A Midsummer-Night's Dream.
Shakespeare, William

Quarto. (iv), 134pp. One of 1000 copies signed by the illustrator, Arthur Rackham. Illustrated with forty tipped-in colored plates and thirty line drawings. With a signed one-page autograph letter from Rackham laid in, dated Nov. 21, 1931, accompanied by the original envelope. In the letter, which is addressed to the collector Mrs. Edward J. Pearson in New York, Rackham writes, "I have not succeeded in finding the missing drawing for the Midsummer Night's Dream, so I enclose a cheque for $50." At the end, Rackham mentions that his manuscript book for the Midsummer Night's Dream has just been sent to the New York Library: in 1929, he was commissioned by the library to create a series of watercolors, different from those in the 1908 edition, accompanied by manuscript text. Ribbon ties lacking, spine slightly soiled, else about fine in full vellum, pictorially stamped in gilt. T.e.g.

The Vicar of Wakefield.
Goldsmith, Oliver

Quarto. 232pp. From an edition of 775 copies signed by Arthur Rackham, this is one of 575 copies that comprised the English issue. Illustrated with twelve full-page color plates and twenty-two black & white drawings. A fine copy in gilt-stamped vellum with only light toning to page edges, endpapers, and board edges. T.e.g.

[Doves Press] The Tragedie of Anthony and Cleopatra.
Shakespeare, William

Small quarto. 140, (iv)pp. One of 200 copies. Opening initial by Graily Hewitt. Printed in red and black. This is one of four volumes of Shakespeare's plays produced by the Doves Press, each of which preserved the spelling from the First Folio of 1623. Bound in full vellum by the Doves Bindery. Faint spot to upper cover near spine, else a fine, crisp copy. Original sales receipt from the Press laid in, dated October 30, 1912.

For Whom the Bell Tolls.
Hemingway, Ernest

First edition. A presentation copy inscribed by Hemingway on the front endpaper to Irma Wyckoff, "with appreciation and affection." Wyckoff was the personal secretary to Hemingway's long-time editor at Scribner's, the legendary Max Perkins. Hemingway's epic novel of the Spanish Civil War was inspired by his own experiences as a journalist during the conflict. For Whom the Bell Tolls is considered one of the writer's best works, and the novel's protagonist, Robert Jordan, is the fully-realized manifestation of Hemingway's ideal hero -- a man who exhibits grace under pressure. A very fine copy in a bright original pictorial dust wrapper, which shows only the slightest wear to the spine ends and corners, one short, closed tear to the bottom edge of the front panel, and a small scratch to the front panel near the spine. Housed in a custom-made red cloth box backed in gilt-titled blue morocco.

Of Worlds Beyond: The Science of Science Fiction Writing.
Eshbach, Lloyd Arthur

Ocavo. First edition. A symposium by acclaimed science fiction writers, including Robert A. Heinlein, A. E. van Vogt, L. Sprague de Camp, and others, edited by Lloyd Arthur Eshbach. In red cloth, with the original dust wrapper. The dust wrapper shows some fraying and chipping to edges, as well as some light rubbing in a few spots, else fine.

The Universe Makers: Science Fiction Today.
Wollheim, Donald

Octavo. First edition. Spine ends slightly bumped, original dust wrapper is a little frayed to spine ends and shows some light soiling, else a very good copy.

From Utopia to Nightmare.
Walsh, Chad

Octavo. First edition. The first systematic study of dystopian literature. Fine in blue cloth with the original cream-colored dust wrapper, which has only one short closed tear and some light spotting to the rear panel.

A Requiem for Astounding.
Rogers, Alva

Octavo. First edition. Spine of dust wrapper toned, with a few chips, else a fine copy.

