Catalog 107, D-F
106. DAVENPORT, Guy. Typed Note Signed. March 22, 1984. Thanking the editor of Art & Antiques for a copy of the magazine, which he found "impressive indeed. Except for the disappointing piece on Balthus (is there nobody in NYC who understands this wonderful painter?)" Davenport agrees in principle to submit an article: "I doubt if I can do anything good enough to be in your magazine, but I can try." Signed by the author. On notepaper; fine, with envelope.
107. DAVENPORT, Guy. Typed Note Signed. February 6, 1986. Again to the editor of Art & Antiques, this time proposing an article on "Painting by non-painter writers? . . . Ibsen, Kipling, Hopkins, Cummings. Kafka doodled well." Signed by the author. Folded in half for mailing; else fine, with envelope.
108. DAVENPORT, Guy. Typescript of "Souvenirs of the Grand Tour." [1986]. Four page ribbon-copy typescript of an apparently never-published article on the lost (or never found) art of American tourism in Europe. With several holograph corrections. Together with the signed contract for the piece as well as a typed note signed conveying the "contracts" (plural, but only one is retained here) and itemizing his own art collection: "My prize possession is Louis Zukofsky's chair, the one in which he wrote A." The above are folded for mailing; else fine, with envelopes. Also together with a typed note signed from 1991, declining to write an article: "My sense of audience wobbles terribly every time I think about it. I have no idea of who reads A&A. The one piece I've written for you [presumably the article herein] was turned down." This letter is folded a bit unevenly for mailing, else fine, with envelope. For all:
109. DAVENPORT, Guy. Typed Letter Signed. June 18, 1988. A humorous recounting of a holiday in Denmark. Signed by the author. Folded in thirds for mailing; else fine, with envelope.
110. DAVIES, Robertson. Typed Notes Signed. 1985, 1986, 1991. Three typed notes signed by Davies, each to the editor of Art & Antiques magazine and each, in its way, declining or postponing the writing of an article. The first pleads a heavy work load; the second plays with the idea of an article on "Handwriting as an Art" and then pleads heavy work load; and the third states that he is departing for Europe and promises an article on "'Penny Plain and Tuppence Coloured' theatrical engravings" in the future. Each is written on the stationery of Massey College and is folded for mailing; else fine, with envelopes. Together with two notes from the same period from Davies' secretary written on his behalf, also declining.
111. DELILLO, Don. Underworld. (NY): Scribner (1997). The advance reading copy of the most recent novel by the National Book Award-winning author of White Noise and Libra; this novel was also nominated for the National Book Award. A massive book, which received extraordinary reviews from every quarter, more than living up to its publisher's hype, and confirming DeLillo at the front rank of contemporary American writers. There were reportedly 300 copies done of this advance issue, a small number for such a major book. Slight crease to rear panel and tiny bump to spine base; near fine in wrappers.
112. DEXTER, Pete. Paris Trout. NY: Random House (1988). The uncorrected proof copy of his third novel, winner of the National Book Award and basis for a highly praised movie. Fine in wrappers.
113. DÍAZ, Junot. Drown. NY: Riverhead Books, 1996. The author's highly praised first book, a collection of stories. Signed by the author. Fine in a fine dust jacket. Laid in is an autograph note signed transmitting the book. Folded in fourths; else fine.
114. DICK, Philip K. Do Androids Dream of Electric Sheep? Garden City: Doubleday, 1968. One of Dick's most sought-after books, a nightmarish satire that was the basis for the movie Blade Runner and was included in David Pringle's selection of the 100 best science fiction novels (Dick's fifth title listed, the most of any author). One of the earliest of Dick's books to be published in hardcover in this country and, by consensus, one of his best novels. Doubleday, which owns several book clubs, was notorious in the Sixties and early Seventies for the cheapness of their bindings: their trade editions often resemble inexpensive book club editions and this book is no exception. This copy has a bit of spotting to the lower page edges and a light abrasion on the front flyleaf; near fine in a very good dust jacket with a vertical crease to the front panel and modest edgewear. In recent years copies of the trade edition of this title have become increasingly elusive.
