Catalog 175

Reclining nude (likely Marion Morehouse), with a floral, wave-like background. Oil on canvas. 43" x 20". Undated. The canvas had been rolled for storage, with some loss of paint, but it has since been expertly restored by Julian Baumgartner and stretched on to a wood frame. Fine. [#036307] $20,000

A self-portrait of the poet/painter, in profile, with cigarette. Colorful background, and matching tie. Oil on canvas. 18" x 20". Undated. LPC# 696: after the deaths of both Cummings and Morehouse, Cummings' daughter Nancy left the body of his artwork to the Luethi-Peterson Camps, a New Hampshire non-profit that operated summer camps for the promotion of international understanding among children. The canvas had been rolled for storage, with narrow bands of partial paint loss, but it has since been expertly restored by Julian Baumgartner and stretched on to a wood frame. Fine. [#036318] SOLD

NY, [The Democratic Party], 1888. The Democratic Party Platform, as adopted in St. Louis on June 7, 1888. Grover Cleveland was running for re-election, against the Republican Benjamin Harrison: Cleveland won the popular vote, but lost in the Electoral College. (Cleveland would win a rematch, in 1892.) This pamphlet puts forth the ideals of the Democratic Party at the time, including: childhood education; the rights of organized labor; the separation of church and state; the equality of all citizens without regard to race or color; the reform of unjust tax laws that unduly enrich the few; the end of the sale of public lands to benefit corporations rather than settlers; the reigning in of tariffs; the admission of Washington, Montana, Dakota and New Mexico into the Union; and supporting the blessings of self-government and civil and religious liberty for all nations. The platform reaffirms the rights of native and naturalized citizens, but takes a hard line against the importation of "unfit" foreign labor. One sheet, folded to create a 12 page pamphlet, 3 3/8" x 5 3/4". Foxed, and fragile; about very good. Only two copies located in OCLC, at NYPL and Pittsburgh State University. [#034697] $1,000

1975. A letter dated January 27, 1975 and written to Paul [presumably Paul Williams, Dick's close friend and eventual biographer] transmitting chapter one of Confessions [of a Crap Artist] (not included here) and, included here, two pages of "theological ramblings" related to Dick's "beginning to fashion a scientific theory about [his] theological experiences..." The letter covers a bit about the retrograde forces such as tachyons bleeding back at Earth due to the weakening field of time; one of the two pages of notes considers humans' (and Dick's) roles as avatars, with knowledge received from the Holy Spirit; the other page considers our inability to recognize God and postulates a "SF novel: Hefestus as VALIS" -- a very early mention of the acronym Dick developed for the "Vast Active Living Intelligence System" that he considered to be the nature of reality and the universe, after his psychological/religious epiphanies that he experienced in February and March of 1974. The theological writings are from the early pages of what came to be known as his Exegesis, which, by the time of his death in 1982, had reached over 8000 pages of religious and metaphysical insight and speculation. The letter, signed by Dick, runs about 225 words; the theological musings about 950 words. Near fine. [#032866] $8,500

1980. Long galley sheets for Dick's novel VALIS (Vast Active Living Intelligence System), a 1981 paperback original. The VALIS galley sheets are dated 6-23-80: approximately 68 sheets of 25" in length, age-toned with minimal edge wear, in a custom folding chemise and slipcase. Casual inspection revealed one textual difference from the published version. Near fine. Also laid in is a very good copy of the proof of the Bantam covers, which differs from the final version by virtue of the absence of the Bantam logo on the front cover. A very scarce issue of the book that would become the capstone to Dick's literary career. Long galleys such as these are seldom produced in more than a couple of copies, and very seldom turn up for books that were issued as paperback originals. It's ironic that Dick's culminating novel, which transcends science fiction's usual boundaries, would be issued as a paperback original: Dick had so many books issued as paperback originals in the 1950s and 60s, before his books came to be regularly published in hardcover, that the Science Fiction Writers of America named an award after him, the Philip K. Dick Award, for the best SF novel issued as a paperback original. Dick spent the last several years of his life striving for recognition as more than a science fiction writer, and VALIS could have been that break-out novel, had it not reverted him to his former identity as a writer of paperback originals. A rare issue of a major Dick novel. As far as we can tell, unique. [#032867] $8,000