Graffiti, Designed and Illustrated by Debra Weier.
Belitt, Ben

Quarto. 26pp. One of 64 copies signed by the author and the artist. A dramatic and very visual presentation of Belitt's poems, using a number of illustrating techniques: color intaglios, pop-ups, silkscreen, offset and rubber stamps. Many of the illustrations incorporate spray paint "graffiti," and use fluorescent green. Bound in printed black boards, head and tail in neon green leather. Housed in original black cloth clamshell box. A visual treat from the talented and creative artist, Debra Weier. A fine copy.

Aura.
Carruth, Hayden

Folio portfolio. One of fifty copies. This copy is press-numbered and bears an additional inscription by Claire Van Vliet to a well-known American collector. Carruth's poem "describes the light and space created by the evening sun on a Vermont mountain landscape at dusk." The double-sided, foldout paperwork by Van Vliet and Kathryn and Howard Clark of Twinrocker Handmade Paper Mill "creates the same atmosphere" as the poem. Opening the paper fold by fold, "the sensation of walking at sunset up to the crest of a Vermont hill and suddenly viewing the wide horizon" is captured. The October 1977 issue of Fine Print describes in detail the making of this beautiful and colorful paperwork, the first of its kind in book form. Aura has become the scarcest and most sought after of all Janus Press printings. This is a mint copy in linen clamshell box with handmade paper label.

Steeple Bush.
Frost, Robert

First edition. One of 751 copies signed by Frost. Title page decoration by Loren MacIver. In a review in the June 1, 1947 issue of the New York Times, Randall Jarrell singles out "Directive," an early poem in Frost's penultimate collection, for possessing "so much longing, tenderness, and passive sadness." For Jarrell, the dirgeful majesty of "Directive" was a reminder of Frost's greatness as a poet who has "written so well about the actions of ordinary men." Very fine in cloth-backed boards with glassine wrapper and publisher's slipcase.

[Tamazunchale Press]. The Little Store.
Welty, Eudora

54pp. One of 250 copies. As are all of this Press' series of miniature printings of short pieces by notable American writers, this volume is beautifully finished. Printed by Enschedé and bound by Reliure d'Art du Centre S.A in Limoges using Cockerell endpapers. Very fine in green leather with gilt titling. A.e.g. (Bradbury, p. 300). (2 1/2 by 1 3/4; 64x46mm).

[Tamazunchale Press]. Confessions of a Wild Bore.
Updike, John

34pp. One of 250 copies printed in Holland by Joh. Enschedé. An essay originally published in the New Yorker. Very fine in brown gilt-stamped leather, with Cockerell endpapers. A.e.g. (Bradbury, p. 300). (2 1/2 by 1 3/4; 64x45mm).

[Imprenta Glorias]. Boating with Bogart.
Stuart, Gloria

(22)ff. One of 100 copies signed by the author. With eight illustrations by Davie Dicker. A recounting of an adventurous weekend sailing trip taken by a group of movie-industry luminaries during Hollywood's "Golden Age" in the 1930s. The well-lubricated group included Humphrey Bogart and the author, Gloria Stuart, who starred in numerous films, including Rebecca of Sunnybrook Farm, The Invisible Man, and The Old Dark House. In addition to her film career, Stuart was an accomplished bookmaker, having learned the printing craft from her friend Ward Ritchie. She was said to have worked daily in her studio up until her death in 2010 at the age of 100. Stuart is perhaps best known for her role as "Old Rose" in 1997's Titanic, for which she received an Oscar nomination, the oldest actor ever to receive the honor. Interestingly, the story Stuart tells in this book involves, in part, a boat that sinks. Bound in blue marbled paper, with a label to the spine bearing the abbreviated title: "Bogie." Very fine. (Bradbury, p. 100). (3 by 2 1/8; 76x55mm).