115. DICKEY, James. Deliverance. Boston: Houghton Mifflin, 1970. The author's first novel, after a number of collections of poetry. Made into a memorable film. Offsetting to several middle pages; near fine in a very good dust jacket that is rubbed at the folds and has several small, internally tape-mended edge tears.
116. DOCTOROW, E.L. Loon Lake. NY: Random House (1980). The limited edition of his fifth novel, a National Book Award nominee. One of 350 numbered copies signed by the author. Spine cloth faded; else fine in a sunned, near fine slipcase.
117. DOCTOROW, E.L. Typed Note Signed. July 31, 1985. A brief note declining to write an article: "It's a matter of timing --- and I do occasional pieces rarely, in any event." Signed by the author. Folded for mailing; else fine.
118. DOCTOROW, E.L. Typed Note Signed. November 22, 1991. Written to the editor of Art & Antiques, apparently, offhandedly, declining to write an article: "I regret to say that I do not collect anything -- at least not intentionally. Maybe notes for the book I'm working on or mail that I somehow don't get around to answering. But in any event, nothing as substantive as Gottlieb's plastic handbags or Brodkey's bird decoys. . . . if I do happen to become obsessive about anything appropriate, I'll be in touch." Signed by the author. Folded for mailing; else fine, with envelope.
119. DOIG, Ivan. This House of Sky. NY: HBJ (1978). The author's first publication for the general book trade, winner of numerous awards, including being voted one of the five best books ever written on Montana. A finalist for the National Book Award. Fine in a near fine, price-clipped dust jacket with only a hint of the usual spine fading. Laid in is a printed "This House of Sky" card signed by Doig.
120. DUNN, Katherine. Geek Love. NY: Knopf, 1989. The uncorrected proof copy of the author's third novel, a critically well-received story of a carnival family told in the voice of an albino hunchback dwarf. Fine in wrappers.
121. ELKIN, Stanley. Typed Note Signed. October 24, 1990. Elkin effusively thanks the recipient for comments on his recent article and apparently for having sent him soap, a subject that had come up in the article: ". . . thank you most of all for those wonderful wrapped emulsifiers and alkali-reamed fats, those delicious sodium and potassium salts and acids. Man, if I had your job I'd have been World Soap Czar by now!" Signed by the author. Folded for mailing; else fine, with hand-addressed mailing envelope.
122. ELLISON, Ralph. Invisible Man. NY: Random House (1952). The author's first book, winner of the National Book Award and one of the most celebrated African-American novels of all time. In a poll conducted in 1965, 200 critics, authors and editors judged Invisible Man to be "the most distinguished single work" published in the previous 20 years. Trace rubbing to the spine lettering; still a fine copy in a very good dust jacket with a couple closed edge tears; shallow chipping at the spine extremities; and a bit of splitting to the front flap fold. A very attractive copy of one of the high spots of 20th century American literature -- both a classic of African-American fiction and a book that transcends such a racial identification to stand as a literary landmark on its own terms.
123. ESQUIVEL, Laura. Like Water for Chocolate. NY: Doubleday (1992). The advance reading copy of the first American edition of this phenomenally successful Mexican novel, which sold more than four million copies and was made into the most successful Spanish-language film ever released in the U.S., grossing over $20 million. A literary and publishing phenomenon. Fine in wrappers.
124. EUGENIDES, Jeffrey. The Virgin Suicides. NY: FSG (1993). The first book by this New Yorker 20 and Granta 20 author. Fine in a fine dust jacket. Signed by the author with a holograph quote, presumably from the book: "...alone in suicide, which is deeper than death..."
