[Miniature] British Sea Weeds.
Waters, Sheila

(8)ff. A micro-miniature original manuscript by the internationally-recognized calligrapher Sheila Waters, containing tiny brightly-colored paintings of six varieties of seaweed. A native of England, Waters became the founding president of the Washington Calligraphers Guild in 1976. Elegantly bound in green morocco with a small orange circular onlay, gilt-stamped. Attached to the front cover is a short chain with a loop. Slightest creasing to a few page corners, else a fine copy. (7/8 by 5/8; 21x15mm).

The Mail Box (A Postal ABC).
Poehlmann, Jo Anna

(27)ff. One of 200 copies signed and numbered by the artist. A tiny panorama with twenty-six reproductions of postage stamps from all over the world tipped in. Poehlmann has managed to assemble a complete alphabet in manuscript initials, printing commemoratives and even an animal alphabet from Colombia. The design mimics a package, in brown paper and tied with a red string. Mint. (1 3/4 by 1 1/2; 45x38mm).

("Slops" Ledger from a Whaling Ship).
Anonymous

Octavo. (120)pp. Twenty pages of this ledger contain hand-written notes for the whaling bark Morning Star from New Bedford during an Atlantic voyage from August, 1862 to April, 1863; the remaining pages are blank. "Slops" is a naval term referring to a sailor's outfit and items of equipment, and the word eventually expanded to encompass a sailor's small cash purchases. This ledger, also known as a "slop chit," lists sailors' names followed by a tally of their purchases, which consist primarily of clothing and large amounts of tobacco: around twenty-six pounds of tobacco were purchased by individual sailors, and more than 100 pounds by the company. Articles of clothing listed include wool shirts and drawers, stockings, a monkey jacket, and straw hats. In addition to the accounts of individual crew members, the ledger also itemizes expenses for the owners' account with the captain, Hervey E. Luce, which includes food purchased for the ship, customs house fees, and postage for letters. The entries are dated between September 1862 and March 1863, during the peak years of whaling in New England. A fascinating glimpse into the provisions needed to supply a whaling ship and its crew. Fine in original marbled boards with a leather spine.

Wholesale Price List. Season 1883-'84. Samuel Winslow, Manufacturer of Skates & Straps, Double Clamp Club Skates, and Patent Vineyard Roller Skates.

Octavo. 30pp. A fully-illustrated catalogue of ice and roller skates manufactured by the Samuel Winslow Skate Company of Worcester, Massachusetts, printed in black & white on blue paper. The skates are designed to strap or clamp onto the bottom of one's shoe, and are offered in a variety of styles, including the popular "Vineyard Roller" for rink skating. The catalogue also lists replacement straps, runners, hardware, and other parts for the skates. An early trade catalog for the Boston firm Dame, Stoddard, and Kendall, a shop that specialized in sporting equipment and cutlery, which began operating under that name in 1882. Fine in printed, pictorial tan wrappers.

Illuminationen.
Gessner, Selma Regula

Folio. (12)ff. One of five copies with the original collages. Honegger's nine compositions are comprised of abstract lithographs with added colorful collage elements. On several pages, the images are accompanied by poetry by Gessner; on others, the composition fills the entire space of the page spread. A Swiss national who established himself in New York and Paris in the late 1950s, Honegger was aligned early in his career with concrete art, and the typographical arrangement of the poetry in this collection reflects the influence of that aesthetic movement. Loose, as issued, in lithographed wrappers of heavy card. With the original glassine. Some light spots of foxing to a few pages, else very fine.

Original Watercolor of Henrik Ibsen and Four of his Heroines.

A humorous cartoon measuring 10 by 8 1/2 inches. Celebrated playwright Henrik Ibsen, shown in caricature with a wild beard and hair, is depicted surrounded by four of his heroines, including Hedda Gabler and Nora from A Doll's House. Not all seem very happy to see him: Hedda points a pistol at Ibsen's back. The caption reads, "Henrik Ibsen besought by certain of his heroines to ameliorate their destinies." Brightly colored, in the style of nineteenth-century watercolors. A few small spots of rubbing to Nora's plaid skirt, else fine.