Death in the Afternoon.
Hemingway, Ernest

First edition. With a contemporary presentation inscription, dated the month of publication on the front free endpaper: "For Charles K. Jackson Esq. With the very best wishes of Ernest Hemingway September 1932." Illustrated with a color frontispiece by Juan Gris, titled "The Bullfighter," and numerous photographs of bullfighting scenes. Hemingway was passionate about bullfighting and viewed it as an art form equally as important and inspiring as painting or music. This was his first book-length work of non-fiction, written while he was living in Key West, Florida. Hemingway first became fascinated by bullfighting in the early 1920s, after visiting the Festival of San Fermín in Pamplona, Spain, and the experience served as inspiration for his novel The Sun Also Rises. Corners of front cover slightly bumped, else very fine in black cloth boards gilt-stamped with a facsimile of the author's signature to the front cover. In the original unrestored dust wrapper, which has only some slight rubbing to the corners and a tiny tear and a small chip to the top edge of the rear panel. Housed in a tan cloth chemise and a slipcase backed in brown pigskin, gilt-titled to spine. A beautiful copy of a book that is still seen as one of the definitive works on bullfighting.

Artists and Writers Protest Against the War in Viet Nam: Poems.
Sonenberg, Jack, ed.

Folio. (28)pp. One of 100 deluxe copies. A collection of eighteen poems by writers who contributed their work as a form of opposition to the Vietnam War. The collection was edited by the artist Jack Sonenberg and contains works by Denise Levertov, Robert Creeley, Anthony Hecht, Robert Duncan, and others. The work was intended to raise money for Artists & Writers Protest Inc., an organization of artists who opposed the Vietnam War and who felt that their work should be a vehicle for political commentary and change. The group grew out of the Greenwich Village Peace Center & War Resisters' League, and they staged protest demonstrations and events throughout New York City. This portfolio was published during their first year, in 1967. Printed in black with red titles and rules. Fine in tan wrappers.

The Circus of Doctor Lao.
Finney, Charles G

Quarto. 123pp. One of 150 copies signed by the author and by the printer/illustrator, Claire Van Vliet. The illustrations are a combination of relief etchings and pochoir done in a glossy black and brilliant pastel shades. Some of the images leap out at the reader and others seem to dance across the page. Pages 7-16 fold out to form double panoramas. Truly the most breathtaking production from this remarkable Press, and one of the finest modern American private press books. A very fine copy bound in cloth that was colored on the etching press, with a vellum and string spine, and housed in a clamshell box covered in a similar material with a different landscape design. Spine of slipcase very slightly sunned.

Autograph Letter, Signed.
Clemens, Samuel L. (Mark Twain)

(3)pp., rectos only. Dated July 15, 1889, from Clemens to his daughter, Clara, signed "Papa," about a train disaster in Virginia. An update about the wreck arrived in a letter while Clemens was dining with his friend, Charles Dudley Warner, a fellow American writer. Clemens's vivid description of the event brings alive the immediacy of the disaster. He writes, "... that late accident still grows & grows. There had been a washout; several hundred feet of the road were gone; two hours after midnight that sleeping-car train dashed in to that vacant space in a pouring rain, & mingled its wreckage with the chaos of rocks, weeds, rails & freshet-rubbish contributed by the washout; the crushed passengers woke up & wailed out in that rainy thick darkness; then the cheerful car-stove came to their help; & gave them light, & burnt them up." He goes on to describe how a young girl (Miss Patty Carrington) was killed in the fire, and how the girl's adoptive mother, Mrs. Judge Thompson, who survived the crash, lost all of her clothing and baggage containing two centuries-worth of family heirlooms as well. The accident to which he refers happened on July 2, 1889, on the Norfolk & Western Railroad line near Thaxton, VA. It was the most serious accident in the railroad's history: seventeen people were killed and many more were injured. Clemens closes the letter on a lighter note, describing a piece by Beethoven performed by his neice: "the one where, all along & all along, half a dozen of the bass notes keep rolling back down stairs a little way — only to the first landing; & get up again & roll down again & are the darling of the piece & the charm of it." He signs the letter, "Goodbye dear heart — write me again. Papa. P.S. I don't mean this letter as an answer to your letter, it is merely a response." With the original envelope addressed to Clara in Elmira, NY, where Clemens and his family kept a summer home. A dramatic and historical letter that captures Clemens's instinct for storytelling. Fine.