125. FARRELL, Henry. Whatever Happened to Baby Jane? NY: Rinehart & Co. (1960). The author's eerie horror novel of two sisters in Hollywood, made into the classic movie starring Bette Davis and Joan Crawford, which was nominated for five Academy Awards and won one. Slight splaying to boards; pages darkening as a result of the cheap paper used for this "genre novel;" near fine in a very good, price-clipped dust jacket rubbed at the edges and folds.
126. FAULKNER, William. These 13. NY: Cape & Smith (1931). The limited edition of this collection of stories, Faulkner's first volume of short fiction, published after the critical successes of The Sound and the Fury, Sanctuary and As I Lay Dying. One of 299 copies signed by the author, his first signed limited edition and one of the smallest limitations for a signed Faulkner edition, of which he did many over the years (although he usually declined to sign his regular trade editions when asked). Two faint, small tape shadows on each free endpaper, front and rear; else fine, lacking the original plain tissue dust jacket. A beautiful copy, with the silver top edge stain still bright and clean and the silver stamping on the spine entirely intact.
127. FAULKNER, William. The Wild Palms. NY: Random House, 1939. The first trade edition of this elaborately structured novel, which consists of two distinct stories presented in alternating chapters. This is the first state, with the front and spine stamped gold and green. Top stain faded; very near fine in a very good, sunned and price-clipped dust jacket with a couple internally tape-mended edge tears. Still an attractive copy.
128. FAULKNER, William. The Hamlet. NY: Random House, 1940. The limited edition of the first book in the Snopes trilogy, which is considered one of Faulkner's great accomplishments. One of 250 numbered copies, signed by the author -- one of the smallest limitations of any of Faulkner's signed editions: only Go Down, Moses (100 copies) had a smaller run, while a couple of other titles were issued with the same limitation. The later volumes of the Snopes Trilogy had much larger limitations (see below), but because of the size of the print run of The Hamlet, there can be no more than 250 sets of the trilogy that could be assembled in the signed limited issue. The boards are very slightly dusty at the edges; else a fine copy, with the top gilt still bright and the gilt stamping on the spine still clear and unworn. Lacking the (rare) original glassine dust jacket.
129. -. Same title, the trade edition. First printing in a second issue dust jacket with reviews of this title on the back panel. Slight handling in evidence to the black cloth; still a fine copy in a very good, price-clipped dust jacket with wear at the spine extremities and sunning to the rear panel.
130. FAULKNER, William. The Town. NY: Random House (1957). The limited edition of the second book in Faulkner's Snopes Trilogy. This is #50 of 450 numbered copies signed by the author. Fine in the publisher's original acetate dust jacket.
131. -. Same title, the trade edition, this being the first issue, in red cloth with threaded gray endpapers and "5/57" on the dust jacket flap. Owner name, fading to top stain; else fine in a very near fine dust jacket with the slightest tanning to the spine and a hint of a crease at the crown. A very attractive copy of his first novel after winning the Pulitzer Prize for fiction and the National Book Award in 1955 for A Fable.
132. FAULKNER, William. The Mansion. NY: Random House (1959). The third volume in the Snopes trilogy. Again, the limited edition. One of 500 numbered copies signed by the author. This title was a National Book Award finalist in 1960. Fine in the publisher's original acetate dust jacket.
133. FISHER, M.F.K. Typed Letter Signed and Dictated Letter Signed. 1984 and 1985. A typed letter signed, June 22, 1984, which is a reply to the editor of Art & Antiques, agreeing in principle to contribute something to the magazine after taking "a few months off work to pull together a project . . ." She intends to propose something on "the idea of the gastronomical paintings in a provincial French museum." Folded in thirds for mailing; else fine. With several holograph corrections, and mailing envelope. Together with a rambling dictated letter signed, January 12, 1985, in which Fisher's subjects are mostly short responses to her recipient's previous letter. She informs her recipient that she will be away for a few weeks, finishing a book and that "When I get back I'll be much more open to any and all light on the currently rather [Fisher, unable to make out the next word, has inserted in holograph: ??? (dictated!)] subject of gastronomy in Flemish painting, or whatever it is I'm supposed to be more intelligent about than I am now." At the bottom, she appends a holograph postscript, which begins: "This letter is silly!" Folded in thirds for mailing; else fine. With envelope. Fisher -- the author of How to Cook a Wolf, Serve it Forth and The Gastronomical Me, among others -- was perhaps the finest writer to make food her primary subject of choice, and to use it as a gateway to other, more transcendent issues of style, taste and, ultimately, the quality of life itself. Autograph material by her is uncommon.