Boston, Houghton Mifflin, 1970. The first American edition. Inscribed by Dorst to Claes Nobel: "To Mr. Claes Nobel/ as a tribute to his efforts to save man and nature/ Jean Dorst." Before Nature Dies was first published in French (in Switzerland) in 1965, before being translated into 17 languages: it catalogs man's assaults on nature, by continent, listed in "chronological order of their devastation," beginning with "Yesterday" (pre-Industrial Man) and continuing with "Today" (the 20th century). Dorst was Vice President of the Commission of Protection of Threatened Species of the International Union for Conservation of Nature; one of the founders of the Charles Darwin Foundation for the Galapagos; and President of the 16th International Ornithological Congress. Claes Nobel (grand-nephew of Alfred Nobel) drafted, in 1974, the Nobel Laureates Declaration on the Survival of Mankind, acknowledging that technological advances had contributed to environmental degradation while asking for pledges of conservation, and, in 1985, he authored the Global Declaration of Earth Ethics, attempting to raise standards of environmental stewardship. An excellent association copy. Fine in a very good, lightly rubbed and creased dust jacket; illustrated with photographs. [#035869] SOLD

Ames Lake/Portland/Washington, D.C., M. Kimberly Press, 1991. An artist's book by the author of Geek Love, among others. One of 125 copies printed for the National Museum of Women in the Arts as a Library Fellows Artists' Book. Of each title produced, the artist received 25 copies and the Library Fellows each received a copy, leaving only a very small number available for sale. Signed by Dunn and by Mare Blocker, Dunn's collaborator on this project. Elaborately printed and bound, with numerous woodcuts, color illustrations, and fold outs. Fine. [#914648] $1,500

(n.p.), McSweeney's, (2000). A drawing by Eggers of a broken bird-like creature, executed on the previously blank dust jacket of Timothy McSweeney's Issue No. 5. Signed (initialed) by Eggers. Additionally initialed by Eggers in 2001 and signed by Lydia Davis, Susan Minot, Ben Greenman, Lawrence Weschler, Paul LaFarge, Ann Cummins, and Sarah Vowell. Issue No. 5 was the first hardcover issue of Timothy McSweeney's Quarterly Concern, and it was issued in three variant bindings and four variant dust jackets. This is the Ted Koppel binding with the previously blank white front. Eggers, known for his memoir A Heartbreaking Work of Staggering Genius, his novels and nonfiction works with themes of social justice, his founding of the McSweeney's empire, and his nonprofit work with childhood education, has at various junctures also been a painter, a cartoonist, or an illustrator. He often pairs animals with simple, or Biblical, text: in 2010 he published a collection of these entitled It is Right to Draw Their Fur. One tiny corner tap, else fine in a very near fine dust jacket. [#032950] $1,000

Hopewell, Pied Oxen Printers, 2006. A long poem by Eshleman in memory of his longtime friend, the artist Bill Paden, who died in 2004. Of a total edition of 50 copies, this is one of 15 numbered copies reserved for the poet and for the printer, David Sellers. Signed by Eshleman and Sellers. With a Hanga woodcut frontispiece signed by Bill Paden and numbered as one of 100 copies but, according to the colophon, no more than 30 were completed before Paden's death. A fine copy, from the library of author Clayton Eshleman. Letter of provenance available. [#027889] $1,000

New York, Boni & Liveright, 1927. Faulkner's second novel, which had a first printing of 3047 copies. Bookplate gently tipped to the front pastedown. Slight push to the crown and trace wear to corners, but a very near fine copy with the orange stamping on the front cover and spine still bright and fresh, in a lightly rubbed, near fine example of the first issue "mosquitoes" dust jacket. A very attractive copy of a book seldom found in this condition. [#034923] $8,500

(NY), Smith & Haas, (1932). A Yoknapatawpha County novel that is considered his "most penetrating and dramatic analysis of contemporary Southern society." Fine in a fine dust jacket: a strikingly beautiful copy of one of the high spots of 20th century American literature: probably the brightest, freshest copy we've seen in 40+ years of selling modern first editions; the orange topstain is as bright as the orange of the fine dust jacket. Housed in a custom three-quarter leather clamshell case. [#034924] $15,000

[NY], Saturday Evening Post, 1932.

A previously unknown Faulkner "A" item -- an offprint from the March 5, 1932 issue of the Saturday Evening Post.