Monthly Suppers of the Male Teachers of New York at Hotel Albert.
(Clemens, Samuel L.)

24mo. booklet, signed by Mark Twain in pencil on the front cover. The booklet is a program for the monthly dinner meeting of the Male Teacher's Association of New York that occurred on March 16th, 1901, most notable for the fact that Mark Twain was one of the principal speakers. The theme of the evening was training students to be good citizens, and Twain's speech addressed his own interpretation of patriotism. In an April 7, 1901 New York Times article covering the event, it is reported that Twain said, "I would teach patriotism in the schools, and teach it this way: I would throw out the old maxim, 'My country, right or wrong,' &c., instead I would say, 'My country when she is right.'" He continued on, saying, "I would not take my patriotism from my neighbor or from Congress. I should teach the children in the schools that there are certain ideals, and one of them is that all men are created free and equal." The first page of the booklet is a roster of the association's officers and members of the group's glee club, and the second page is the menu for the evening. The third page lists the seven speakers for the evening, including Samuel L. Clemens (Mark Twain), and the final page lists the Supper Committee members. Laid in is a mimeographed sheet with the club's annual budget statement. The text is printed in blue, and the booklet is in printed cream wrappers and tied with a blue ribbon laced through the spine. A few spots of soiling and some faint toning to the covers, ribbon shows some wear, else near fine.

Sixteen Poems in Verse and Wood.
Bockes, Bernard

Square quarto. (16)ff. One of 150 copies, signed on the colophon page by the poet, Bernard Bockes, and the illustrator, George Lockwood. Illustrated with fifteen fanciful woodcuts by Lockwood depicting insects, bats, dragons, and mythical beasts. Some are monochromatic prints, but others incorporate many different layers of colors. Lockwood, who studied under Joseph Albers at Yale, and then worked with Leonard Baskin in the late 1950s, co-founded Impressions Workshop with his wife, Margaret in 1960. Bockes drew on the illustrations for inspiration in composing his poems. The final illustration of the book is a portrait of the two men, printed in orange, black, and white. Accompanied by a record of the poet reading his poems, housed in a pocket in the back of the book. Bound in stab-sewn brown paper-covered boards with a printed label. Fne in a matching slipcase.

American Buffalo.
Mamet, David

Quarto. 117pp. One of 400 copies signed by the author and the artist. Illustrated with five wood engravings, four of them full page, by Michael McCurdy. A fine copy in blue-green cloth with a ring of silver foil surrounding an actual buffalo-head nickel.

The Wandering Tattler.
Wakoski, Diane

Tall quarto. (26)pp. First edition. One of 130 copies signed by the author. Printed on handmade papers of various subtle colors. Poems about birds, with fanciful drawings of them by Ellen Lanyon, printed with inks in the colors of the species in nature. A camel carries the birds at the beginning and the end of the book. The colphon tells us that the Press could make fifty sheets of paper a day and used 1,400, that a purple finch spontaneously posed next to the ink slab, and that a gynecologist did the proofreading. A major production of the Press. Nearly imperceptible toning to spine, else fine in blue morocco-backed black cloth in fine slipcase.

The Fabulist. Number Three. Autumn, 1921.
DWIGGINS, W. A

Octavo. 11pp. One of 500 copies, printed at the Yale University Press. On the colophon page, the Fabulist is described as being "published as often as appropriate material presents itself." A collection of poems by John French Wilson, elegantly printed and illustrated with two vignettes and a larger paisley ornament. Short, closed tear to fore-edge of cover, else fine in brown pictorial wrappers with an engraving by Dwiggins of an archer on the front cover.

[Dwiggins, W. A.] Extracts from an Investigation into the Physical Properties of Books as They are at Present Published. Undertaken by the Society of Calligraphers.
Dwiggins, W. A

Octavo. (18)pp. First edition of this amusing spoof, published in part by Dwiggins, which proves that "All Books of the present day are Badly Made." A touch of offsetting from the wrappers to terminal leaves, else a remarkably fine copy of this elusive title in kettle-stitched printed wrappers.