134. FISHER, M.F.K. "A Georgian Sugar-Shaker." October/November, 1984. Signed computer printout, four pages about, as the title suggests, a Georgian sugar shaker. Together with two typed letters signed. One letter submits the article to Art & Antiques magazine, explaining one possible error in the text and expressing fear at finding any further errors. The second letter, among other things, thanks the recipient for proposing a way to deal with contextual errors and for his lenient attitude toward her laxity, specifically, ". . . for letting me be so self-preservative or whatever it is about not learning anything right now." With several small holograph corrections, to both article and letter. Each is folded in thirds for mailing; else fine. With mailing envelope. Also together with a note from Fisher's agent to the editor staking claim over the publication arrangements. Manuscript material by Fisher seldom appears on the market. For all:
135. FISHER, M.F.K. Correspondence. 1985-1988. A typed letter signed (January 30, 1985), in which Fisher postpones any immediate commitments to writing for the magazine due to the "boring interruption" of a back injury. Together with a dictated letter signed (May 31, 1985), which is a lengthy, chatty letter in which Fisher again informs her recipient that "I don't want to work for a while longer. If I did, I'd love to do something for you." And after empathizing with her recipient's medical problems, she spends a paragraph on current publishing trends: "I was rather shocked to have GEO disappear, because I liked to work for them. And then the shakeups at THE NEW YORKER, where I felt like one of the family for some 39 years, distressed me more than a little . . ." There is a holograph postscript, and the holograph note: "This is dictated -- but I'm trying very seriously to use cassettes for my 'Fisher' stuff -- I hate it -- ." Together with a January 6, 1986 typed letter signed, which is basically one of friendship: "It did not matter not hearing from you, because I felt quite sure that all was well between us and that you would write some time, or I would . . . Thank you for sending me three copies of your little old rag. I have not even looked at them, because I'm temporarily without good eyes. . . . By now you must know that I love what you're doing. I'm lagging terribly in my work thanks to some unexpected complications in the so-called Aging Process . . ." A generous and friendly letter, which also shows Fisher's handwriting deteriorating substantially as her eyesight worsens. This is followed on February 14 by a dictated note, unsigned but amended in holograph, in which Fisher cancels her commitment to an article, writing "I dislocated my hip and just got out of the hospital, and I'm completely at the mercy of medicines and people for a month or so. Ho hum." In two instances, the letter refers to the "turine" story. Fisher has scrawled in the margin that the letter was dictated: "I meant Tureen." Finally together with a typed note signed from November 3, 1988, thanking her recipient for continuing to send copies of the magazine she has failed to write for in recent times. On a 3" by 5" card, with mailing envelope. Fine. The other items are folded for mailing; else fine, with envelopes.
136. FISHER, M.F.K. "A Dream for Jessica." October 10, 1989. Photocopied typescript of a short story, 3 1/2 pages, reproducing holograph corrections and with a typed note signed submitting the story and instructing that it be passed on to her agent if the recipient has no use for it. Folded in thirds for mailing; else fine. With envelope. Manuscript material by Fisher is quite uncommon, and although this is a reproduction, the letter of transmittal gives it a nice provenance.