Odes/Odas.
Keats, John

Quarto. 32pp. From an edition of 52 copies, this is one of thirty-two copies printed on Ingres. An elegantly-printed bilingual edition of Keats's Odes, in English and Spanish, each with a full-page lithograph by Raśl Veroni of the poem's subject. The first illustration is signed in pencil by the artist. The collection includes such poems as "Ode on a Grecian Urn" and "To a Nightingale," with English and Spanish version of the poems opposite each other on facing pages. Veroni collaborated with the prominent Argentinean publisher Francisco A. Colombo for many years, beginning in 1937 when he was still a student at the National Academy of Fine Arts. The experience prepared him well to open his own graphic studio in the 1970s. Bound in off-white printed wrappers, with original glassine. This is the fourth volume in a series of poetry chapbooks, La Cabellera, by Veroni. Two small spots of discoloration to rear wrapper, and a couple of faint spots to page edges. Very fine.

Witch Hazel.
Whittier, John Greenleaf

1ff. manuscript of two stanzas by the poet and abolitionist John Greenleaf Whittier measuring 7 7/8 by 5 7/8. A beautiful presentation of the two stanzas entitled "Witch Hazel," framed by a color illustration of a witch hazel branch in bloom. These stanzas come from the title poem of his collection Hazel-Blossoms, which also included poems by his sister Elizabeth H. Whittier. The order in which the stanzas are represented in the manuscript is reversed from the original poem, where they are also separated with another stanza between them. The volume was originally published in 1875, so this manuscript copy was written several years later. Whittier was a Massachusetts native who grew up in Haverhill. His poetry often reflects the New England landscape that surrounded him. The stationery is printed "Danvers, Mass." in the top right corner. Two small pieces of white tape present on the reverse, else very fine.

Dubliners.
Joyce, James

Octavo. First edition. One of approximately 746 copies that were bound. When Joyce first submitted his proposal for this collection of short stories, he wrote, "I do not think that any writer has yet presented Dublin to the world." However, Joyce was far from sentimental about the city, writing, "From time to time I see in publisher's lists announcements of books on Irish subjects so that I think people might be willing to pay for the special odour of corruption which, I hope, floats over my stories." Bound in publisher's red cloth with gilt lettering on front cover and spine. Some faint waterstaining to bottom and top edges of pages, as well as top corner of rear pastedown, that does not affect the inside of the book. Top and bottom edges of spine slightly bumped, spine darkened with some slight rubbing, and faint rubbing to spine edges. Very small, shallow spot of biopredation to front board; still a very good copy of a scarce book. Bookplate of American diplomat and poet John Haven Ferguson.

Ulysses.
Joyce, James

Eighth printing, in which the type was entirely reset in order to address typographical errors found in earlier printings. As noted by Slocum and Cahoon, it incorporated into the text most of the changes indicated on the "Additional corrections" page that had been added to the fourth, fifth, and sixth printings. In all, the text was expanded to 735 pages. This is essentially a second edition; the reset plates were used through the eleventh printing. Joyce's publisher, Sylvia Beach, hired a proofreader from the Daily Mail to comb through the text before it was reset, but Joyce was disappointed with the result. Proofreading Joyce's work was certainly a daunting task, and typos continued to be a problem throughout the book's history of publication. There is much debate over which version of the book is most authoritative and whether certain changes made were actually corrections or well-intentioned corruptions of the text. In blue wrappers with the title and author in white. Some chipping to corners of spine and to fore-edges of wrappers, spine edges slightly rubbed, and a few very short closed tears, else a very good copy.

[Miniature]. Poems of Life.
Dickinson, Emily

35pp. From an edition of 125 signed by the printers, William and Raquel Ferguson, this is one of twenty-five deluxe copies with hand-illuminated initials signed by the calligrapher, Nancy Chandler Edwards. Handsomely printed using Bruce Rogers types. Contains eight truly exquisite pictorial initials in colors and gold leaf. The second miniature book published by the Bromers, and now quite scarce. Stanley Marcus, in an exhibit of his miniature books at the Library of Congress, described "Poems of Life" as the finest miniature book of the second half of the 20th century. Bound by Gray Parrot in full vellum with yapp edges and gilt titling. Extremely fine. T.e.g. Bookplate of Rabbi Kalman Levitan. (Bradbury 923). (2 3/8 by 1 5/8; 60x41mm).

The Stork Shee Rose On Christmas Eve.