The Tempest.
Shakespeare, William

Quarto. xiv, 185pp. From an edition of 520 copies signed by the illustrator, Arthur Rackham, this is one of 260 intended for sale in Great Britain. Contains numerous vignettes and twenty-one tipped-in color plates, plus an extra plate, "Sea-nymphs hourly ring his knell," published only in the limited edition. Rackham's mature style is at his best here, with trees and seashores full of odd creatures and dancing nymphs. The title page is also designed and lettered by Rackham. Faint scattered foxing to endleaves, lightly bumped at front bottom corner and spine foot, else a fine copy in quarter-vellum and boards, with an illustration stamped in gilt to front cover. In the original dust wrapper, with spine toned and lightly soiled. Housed in a clamshell box. Bookplate. T.e.g.

The Gentle Art of Making Enemies.
Whistler, James McNeill

Small quarto. 292pp. One of 250 copies, signed in pen by the artist James McNeill Whistler with his butterfly insignia. A memoir of, and response to, Whistler's libel suit against John Ruskin, who infamously described Whistler's work as "flinging a pot of paint in the public's face." Included are excerpts from Whistler's correspondence and the trial transcript. Bound in gilt-stamped light brown paper-covered boards, with a brown cloth spine. Some edgewear to covers, endpapers lightly toned, slight splits starting to front hinge and between pp. 192-193, else about fine.

Desert Islands and Robinson Crusoe.
de la Mare, Walter

Small quarto. First edition. One of 650 copies signed by de la Mare. With an engraved title-page and decorations by Rex Whistler, with tissue guards. Some pages uncut. Spine slightly rubbed, slightest toning to endpapers, else fine in bright gilt-stamped green cloth. Lacking the slipcase. T.e.g.

Kaddish for Naomi Ginsberg, 1894-1956.
Ginsberg, Allen

Large quarto. 63pp. One of 200 numbered copies, each signed by the author, Allen Ginsberg, and the artist, Ronald Brooks Kitaj. Illustrated with lithographic portraits of the poet and his mother by Kitaj. Two other poems, "White Shroud" and "Black Shroud" are also included, as further remembrances of Allen Ginsberg's mother, Naomi, who died in 1956 in a mental institution. A very fine copy in green and black cloth with a fore-edge flap that closes the book. Publisher's note about binding laid in.

[Carlyle, Thomas] Autograph verse and photograph.
Carlyle, Thomas

Autograph quotation signed by Thomas Carlyle, matted together with an albumen print carte de visite of the Scottish writer. The verse is from Shakespeare's Winter's Tale, Act IV, Scene 3, reading "Jog on, jog on the foot path-way, / And merrily hent the stile-a; / A merry heart goes all the day, / A sad one tires in a mile-a." Carlyle changed the last line slightly from Shakespeare's original text, which read: "Your sad tires in a mile-a." Below the verse is the author's signature and the date: "Chelsea, 12 April, 1847." The verse measures approximately 3 1/4 by 6 inches; the entire mat measures 14 1/2 by 8 1/2 inches. In fine condition.

Sangschaw; together with Penny Wheep.
M'Diarmid, Hugh

Two octavo volumes. First edition of the Scottish poet Hugh M'Diarmid's first collection of poetry, in the second binding, together wth a first edition of his second book. Hugh M'Diarmid, or MacDiarmid, as it is more commonly written, was the pen name of Christopher Murray Grieve. MacDiarmid was the leading light of the Scottish Literary Renaissance that occurred in the first half of the twentieth century. He developed and wrote in a synthetic Scots vernacular that incorporated elements of many regional dialects and integrated archaic words and phrases used by Scotland's late medieval poets. Scots was fading from common and literary use and was most often only used in poetry to evoke a sense of the past; instead, MacDiarmid sought to update and revolutionize the language, making it relevant to the modern era. He also believed that the Scottish psyche could not be expressed in English alone, and as a result, he wanted to create a national voice. Sangschaw contains MacDiarmid's first Scots lyric, The Watergaw, and extensive glossaries follow the poems in both volumes. Both bound in blue cloth, with the original light blue dust wrappers lettered in black. Dust wrappers are toned to spines and margins of the panels, and each has a stray mark to the front panel. Penny Wheep has a short, closed tear to the front panel, else both are in fine condition.