In long-accepted Faulkner lore, the first and only separate edition of Turn About was the 1939 edition published by W. L. Massiah of Ottawa, Canada, which has been considered Faulkner's scarcest "A" item, with approximately seven known copies. Offered here is a 1932 offprint -- 7 years earlier than the Massiah edition -- with no other known copies.

Faulkner's story "Turn About" was first published in The Saturday Evening Post on March 5, 1932, with two bibliographically significant markers: the second paragraph includes a description of one character as having "a pink-and-white face and blue eyes, and a little dull gold mustache above a mouth like a girl's mouth," and the text is broken up into 10 parts, each identified with a Roman numeral, from I to X.

The earliest book publications of the story -- in O. Henry Memorial Award Prize Stories of 1932 and in Faulkner's collection Doctor Martino and Other Stories, published in 1934 -- leave out both the "gold mustache" and the text breaks. The former change seems likely to have been authorial, rather than editorial, which means that Faulkner changed the text of the story, removing the "gold mustache" phrase, before the end of 1932, when the O. Henry collection was published. The 1939 Massiah edition includes the phrase, which is how it was concluded that it had been printed from the text of the Post story, rather than from one of the later book publications. The Massiah publication also retains the 10 text breaks, but rather than being identified by Roman numerals, the breaks are separated with a filigree design.

The 1932 offprint offered here includes the "gold mustache" phrase, as well as the 10 text breaks of the original Post publication, with Roman numerals delineating the sections -- the only place, other than in the original magazine itself, where Roman numerals are used in the text.

Carl Petersen, the renowned Faulkner collector, did not have a copy of Massiah's Turn About in his collection when he published his 1975 bibliography. By 1991, when Peter Howard of Serendipity Books published the 643-page catalog of Petersen's Faulkner collection, he did have a copy, which Serendipity valued at $17,500, calling it "by far the rarest of Faulkner's published books." Christie's auction house called the Massiah edition "exceedingly scarce" and noted that "no copies have appeared at auction in at least 50 years" in a 2010 auction listing.

As best we have been able to determine, this 1932 Saturday Evening Post offprint displaces the 1939 edition of Turn About as Faulkner's scarcest "A" item: it is previously unknown, contemporaneous with the initial story publication, and possibly, at this point, one of a kind.

28 stapled pages; one page corner turned; a handful of mostly marginal pencil markings ("x's"); near fine in stapled wrappers.

[#035975] $25,000

London, Faber and Faber, (1970). Inscribed by Figes to her parents: "To Mummy & Daddy with love/ Eva/ 23rd May 1970." This was Figes's first book of nonfiction, a feminist classic published the same year as Greer's The Female Eunuch and Millet's Sexual Politics. An excellent association copy, for the author who wrote (in this book) "...woman is taught to desire not what her mother desired for herself, but what her father and all men find desirable in a woman." Spine- and edge-sunned; a near fine copy, in a supplied, near fine dust jacket. [#034714] $1,000

(n.p.), (n.p.), 1988. A 120-page screenplay by Ford for a 1991 film adaptation that he did from stories in his collection Rock Springs. Signed by Ford. An unknown number of copies were produced, but Ford signed seven of them at a reading in 1990. Photo-reproduced sheets on 3-hole paper. In this copy, page 120 was typed on a different typewriter than the first 119 pages. Bound in a flexible blue binder; fine. The film was directed by Michael Fields and starred Dermot Mulroney, Lili Taylor, Sam Shepard and Valerie Perrine. [#911202] $1,000

(n.p.), (Grenfell Press), (1999). A fine press limited edition: one of 35 copies of the first book publication of this story, which first appeared in the New Yorker and was later published, in 2001, in Ford's collection A Multitude of Sins, with several small changes to this text. An elaborate and elegant production by one of the premier fine presses in the country, with seven etchings by artist Jane Kent. This is Copy No. 21 of 35 copies, and is signed by both Ford and Kent. Unbound folios, 10-1/4" x 15-1/2", with tissue guards protecting each of the etchings, and all laid into the publisher's clamshell case, which was made by Claudia Cohen. A fine copy, offered at the publisher's price. [#911206] $5,000