18ff., frenchfold. One of 150 copies printed on Japanese Moriki paper by Willis Shell, the proprietor of Attic Press. Cloister Black was selected as the typeface. Illustrations, printed in sepia, by Leslie Geiberberger. A delightful poem, supposedly written by King Edward VI of England, when he was eleven years old. Very fine in pictorial boards. (Bradbury p.14). (1 7/8 by 1 1/2; 48x40mm).

Im Irrgarten.

Quarto. (26)pp. First edition. Written and illustrated with thirteen fantastic, chromolithographed plates by Kleyer, who studied under the expressionist painter and printmaker Ludwig Meidner. Kleyer's text, which is a series of rhyming couplets printed on facing pages, concerns a family visit to a carnival, where they enter a funhouse maze. The majority of the illustrations are concerned with depicting the various distorted reflections the two little girls, their parents, and the family dog see while traversing the funhouse. These illustrations possess a distinctly surreal aesthetic reminiscent of the pioneering artwork of Winsor McCay for his Little Nemo in Slumberland. Bound in original cloth-backed illustrated boards, which show light soiling. Overall, a near fine copy of a scarce book.

North of Boston.
Frost, Robert

First edition. From an edition of 1000 copies, this is one of 200 in the sixth binding state. This was one of two binding states that were done by the Dunster House Bookshop in 1923 in Cambridge, MA when the remaining first edition sheets were sold off by Simpkin Marshall. Inscribed by Frost to John Adams Lowe, a former librarian at Wiliams College, on the title page. A fine copy in leaf-green cloth, gilt titled, with the seldom seen original glassine.

Am. Sam. Gram.
Maby

Oblong quarto. (13)ff., interleaved with twelve plates colored in pochoir. First edition. A poignant fable about the escapades of a magpie & whose body is made of a pinecone & and three little pinecone chicks as they leave the mantel of the fireplace on which they live to venture out into the world. With illustrations by Maby, about whom little is known. Am, Sam, and Gram are the names of the three little birds, who, despite their journey into the exciting territory of a woodland stream, apparently cannot escape their ultimate fate as fireplace kindling. Following the story is an explication of the Moral in the tradition of Aesop and other fable literature. The gorgeous illustrations, with their strong, simple pochoir coloring, are stylistically akin to the work of Theodor Van Hoytema. Bound in linen-backed, pochoir-illustrated boards, which show minor overall soiling and two faint, small stains to the upper right corner. Scattered light foxing to page edges and outer margins of text leaves. A near fine copy of a rare pochoir picture book.

Death of Abraham Lincoln. With a Note by Paul M. Angle.
Whitman, Walt

xiv, 53 pp. One of 300 copies. A lecture delivered by Whitman on the anniversary of Lincoln's death. With several full-page color illustrations and a number of smaller black and white illustrations, by Ralph Frederick. Typography by Norman Forgue. Bound in full black leather with illustration of a smoking gun in gilt to front cover and lettering in gilt to spine. Endpapers marbled. A.e.g. Boards slightly bowed, else a very fine copy. (2 13/16 by 2 1/16; 72x53mm.).

North of Boston.
Frost, Robert

First American edition. Frost's second collection of poetry was originally published in England by David Nutt, who also published his first book, A Boy's Will. The reception to both books in the U.S. was overwhelmingly positive, and Frost's American publisher, keen to avoid the threat of pirated editions, ordered sheets of North of Boston from Nutt. The 150 sets they received were quickly exhausted (see Crane A3.1), and requests for additional sheets went unanswered, forcing Holt to set its own edition, of which 1300 copies were printed in March 1915. Although much of this collection contains Frost's longer free-verse dramas, such as "Home Burial" and "The Death of the Hired Man", it also contains two lyrical gems: "Mending Wall", and "After Apple Picking". This copy bears a presentation inscription in pencil, dated April 1915. Light shelfwear to bottom edge, slight toning to gilt-decorated blue cloth, light staining to two pages, else a nearly fine copy in the seldom-seen dust jacket with the "fain" reading in the London Times review, and a publisher's device measuring 19 x 16 mm.