Gedichte, Entwürfe zu Gedichten und Bruchstücke aus den Jahren MDCCXCVI-MDCCCIV.
Hölderlin, Johann Christian Friedrich

Large quarto. 254pp. One of 51 copies. Victor Hammer greatly admired Hölderlin's lyrical poetry. This volume represents a near complete collection of the poet's work between the years 1796 and 1804, printed in the original German as Hammer believed was the proper way to do the poems full justice. Illustrated with a single brass-plate engraving by Hammer showing the poet in the pose of the Seer, a likeness of Hölderlin taken from a 1792 pastel drawing of him by F. C. Hiemer. Known as Hammer's "American masterpiece," Hölderlin's Gedichte is number XI in the printer's "Opus" series of major works and the first book he issued under his old Stamperia del Santuccio imprint after emigrating to the United States from Europe. Being the first major book printed in American Uncial, it is described by Joseph Blumenthal as "a vigorous, full-bodied, sophisticated letter, with an archaic sense of history and culture." Hammer himself said he hoped with Uncial to "fuse Roman and black letter, those two national letter forms, into a new unity." The book is printed on handmade Italian Magnani paper, which came from the same mill that Hammer used when he was in Europe. Initially, he printed fifty copies of the title-page on domestic machine-made paper, but he promptly deemed that paper inferior and went back to what he knew and trusted. The result is a masterfully printed book on sumptuous paper that is a pleasure to behold and to handle; its beauty, as Blumenthal notes, is based on "the rare and subtle elegance of typographic design and proportion, of type on paper, and the perfection of its presswork." Bound in plain, gray boards with a paper label to the spine. Slight soiling to boards, and just a hint of rubbing to spine ends, else a fine copy of one of the most important press books of the twentieth century. With the bookplate of renowned Princeton Germanist Victor Lang. Prospectus laid in. Together with: Hammer, Victor. A Dialogue on the Uncial. Aurora, NY, 1946. One of 350 copies. Inscribed by Hammer to the noted literary scholar, Erich Kahler. All housed in a cloth folding case.

[Cruikshank, George] An Essay on the Genius of Geo. Cruikshank.
Thackeray, William Makepeace

Octavo. 60pp. Reprints Thackeray's text as it first appeared in The Westminster Review in 1840. This is an extra-illustrated copy with 79 plates taken from books illustrated by Cruikshank, of which twenty-three are in color. An etched portrait of Cruikshank by F. W. Pailthorpe appears on an engraved title page. In full purple crushed morocco by Morrell with wide double-ruled upper and lower panels, spine with Art Deco-style floral tooling in four compartments, and gilt turn-ins. Spine sunned, oil offsetting from binding to upper margin of preliminary leaves. Overall, a near fine copy. T.e.g.

"Locked Out" in The Forge, Number Two.
Frost, Robert

Square octavo. 52, (2)pp. Contains the first appearance of "Locked Out," which had only previously seen print in The Bouquet, a magazine compiled by Frost's children in 1914. This poem was not included in the first edition of Mountain Interval but was added to its contents for the 1930 Collected Poems (see Crane, A14). Little is known about The Forge; based on the "Editorial Flourish" that introduces this number, its editor presents a rather unusual take on its mission: The Forge, he says, "has no purpose and is beyond price," adding later that it is also "not dependent on subscribers or contributors." Given this particular stance, however potentially ironic, it would suggest that this magazine did not enjoy a long life. In 1950, Frost sent a copy of this issue to librarian and editor Edward Connery Lathem at Dartmouth with the suggestion that it be added to the collection of Frost that Lathem was building there. Frost closes a letter that he enclosed with that copy by noting "It's a rarety (sic) I think. One of the editors sent it to me lately." This is a very fine copy, likely untouched by the mail or a subscriber's hands.