(Northampton), (Gehenna Press), 1968. A scroll book by the noted sculptor, in the form of a 12' long handprinted color woodcut, carved from a single plank and printed on Japanese paper at Leonard Baskin's Gehenna Press. Commissioned in 1968, this is Copy No. 1 of 75 copies, signed by Gillen. A fanciful piece, "Some elephants they met and danced," is reminiscent of her stated sculptural theme, "the moving group." Gillen has done commissioned installations for such institutions as Lincoln Center, the Tibor de Nagy collection, and the Museum of Modern Art. The proof for this scroll book is in the collection of MOMA, NY. 12' x 11". Scarce: OCLC locates only one copy, in the Brooklyn Museum. Rolled; fine. [#014818] $1,500

NY, Holt Rinehart Winston, (1965). The uncorrected proof copy (divided into two volumes), of this collection of field studies of monkeys and apes, edited by Irven DeVore of Harvard University. Includes (in the "second half"), "Chimpanzees of the Gombe Stream Reserve," a nearly 50-page report by Goodall, on observations she made between June 1960 and December 1962, covering topics such as locomotion, communication, group structure, socialization, mating, nesting, grooming, feeding, tool use, and of course, tool-making. Goodall, despite lacking formal education at the time, had arranged a meeting with anthropologist Louis Leakey in 1957, and (after deflecting his advances) she became his assistant/secretary. In 1960, after Leakey had sent Goodall to London for a crash course in primates, he sent her to Tanzania to study chimps. (Tanzania, unwilling to allow Goodall to travel alone, required that she have a companion: Goodall brought her mother.) By year's end, Goodall had observed chimps not only using tools for feeding, but creating tools for this purpose, causing Leakey to write to her in a telegram: "Now, we must redefine man, redefine tool, or accept chimpanzees as humans." As best as we can tell, this revelatory work is Goodall's first book appearance. Two volumes (stamped "first half" and "second half") in tall, comb-bound green wrappers. The proof does not include Goodall's images. Business card of an editor at Holt, Rinehart and Winston stapled to the front cover of the first volume; each volume is near fine. Goodall's pioneering work on the Gombe chimpanzees continues to this day: it is the longest continuous study of any animal in their natural habitat in history. [#035126] $750

Brooklyn, Mainmonides, 1971. An early report on experiments in telepathy conducted in 1971, as "suggested by Jerry Garcia," in which randomly selected images were beamed to subjects miles away, from the audiences at six Grateful Dead concerts. Co-author Stanley Krippner was one of the leading researchers into dream telepathy and telepathy ("remote viewing") in general. He and Montague Ullman, along with Alan Vaughn, published Dream Telepathy: Experiments in Nocturnal ESP in 1973. He received the American Psychological Association [APA] Award for Distinguished Lifetime Contributions to Humanistic Psychology in 2013. A variant version of this report is transcribed on Krippner's website, where he writes "The results of this study were published in a medical journal in 1973." This report is dated 1971, the year the experiments were conducted; and it appears to be the earliest formal presentation of information about this study, its circumstances, and its results. 18 pages, photocopy, with one staple, near fine. [#036218] $750

Kingston, Kingston Publishers, (1992). The true first (Jamaican) edition of Campbell's autobiography which deals, to a great degree, with the obscenity case brought against him and the Two Live Crew for their lyrics on their album "As Nasty as They Wanna Be." The album was declared obscene and illegal to sell; Campbell and two others were arrested after performing songs from the album at a club in Florida. They were acquitted after Henry Louis Gates, Jr., among others, spoke on behalf of their lyrics. This book was published in Kingston, Jamaica, with a "Parental Advisory" notice on its cover, because it was thought that it might not be publishable by an American publisher. When it was finally published in America, after the trial and appeal had ended, it became a bestseller, but the Jamaican edition, which is the true first, is scarce. OCLC lists only 6 copies of the Kingston edition. Light wear to spine and corners; near fine in wrappers. [#034789] $1,500

NY, Thomas Y. Crowell, (1960). A specially-bound author's copy of Hoagland's second book, a novel. Three quarter leather, raised bands, gilt stamped, marbled endpapers. Probably a unique copy made for Hoagland by the publisher, or one of a couple of copies created by the publisher for the author and publisher -- a somewhat widespread tradition in American publishing in that era. Front cover fully detached, and in need of repair to be functional; leather somewhat mottled. A 1964 newspaper clipping about the 31-year-old Hoagland receiving two literary grants is laid in. From the author's library. [#033460] $450