North of Boston.
Frost, Robert

First edition. From an edition of 1,000 copies, this is one of 200 in the sixth binding state. This was one of two binding states that were done by the Dunster House Bookshop in 1923 in Cambridge, MA when the remaining first edition sheets were sold off by Simpkin Marshall. Signed by Frost on the front endpaper, dated "Amherst 1924," and with a notation as to the name and location of the cottage in England where Frost wrote the poems for this, his second book. A fine copy in leaf-green cloth, gilt-titled. Book label from the Hampshire Bookshop of Northampton, MA on rear pastdown.

California Time.
Kaldewey, Gunnar

Folio. (36)pp. One of forty-five copies in a plexiglass binding by Christian Zwang of Hamburg. Signed by Gunnar Kaldewey. With numerous monochromatic and two-tone illustrations. Written, illustrated, designed, and printed by Kaldewey as Volume 5 of the Kaldewey Press series. In 1977, Kaldewey printed New York, his first book about America. Ten years later, California Time was published as a counterpoint to that volume. In it, Kaldewey offers his observations about California's landscapes, both natural and manmade, in prose that ranges from playful to bleak. He sees the landscape with an artist's eye, describing the "simmering city" and the "juicy orange of the West." These verbal images are illustrated in Kaldewey's stylized manner, including one double-page spread showing the Pacific Ocean in aqua and gray on a transparency. A remarkable production by one of the leading contemporary book artists. Housed in an orange cloth folding box, lettered in silver on the front cover and spine. Together with the original woodblock to the first illustration in the book. Printed in silver, the illustration is of a palm tree, placed across from the text: "It is the sun, the cars and the palm trees. A lot of light. Everything has to do with light." The block was inscribed on the back by Kaldewey in 1988.

Ornamenti di Fregi e fogliami S. D. Bella inv.
Bella, Stefano della

Oblong quarto. (40)ff. Bound together with Ornamenti di Capitelli, Architravi, Freggi, e Cornici; with Varie inventioni di vasi da acqua benedetta fatti al moderno in Anversa; with Chiusure di Capelle varie; and with another group of engravings, unnamed. All illustrations by Franz Ertinger, whose work illustrated numerous titles in the late seventeenth and early eighteenth centuries. There is an indication that the first group of plates in this volume may have been engraved after the work of Ertinger by Cornelis Galle the Younger, who was the son of a well-known Antwerp engraver. In total the book contains thirty-four plates, all full-page, of various ornamentation including cherubs, serpents, wild animals, vine and leaf, iconography, architecture, and more. A heavy, blank leaf follows each of the titles, separating it from the next. Bound in brown boards backed in vellum, with red morocco label to spine. Boards rubbed and with some scratches, fore-corners a bit worn, minor scattered foxing interior. A very good copy overall. Circular crest device embossed to each title-page, booklabel and bookplate to inside front cover.

Autograph verse, signed.
Wordsworth, William

Single leaf measuring 7 3/8 by 8 1/2 inches, with small embossed stamp in upper left corner. Wordsworth writes out a six-line stanza from "The Epistle to William Simson" by Robert Burns, which reads, in full: "O Nature! a' thy shews an' forms/ To feeling, pensive hearts hae charms/ Whether the summer kindly warms/ Wi' life an light;/ Or winter howls, in gusty storms, The lang, dark night!" Wordsworth is believed to have been one of Burns's earliest English admirers, and Burns's influence on Wordsworth is well-documented and extensive. Leaf shows some slightly irregular trimming and has been mounted. Scattered light foxing, mostly to margins, otherwise very good.

Excerpts from Visions of Cody.
Kerouac, Jack

One of 750 numbered copies signed by the author. Selections from Kerouac's lengthy character study of Neal Cassady, who appears here as the title character, Cody Pomeray. It was in On the Road that Kerouac first immortalized Cassady as the frenzied, charismatic Beat firgure Dean Moriarty. Their friendship was intense and mutually influential, even if the two more or less parted ways in the Sixties, when Cassady took up with the Merry Pranksters and became involved in the San Francisco psychedelic scene. Cassady has been credited with helping to transform Kerouac's writing from a traditional narrative style to the tumbling, "first thought best thought" mode for which he is so well known. Indeed, in the preface to this book, Kerouac comments that his intention was to write "an enormous paen which would unite my vision of America with words spilled out in the modern spontaneous method. Instead of just a horizontal account of travels on the road, I wanted a vertical, metaphysical study of Cody's character. . . ." Bound in cream boards backed in purple cloth, in original acetate wrapper. Very minor bump at top edge of upper board, small closed tears to acetate at spine head and foot, else a very fine copy. Publisher's announcement laid in.