From Snow to Snow.
Frost, Robert

First edition. Second printing. This copy is inscribed by Frost below the poem "Storm Fear," which opens this selection. Contains a poem for each month of the year, selected by the poet from previously published work. They include two of Frost's best-loved poems, "The Road Not Taken" and "Stopping By Woods On a Snowy Evening." Very fine in green linen cloth stamped in silver, with a dust wrapper that shows light, even toning to spine.

Death of a Naturalist.
Heaney, Seamus

Octavo. First American edition. One of 1,000 copies comprised of sheets from the first edition with a new title page. This is Heaney's first commercially produced verse collection, preceded by Eleven Poems, a pamphlet published by Queen's University in Belfast. The future Nobel Laureate's richly cadenced lyricism is firmly established in this auspicious debut, from the famous opening lines of "Digging" onward. This is a fine copy in green gilt-stamped cloth, in a dust wrapper that shows very little of the customary fading to the photo-sensitive colors on the spine and just a couple of tiny nicks to extremities.

"The Critics and Robert Frost"
DeVoto, Bernard

Quarto. 24pp. The Saturday Review of Literature, Vol. XVII, No. 10, containing "The Critics and Robert Frost." Fine in wrappers, with only minor wear to edges and light soiling.

Vanity Fair: Selections from America's Most Memorable Magazine. A Cavalcade of the 1920s and 1930s.
Amory, Cleveland and Frederic Bradlee (eds.)

Quarto. 327pp. First edition. With contributions by authors, such as Wodehouse, Houdini, Coward, Cocteau, Huxley, Cummings, and more. Fine in red cloth-backed paper-covered boards, stamped in gilt, with dust jacket that shows some wear to edges and spine and two small holes at spine.

The Letters of D. H. Lawrence.
Lawrence, D. H.

Quarto. xxxiv, 834pp. First American edition. Edited and with an Introduction by Aldous Huxley. Black cloth boards, stamped in gilt and red. Near fine, with light edgewear and rubbing to front board. Very good dust jacket that shows wear to edges, light soiling, tanned spine, and some rubbing. Previous owner's signature on front endpaper.

"The Return of the Pilgrims"
Frost, Robert

Three volumes. Octavo. All three issues of The Pilgrim Spirit: The Tercentenary Pageant, by George P. Baker, which contains the poem "The Return of the Pilgrims," by Robert Frost. First issue in gray printed wrappers, lightly bumped at the corners and tanned on the spine. Second issue, with errata slip on page 74, in gray boards and gray printed dust wrapper, which is lightly worn at edges and has some loss to top and bottom of spine. Third issue, with "Brewster" corrected on page 74, in gray wrappers, which are lightly tanned on the spine.

After Many a Summer.
Huxley, Aldous

Octavo. First Greek edition of Aldous Huxley's English-language novel. Light soiling, otherwise fine in printed wrappers.

Aucassin and Nicolette.
Anonymous

A near-miniature English translation of this medieval French story. Bound in full leather by Sangorski & Sutcliffe, with gilt decorations on the spine, board edges, and turn-ins, and five raised bands. T.e.g. Spine and rear board faded irregularly where another book sat, edges lightly worn, and offsetting onto endpapers, otherwise near fine. (3 7/8 by 2 11/16; 97x68mm).

Classiques en Miniature.
Molière, et al.

26 volumes. A travelling set of the highspots of French literature and learning. Contains: 8 volumes of the works of Molière, 2 volumes of the works of Boileau, 2 volumes of the works of Fénèlon, 7 volumes of the works of Voltaire, 2 volumes of the works of Voltaire, and one volume each of works by Destouches, Racine, Regnard, Montesquieu, and Cresset. Uniformly bound in gilt-stamped leather, with volumes by each author in a different color. Spines faded, otherwise fine. Housed in a wooden box. (3 7/8 by 2 1/2; 98x65mm).

