up by Faulkner himself, as he showed the manuscript to David Hempstead, 'I think it's the best novel yet written by an American' (Blotner, Faulkner, p 364). Petersen A17d.
Lot 185
FAULKNER, WILLIAM. 1897-1962.Go Down, Moses and Other Stories. New York: Random House, 1942. 8vo. Publisher's half brick-colored cloth over salmon patterned paper boards, spine titled in gilt, top edge gilt, minor wear to extremities.FIRST EDITION, LIMITED ISSUE, number 90 of 100 copies, SIGNED BY FAULKNER on the limitation page. A clean, bright copy. Faulkner considered these connected Yoknapatawpha County stories to be a novel, and the subtitle as published ... and Other Stories' a mistake that was altered in all subsequent printings. Sporting the smallest limitation of any of his signed issues, it's one of the scarcest, and most sought after, including the first book publication of 'The Bear.' Petersen A21c.
Lot 186
FAULKNER, WILLIAM. 1897-1962.Three early limited first editions, signed by Faulkner. 1. The Wild Palms. New York: Random House, 1939. Publisher's half cloth and wood veneer boards spine gilt lettered, top edge gilt. Spine sunned, some minor staining. FIRST EDITION, LIMITED ISSUE, number 63 of 250 copies. Petersen A19a.2. Doctor Martino and Other Stories. New York: Harrison Smith and Robert Haas, 1934. Original black and burgundy cloth, stamped in gilt. Spine sunned, light shelfwear. LIMITED EDITION, number 202 of 360 copies, SIGNED by Faulkner. Petersen A16.1a.3. Pylon. New York: Harrison Smith and Robert Haas, 1935. Original half cloth, pictorial silver boards, publisher's slipcase, some darkening and splitting to edges. LIMITED EDITION, number 12 of 310 copies, SIGNED by Faulkner. Petersen A17.1b.
Lot 187
FAULKNER, WILLIAM. 1897-1962.3 signed novels: 1. The Reivers. New York: Random House, 1962. Publisher's burgundy cloth stamped in gilt, acetate jacket. Slight shelfwear. Number 62 of 500, SIGNED by the author on the limitation page. First edition. Petersen A37e.2. A Fable. New York: Random House, 1954. Publisher's pictorial blue cloth, glassine jacket, gray paper-covered slipcase with blue and white paper label. Glassine torn, light wear to slipcase. Number 822 of 1,000, SIGNED by the author on the limitation page. First edition. Petersen A31b.3. Requiem for a Nun. New York: Random House, 1951. Publisher's half black cloth and marbled boards. Lacking glassine jacket, shelfwear. Number 689 of 750, SIGNED by the author on the limitation page. First edition. Petersen A28c.
![FAULKNER, WILLIAM. 1897-1962.[The Snopes Trilogy]: 1. The Hamlet. New York: Random House, 1940. Publisher's half blue-green c](https://cdn.globalauctionplatform.com/e4eb5919-aacc-4acb-a34e-ab050126a074/491c6c45-a000-4376-bef7-ab0900dc5a78/468x382.jpg)
Lot 188
FAULKNER, WILLIAM. 1897-1962.[The Snopes Trilogy]: 1. The Hamlet. New York: Random House, 1940. Publisher's half blue-green cloth over boards, spine stamped in gilt, top edge gilt. Lacking glassine, shelfwear, slight spotting to endpapers. Number 196 of 250, SIGNED by the author.2. The Town. New York: Random House, 1957. Publisher's tan cloth stamped in gilt, acetate wrapper. Fine. Number 139 of 450 copies, SIGNED by the author.3. The Mansion. New York: Random House, [1959]. Original black cloth stamped in gilt, acetate wrapper. Chips to acetate, otherwise fine. Number 426 of 500 copies, SIGNED by the author.THE SNOPES TRILOGY, LIMITED FIRST EDITIONS, SIGNED by Faulkner. 'At the living center of the life work of William Faulkner are the novels and stories which deal with Yoknapatawpha County ... and at the heart of the fictional accounting of the Yoknapatawpha County stands this trilogy' (George Garret, 'Introduction' to the 2012 Modern Library edition). Garret goes on to note, 'here joined together as had always hoped and planned they would be, as one continuous and sequential narrative.' Petersen A20a, A34a, A36a.
Lot 19
HOWELL, JAMES. 1594-1666.The Nuptials of Peleus and Thetis. Consisting of a Mask and a Comedy. London: Henry Herringman, 1654. 4to (203 x 141 mm). 19th century calf. Rebacked, title page trimmed at top margin, lacking final blank.Provenance: Henry Huth (bookplate); Lord Fairfax of Cameron (bookplate); Robert S. Pirie (bookplate; his sale, Sotheby's New York, December 2, 2015, lot 317 [part]).In two parts, the second with a separate title page, and the title The Nuptials of Peleus and Thetis, a new Italian Comedy ... made English by a nearer adherence to the original than the French translation. The first part (the Mask) from this work, was incorporated by Lord Lansdowne in The Jew of Venice, his adaptation of Shakespeare's The Merchant of Venice [see lot 18]. Wing H-3097.
Lot 192
FLEMING, IAN. 1908-1964.Live and Let Die. London: Jonathan Cape, 1954. 8vo. Publisher's black (Fabroleen) cloth, front cover with gilt-stamped Edward VII coin, original magenta dust-jacket lettered in yellow, closed tear to upper front panel, minor foxing to rear panel, some foxing to page margins first and last pages.Provenance: 'Charles' (ink note to endpaper, dated '4/1954').'In my job ... when I come up against a man like this one, I have another motto. It's 'live and let die.''-James Bond on 'Mr. Big,' p 41FIRST EDITION OF THE SECOND BOND BOOK, FIRST ISSUE TEXT AND BINDING, FIRST STATE OF JACKET. Like its predecessor Casino Royale, Live and Let Die was written at Fleming's Goldeneye estate in Jamaica, and his second effort more acutely treats the shifting geopolitical landscape of the 50s, with the same rollicking style. A clean bright copy with all of the earliest points. Gilbert A2a(1.1).
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