Signed Artist's Proofs of the Wood Engravings by Rudolph Ruzicka for the Overbrook Press Edition of "The Happy Prince and Other Tales"

Folio. Six color engravings illustrating Oscar Wilde's text, each signed by the artist and mounted on a 13 by 10-inch off-white matte. This suite of prints, one of only twenty sets, comprises the full set of the engravings that appeared in the edition of the book. Housed in a cloth-backed folding portfolio, with paper label to the cover. Some toning to the mattes around the edges, portfolio lightly sunned and slightly soiled, else a very fine, rare presention, with no rubbing whatsoever.

Works.
Shakespeare, William

Seven volumes, a complete set as published. One of 250 copies. Only 200 copies of the seventh volume were printed. The dedication notes that this edition was produced as an homage to T.J. Cobden-Sanderson and the German editions of Goėthe printed at the Doves Press. Designed and with initial lettering by Christian Heinrich Kleukens, incorporating a font that carries the same austere elegance as the Doves fonts. An uncommon set, this copy is even more so for its binding of vellum-backed green boards, in their original green paper dust wrappers and paper-covered slipcases. The gilt work on the spines is reminiscent of the work done at the Doves Bindery. Light wear to slipcases, one of which shows staining. One jacket significantly chipped and torn, a few others with smaller tears to spines, mostly closed. Overall, a fine set of perhaps the most beautiful edition of Shakespeare's works printed in Germany.

Commentaria.
Philiponus, Joannes

Quarto. 75ff. Woodcut device on title page and last leaf, several geometrical text figures, two ten-line and two five-line initial capitals. A book of commentary by the sixth-century Greek philosopher Philiponus, who also went by the name John the Grammarian for his scholarship on language. This copy of Commentaria features a colorful binding of Italian decorated paper, likely from the eighteenth century, and an unusual pastepaper spine. Front and back covers each bear two repeated illustrations of architectural landmarks within oval frames, and these are surrounded by floral designs. One of the illustrations shows the famous bridge at Bassano designed by the great sixteenth-century Italian architect Palladio; the other is likely a depiction of La Rotonda in Vicenza, also designed by Palladio. Slight wear to lower extremity and upper corners, worm holes to bottom interior margins affecting about two-thirds of the leaves to varying degrees, else fine and bright. Bookplate.

Laon and Cythna; or, The Revolution of the Golden City: A Vision of the Nineteenth Century. In the Stanza of Spenser.
Shelley, Percy Bysshe

Octavo. xxii, 270pp. First edition, first issue. Inscribed "From the Author" in Shelley's hand. One of only twelve unexpurgated presentation copies containing the exceedingly rare half-title page (sig. d) with a quote from Pindar.Printed in 1817 and intended for publication in January 1818, the poem was suppressed by its publisher, Ollier, who feared a backlash against the depiction of incest in certain of Shelley's stanzas. Upon the book's printing, Shelley had instructed Ollier to quickly bind twelve copies and send them to him. Ollier complied, and it is thought that these presentation copies constitute the entire first issue of the book. Shortly after sending Shelley the copies, Ollier raised his objections about the content and refused to continue to publish the work unless revisions were made. Shelley begrudgingly acquiesced to this demand, although, according to Forman, he apparently could not bear to initiate the necessary changes himself, and instead had a committee of his friends propose revisions which he would then approve, modify, or reject, all the while complaining that his poem was being spoiled in the process. The result of these efforts was the release of a new, expurgated version of the book under the title The Revolt of Islam, a work about which Shelley had serious misgivings. In an 1817 letter to Ollier, quoted in Granniss, he wrote, "'I have the fairest chance of the public approaching my work with unbiased and unperverted feeling -- the fruit of reputation . . . is within my reach. It is for you . . . to blast all this, & to hold up my literary character in the eye of mankind as that of a proscribed & rejected outcast." Granniss goes on to comment that the dedicatory poem to Mary Shelley that precedes the main text "contains some of [Shelley's] most beautiful lines."This copy of Laon and Cythna is elegantly bound in full brown morocco by Sangorski & Sutcliffe, with a gilt rule border to the outer edges of both boards and turn-ins. Also with gilt lettering to spine within compartments formed by raised bands in the leather. Slight cracking to rear spine and some apparent bleaching to title page that does not affect text, else a very fine copy of a rare and controversial work, additionally inscribed by Shelley. Housed in a cloth box with leather spine label, lettered in gilt. A.e.g. (Forman, pp.72-87; Granniss 39; Wise, pp.47-48).