(London), (Faber and Faber), (1991). Copy No. 64 of 250 numbered copies, signed by the contributors. Twenty-six writers contribute to this AIDS fundraiser, edited by Stephen Spender and with drawings by David Hockney. Signed by Hockney and Spender, and also also signed by contributors Joyce Carol Oates, Iris Murdoch, Normal Mailer, Seamus Heaney, Martin Amis, Erica Jong, Ian McEwan, Nigel Nicholson, Margaret Drabble, Craig Raine, William Boyd, V.S. Pritchett, Doris Lessing, William Golding, Arthur Miller, Ted Hughes, Kazuo Ishiguro, Julian Barnes, John Updike, Susan Sontag, Douglas Adams, and Patrick Leigh Fermor. Four living contributors declined to sign this edition -- Paul Theroux, Ted Hughes, Anthony Burgess and Gore Vidal. This copy, however, is from the collection of Vidal's bibliographer, Steven Abbott, and Vidal did sign this copy, the only copy of this edition he signed. Blue boards bound in quarter vellum. Fine in a fine slipcase. [#035645] $7,500

Clayton, Save the River, (1982). An 8-page publication of Save the River, an organization dedicated to defending the St. Lawrence Seaway, co-founded by Hoffman while living under the alias Barry Freed to evade prosecution on cocaine charges. Hoffman had been a political activist, a founding member of the Yippies (Youth International Party), and a Chicago 7 defendant, prior to going "underground" and living as Freed. He did not refrain from activism under his pseudonym, and became involved in local causes such as this. Signed by Hoffman as "Barry Freed" on the front cover. Fine in stapled wrappers. [#033019] SOLD

(n.p.), Garp Enterprises/Radio-Telegraphic Company, 1991. A very early draft of the screenplay that won Irving an Academy Award for best adapted screenplay, based on his sixth novel. Signed by Irving. This is the earliest copy of the script we have seen: the film was released in 1999; this version is dated "June 14, 1991, Revised." Hand-numbered "42." There are substantial textual differences between this early version and the final version. 130 pages, stringbound, with one remaining brad. Foxing to pages; near fine. An award-winning script, seen here as a work in progress. [#029480] $3,500

(London), Bloomsbury, (1996). The uncorrected proof copy of the first British edition of this title, which was incorporated into the U.S. edition of Trying to Save Piggy Sneed and had no separate U.S. printing. Inscribed by Irving. An uncommon proof (the British trade edition would have had a proportionally smaller printing than a U.S. one would have had, and the proof equally so), especially with the proof jacket, and even more so signed by Irving. Fine in a near fine, proof dust jacket, worn where it overlays the proof, with the price of £13.99 (later lowered to £9.99). [#029482] $1,000

Iowa City, Stone Wall Press, (1969). Johnson's first book, a poetry collection published in an edition of 260 copies. Although not issued as a signed limited edition, this copy is signed by Johnson (using two pens, apparently the first one was failing). Label removal abrasions to front endpages and sticker removal mark on front cover. Sunning to the edges and spine; a very good copy, without dust jacket, as issued. Laid in is an announcement for a 2008 reading by Johnson and others, presumably the event where the signature was obtained. A scarce first book -- preceding his second by over a decade -- by a writer best known these days for his fiction, winning the National Book Award for his 2007 novel Tree of Smoke. [#029391] SOLD

Zurich, Rascher & Cie., 1919. The first German edition of Joyce's play Exiles and the first of his works to be published in translation in any language. One of 600 copies printed: Joyce was living in Zurich at the time and he paid for the publication of this book out of his own pocket. This copy is inscribed by the author: "To J.R. [sic] Watson, Jun / with grateful regards / James Joyce / 8. ix. 1919." J.S. Watson, Jr. was at the time the co-owner of the modernist literary journal The Dial, which he bought from Martyn Johnson with his friend and fellow Harvard graduate, Scofield Thayer. Watson became president of the magazine and Thayer became its editor. The "grateful regards" refers to a gift of $300 that Watson had sent Joyce earlier in the year at the urging of Thayer, who had himself sent Joyce $700. These sums bailed Joyce out of dire financial straits, allowed him to settle a court case against him, and helped him support the theater group that he had associated with in Zurich, the English Players. In 1920 The Dial published a piece by Joyce, and in 1921 Thayer was one of his most ardent and influential supporters in the censorship case in New York against Ulysses and its publication in the Little Review. A notable association copy of Joyce's first translation. Slocum & Cahoon D44. Pages browned and acidified, and covers strengthened at all the edges and spine with tape, with a hole cut in the spine for the title to show through. The first blank, on which the inscription appears, is also strengthened at the edges with tape. Fragile, and a candidate for de-acidification, but a significant association copy from a critical point in Joyce's life and career. [#029930] $10,000