Papermaking Through Eighteen Centuries.
Hunter, Dard

Octavo. xvii, 358pp. First edition. Illustrated throughout with black & white photographs depicting specimens of paper, watermarks, and the tools and process of papermaking. An updated and revised trade edition of Dard Hunter's Old Papermaking, which was published in a very limited edition in 1923, with additional text and illustrations. Light foxing to preliminary pages and text edges, otherwise a fine copy in light brown cloth with a brown leather spine label. T.e.g.

Les Liaisons Dangereuses.
De Laclos, Choderlos

Two quarto volumes. 276; 262pp. One of 1,000 copies printed by Harry Crosby in several colors. Illustrated with fourteen full-page illustrations by Alastair. Translated into English by Ernest Dowson. Bound in printed wrappers, covered in glassine. Very good and unopened, with light foxing to edges and chipped glassine on both volumes. Volume Two is split along spine, with minor loss to foot of spine. Lacking slipcases.

Memories of President Lincoln and Other Lyrics of the War.
Whitman, Walt

Octavo. 41pp. From an edition of fifty numbered copies, this is one of forty offered for sale. Printed on Japan vellum in red and black from the plates of The Bibelot, Vol. 10, June 1904. Illustrated with a frontispiece portrait of the author, with a facsimile inscription to Horace Traubel, who wrote the Foreword. Contains the four poems that became "Memories of President Lincoln" when they were reprinted together in the 1881 edition of Leaves of Grass. "O Captain! My Captain!" was published seven months after Lincoln's assassination and was Whitman's tribute to the president he greatly admired. This collection also includes seven additional poems inspired by the American Civil War and variously reprinted from Drum-Taps and Leaves of Grass, as well as "Beat! Beat! Drums!," which was published at the beginning of the war and was a rally cry for the Union army. Fine in Japan vellum-covered stiff paper wrappers, with yapp edges at top and fore-edge. Label with information about Abraham Lincoln pasted to rear wrapper. Spine of book lightly tanned, and minor soiling on book concurrent with the cut-out on the slipcase for the finger pull. Housed in paper slipcase, which is slightly worn and soiled.

Der Ausgestossene.
Beckett, Samuel

Quarto. (40)pp. From an edition of 170, this is one of twenty copies with an additional two plates signed and numbered by the printer and illustrator, Roswitha Quadflieg. Translated into German from the original French by Elmar Tophoven, the short story "L'Expulsé" ("The Expelled") first appeared in Fontaine in 1946 and was reprinted in the collection Nouvelles et Textes pour rien in 1955. The text is accompanied by eleven woodcuts by Quadflieg, which illustrate elements from the story, including the stairs down which the narrator is expelled, his hat, and the rather large old woman upon whom he falls. Bound by Christian Zwang in grayish-brown Fabriano paper blind-stamped on the spine and boards. Fine.

Specialist.
Sheckley, Robert

Quarto. (13)ff., accordionfold. One of 200 copies, signed by the author, Robert Sheckley, and the illustrator, Susanna Bergtold. Sheckley's science fiction short story is accompanied by a pictorial title page and nine full-page illustrations. Bound in sculptural etched aluminum covers in the shape of a spaceship. The book is enclosed in a clear plastic case in the shape of the book with snaps on the sides, printed with the author and title. A few light scratches to covers, else fine.

The Vogue Bedside Book.
Ross, Josephine : Editor

A mint copy.

The Smart Set Anthology.
Rascoe, Burton

A near fine copy in a dust jacket that shows some rubbing.

The Devil in the Flesh.
Radiguet, Raymond

Small quarto. Translation by Kay Boyle, and Foreword by Aldous Huxley. A fine copy in gilt-stamped green cloth, with a nearly perfect red and yellow-striped dust jacket.