Typed letter, signed.
Kennedy, John Fitzgerald

Bi-folium sheet of United States Senate stationery, folded once. Dated January 7, 1955, and addressed to Robert Morey. Kennedy thanks Morey for sending him a message while recovering from back surgery in a New York hospital. "Hospitals are such gloomy places," Kennedy observes, "and it makes a tremendous difference when friends remember you as you did." Apparently, Morey also sent along a pair of reading glasses, for which Kennedy thanks him in a hand-written post-script. The letter is signed "Jack". Accompanying this letter is an autograph letter, signed, to Morey from Jacqueline Kennedy. This is on a single sheet of grey stationery with white trim, folded in thirds. Jackie further elaborates on the glasses, pointing out "what a terrific help they were", and that without them Kennedy "would have gone mad just lying there staring at the ceiling not being able to read." Includes envelope addressed in Jackie Kennedy's hand with Palm Beach postmark. Morey was a close friend of the Kennedys during JFK's years as a Senator, and was apparently working out of Kennedy's Boston office during this period. This was also a very significant time for Kennedy, who underwent experimental back surgery in October 1954, and barely survived it. During his nine-month recuperation, he wrote the Pulitzer Prize-winning Profiles in Courage. An excellent pair of letters in fine condition overall.

Autograph letter, signed.
Seuss, Dr.

One page, on stationery printed with an illustration of the Cat in the Hat. The content is a response to a request to sign books and to a question about the availability of prints. Signed as both Dr. Seuss and Theodore S. Geisel. With the original envelope, addressed in Geisel's hand and postmarked 20 June, 1984. Note has been folded, else very fine.

Original photograph.
Frost, Robert

Black and white photograph, unmounted. Image measures 3 1/4 by 4 1/2 inches. On the verso it is noted that this image was taken by a photographer working for Black Star, the noted photo agency. It is an outdoor portrait of the elder Frost, likely taken in Ripton, Vermont, and is in fine condition.

Johnsoniana; or, Supplement to Boswell.
Johnson, Samuel

Octavo. xxii, 530 pp. First edition, extra-illustrated with engraved portraits. In red morocco by Kelliegram; original cloth covers and spine bound in. Front cover has onlaid oval leather portrait of Johnson within gilt panel and sprays; gilt panels and lettering between raised bands on spine; green silked endpapers with gilt turn-ins; gilt. A.e.g. A fine copy of a handsome binding.

Fables de la Fontaine.
La Fontaine, Jean de

Quarto. 127pp., +(16)ff. One of sixteen copies, with a signed original gouache for one of the sixteen color plates by Neziere, opposite p.63. Highly colored and caricature-like in style, the painting illustrates "L'Ane et le Petit Chien (The Little Dog and the Donkey)." Additionally, each text page is illustrated in black and white. Raymond de la Neziere's work was featured in many of the popular magazines of his era, and it is often viewed as a precursor to French comics. He began working as a book illustrator in 1892. Neziere's illustrations are recognized for their humorous and expressive style, and his characters are often anthropomorphic animals. Unbound, as issued, with panels of pictorial wrapper covers. Protected in a cloth-backed marbled portfolio. Light foxing to a few sheets, else fine.

The Book of Giants. Drawn, Engraved, and Written by William Strang.
Strang, William

Quarto. 56pp. First edition. One of twenty-five hand-colored copies. Unicorn Quartos Number One. Contains pictorial title and verse descriptions of a dozen different giants, each illustrated with a hand-colored woodcut. Some giants personify the perils of modern times with the motor car, electric light, and steam roller. Except for "The Vegetarian Giant," these bloodthirsty fellows must eat or be eaten. In original leather-backed illustrated boards. Spine rubbed and boards show light soiling; internally crisp and clean. T.e.g. An amusing book in the very scarce deluxe edition.