NY, The New Yorker, 1968-1988. Kael's own copies of 190 of her "Current Cinema" columns for The New Yorker, which she wrote for over two decades. All but two of these (one from 1968 and one from 1970) date from 1980 forward, following her leave of absence to try her hand in Hollywood. Included here are 20-26 columns for each of the years 1981-1987; 9 from 1980; and 13 from 1988. Several copies of each issue are present, which Kael has clipped together. Kael has also written the date on the majority, which tend to lack a printed date; and approximately a dozen columns bear Kael's corrections, markings or comments, in addition to one or two showing a copy-editor's changes. The first issue present, November 16, 1968, reviewing the forgettable Sean Connery vehicle Shalako, has Kael's note attached: "Ugh." The lot is near fine. [#035647] $2,500

1902. Written to Mr. [William V.] Alexander, editor of Ladies Home Journal, who had requested a series of articles from Keller that were later published as The Story of My Life. Keller humbly thanks Alexander for payment for the last article; in part: "I only wish I could have made the story of my life more worthy of the generous praise it has received...It has meant a great deal in my life, and in Miss Sullivan's too -- the thought of the happiness that she says my compliance with your request has brought her is sweeter even than the thought of the kindness shown me in the letters that come constantly from old friends long silent and new friends whose words go to the heart..." Two 5" x 8" pages, typed with blue ribbon and signed "Helen Keller." A very early letter by Keller, preceding her first book, with exceptionally good content. Fine. [#021174] $3,500

San Francisco, Level Press, (c. 1973). A "transmission" by Leary from Folsom Prison, timed with the arrival of the comet Kohoutek. This is a photocopy of nine pages of typewritten text on five stapled pages. The last page reproduces a hand-drawn yin-yang symbol with eight trigrams around it and references one of the hexagrams of the I Ching -- none of which appeared in the published version of this book, which was done by the Level Press and issued as a booklet; this version presumably preceded. According to Leary's bibliographer and the woman who typed Leary's manuscripts for him, including Starseed, this could have been made from Leary's own typescripts (she would have corrected the typos, she said) and issued in small numbers prior to the formal publication. A similar process took place for Neurologic, which was published in late 1973 but had a stapled, prepublication issue done in May of that year that the bibliographer called a "trial issue." Starseed was formally published in September of 1973, and this version -- if what the principals say is correct -- would likely have been done sometime around the time that the Neurologic "trial copy" was done (Neurologic was formally published slightly later in the year than the Level Press Starseed). In any case, an extremely scarce variant of one of Leary's scarcer books, unseen by the bibliographer or by Leary's typist. Near fine. [#030748] $1,500
On Sale: $1,125

Eugene, Lone Goose, 1997. Copy "A" of 16 participants' copies of this limited edition of this essay from Crossing Open Ground, later published in a trade edition by the University of Georgia Press. Here issued with twenty-three 11-3/4" x 11" woodblock images by Robin Eschner, which are hinged in a continuous presentation almost 22 feet long, encompassing the text. An elaborate production, involving a number of individuals prominent in the book arts, in addition to Lopez and Eschner: Charles Hobson, the designer, whose work is included in the collections of the Whitney Museum and the National Gallery of Art, among others; Sandy Tilcock, the publisher and boxmaker; Susan Acker, the letterpress printer; Nora Pauwells, the relief edition printer; and John DeMerritt, the binder, who was President of the Hand Bookbinders of California. The total edition was 66 copies: this is Copy A of 16 lettered copies signed by Lopez and Eschner and including a unique tire-tread print from Lopez's Toyota 4-Runner, the vehicle used in the journey from Oregon to Indiana that is described in the story. Fine, in a clamshell box. [#035200] $3,500