137. FISHER, M.F.K. "Outward and Visible Sign." August 16, September 4, October 3, 1990. Computer printout, signed, 10 1/2 pages, on the subject of table manners and grace. Together with a typed note signed, which submits the piece, and two typed cards signed, each 4" x 5 1/2", which seem to respond to a request for alterations to the text. In one: "Do you want me to add anything myself, or would you want it to be added by someone on your staff. If so, will it be set apart in any way from my text? . . . I wonder about the change in style. If someone else has added any notes would this be called a collaboration?" In the later note: "I'm truly sorry to tell you that I don't feel at all like adding anything to the story I sent you. Please go ahead with whatever you want to do with it, or shelve it if you wish." Each card has holograph corrections. All items fine; each with a mailing envelope.
138. FISHER, M.F.K. Correspondence. 1990-1991. A typed note signed (October 22, 1990) on a 4 1/2" x 5" card, in which Fisher expresses delight at a pending meeting with her occasional editor of over six years. With a note written by Fisher's assistant on Fisher's behalf (February 27, 1991), and another card written by Fisher's assistant (May 10, 1991), which reports secondhand on the meeting: "Mary Frances loved hearing all about you and the magazine, and she hopes you'll find a rich 'gentleman farmer' to help you carry on the fine ART & ANTIQUES tradition." Together with a dictated note (June 24, 1991), on a 4" x 5 1/2" card, in which Fisher acknowledges her correspondent's interesting letters and apologizes for her lack of response: "I find it very hard to dictate even with the artificial help of an amplifier for my present whisper." She expresses relief at having missed an Academy Ceremony, and concludes with the promise of corresponding and perhaps submitting something soon. All items fine, with mailing envelopes.
139. FISHER, M.F.K. "Farther Off From Heaven." July 18, 1991. Typescript of a reminiscence by Fisher, four-plus pages, with typed and holograph corrections in an editorial hand and signed by Fisher at the end. Folded in thirds for mailing; else fine. With envelope.
140. FORD, Richard. Rock Springs. (NY): Atlantic Monthly Press (1987). An advance reading excerpt of Ford's first collection of stories. Prints the story "Children," which was changed significantly by the author prior to the publication of the book, making this the only appearance of this version of the story. Fine in stapled wrappers.
One of 26 Lettered Copies
141. (FORD, Richard). IMES, Barney. Juke Joint. Jackson: U. Press of Mississippi (1990). Oblong quarto with an introductory essay by Ford and color photographs by Imes of Southern "juke joints" -- black taverns and social clubs in the rural South. Of a total edition of 126 copies, this is one of 26 lettered copies signed by Ford and Imes. An attractive book and a very scarce limited edition, especially the lettered issue, which we have not seen offered on the market for several years. Ford won the Pulitzer Prize for fiction after this book was published and many of his scarcer items have disappeared almost entirely from the market as the number of Ford collectors has grown since then. Fine in illustrated slipcase, as issued.
142. FORSYTH, Frederick. The Day of the Jackal. London: Hutchinson (1971). The first British edition of the first novel by this thriller writer, made into a successful movie. Offsetting to front endpages, splaying to boards; about near fine in a near fine dust jacket with one small edge tear and some extraneous tape shadows on the flaps.
143. FOWLES, John. The Collector. London: Jonathan Cape (1963). His acclaimed first book, which was made into a movie. With the 1967 ownership signature of writer Julian Barnes, author of Flaubert's Parrot, among others; an early Barnes signature and a nice association. Fine in a fine dust jacket with just a shade of fading to the spine. A beautiful copy.
144. FOWLES, John. The French Lieutenant's Woman. London: Cape (1969). The first edition of what many consider to be Fowles' best and most important book, a landmark novel that uses an unconventional love story to explore the decline of Victorian England and the advent of the modern age and modern notions of freedom and self. Filmed with Meryl Streep and Jeremy Irons, from a Harold Pinter script. Trace foxing to the foredge and bowing to the front board; near fine in a near fine dust jacket.