Search Results, p. 14

1948. Oil on cardboard. 8" x 10". [#034068] $2,500

1933. Watercolor. 8-3/4" x 11-3/4". [#034056] $2,500

Oil on cardboard. 8-1/2" x 12". No date. [#034063] $2,500

NY, Boni & Liveright, (1926). His second book, first novel. Modest wear to corners and spine gilt. A near fine copy, lacking the rare dust jacket. In custom gilt-stamped, full leather slipcase. [#034922] $2,500

(n.p.), Twentieth Century Fox, 1957. The "Final Script" of the screenplay adaptation of Faulkner's novel. The movie starred Yul Brynner and Joanne Woodward. 150 pages. Wear to the yapped covers, and fragile along the spine. Stamped as copy "32." A very good copy, now protected by a custom clamshell case. [#034948] $2,500

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

NY, Sweetwater Editions, (1981). The limited edition of this handsome book of photographs by Ann Parker, and gravestone rubbings, with text by Avon Neal. One of 175 numbered copies bound in full mottled calf, blind stamped and with raised bands and green leather spine label, and signed by Neal and Parker. In addition, there are two selenium-toned silver prints by Ann Parker laid in, matted, numbered and signed by Parker and an original gravestone rubbing, also matted, numbered, and signed by both authors. The book is fine. Enclosed with the prints in a clamshell box, which is also fine. A handsome and important production, many copies of which were destroyed when the publisher was bought and the new owner discarded existing inventory. This copy from the library of the authors, with a letter of provenance available. [#027369] $2,500

NY, Harris & Givens, (1942). The painted issue of his fourth book: Copy No. 14 of 75 numbered copies, each featuring an original cover painted by Patchen. This copy features the character Mega. Signed by the author. Offsetting to the half-title page from previous label; toning to covers; near fine in wrappers, in the publisher's near fine slipcase. A very early painted edition. [#034848] $2,500

Chicago, Consolidated Book Publishers, (1942). Salinger's first book appearance, this being the first issue (1942), the state without the head and toe bands. Rubbing to covers; near fine in a near fine, lightly faded mailing box, (printed in red, black and orange rather than the later red, white and blue), which has a revised page count stamped over the original page count. The "2" in the copyright date, which in our experience is always battered, is more clearly visible in this copy than in most other copies of the first issue that we have seen. [#914680] $2,500

Indianapolis, Bobbs-Merrill, (1968). The galley sheets of this early play by Shepard, his first two-act play. Laid in are the galleys of Elizabeth Hardwick's introduction, dated 1967; Hardwick had reviewed the play for the New York Review of Books. At the time Shepard wrote La Turista, he was a member of the counterculture rock band The Holy Modal Rounders, which had a cameo appearance in the film Easy Rider. Shepard was nominated for an Academy Award for his role as test pilot Chuck Yeager in The Right Stuff; he won a Pulitzer Prize for Drama in 1979 for Buried Child, and he won eleven Obie awards and was nominated for two Tonys, for Buried Child and True West. He received the Gold Medal for Drama from the American Academy of Arts and Letters in 1992. Claspbound, printed on rectos only, front cover tanned and separating; rear cover has date and price and "DUPL NYPL." Front cover has the name of Paul Myers, curator of the Theatre Collection at the New York Public Library. Very good. A fragile and rare early state of this play by one of the most important playwrights of the latter half of the 20th century. The only copy of the proof we have seen. [#027093] $2,500

Amherst, Shanachie Press, 1980. A limited edition of a poem by Tate which first appeared in The New American Poetry Review. Of a total intended edition of 135 copies, this is Copy "F" of ten lettered copies reserved for Tate and for the artist, Stephen Riley, and signed by both of them. With etchings and engravings by Riley, each of these lettered and signed by the artist. Riley was a promising artist in the 1970s known for his fantasy illustrations, here accompanying Tate's surrealist poetry. Reportedly, most of the intended edition was never printed, and it's possible that only the 10 author's and artist's copies and 25 Roman-numeraled copies were actually produced. Loose sheets, 11-1/4" x 15", fine, laid into a near fine slipcase. An attractive fine press production, and one of the rarest pieces by the Pulitzer Prize- and National Book Award-winning poet. [#033654] $2,500
On Sale: $1,875

1943-02-23. Oil on cardboard. 8-1/2" x 15". [#034080] $2,400

Charcoal on cardboard. 8-1/2" x 14". No date. [#034054] $2,300

Oil on canvas. 11" x 7". No date. [#034053] $2,300

Oil on cardboard. 8-1/2" x 9-1/4". No date. [#034052] $2,300

Jackson, University Press of Mississippi, (1993). A limited edition, issued as part of the Author and Artist Series, of this highly regarded book of photographs by Adams, with narrative by Smith. This is No. 2 of 50 numbered copies signed by Adams. An uncommon book in any hardcover issue, and especially scarce in this limited, numbered issue. Fine in a fine slipcase. [#911241] $2,000

(various), (various), (1956, 1968). In 1897, eight year-old Virginia O'Hanlon wrote a letter to the editor of the New York Sun, asking, in part, "Papa says, 'If you see it in The Sun it's so.' Please tell me the truth; is there a Santa Claus?" The reply of Editor Francis P. Church read, in small part, "Yes, Virginia, there is a Santa Claus. He exists as certainly as love and generosity and devotion exist, and you know that they abound and give to your life its highest beauty and joy. Alas! how dreary would be the world if there were no Santa Claus! It would be as dreary as if there were no Virginias...." Church's response became the most reprinted English language newspaper editorial in history. When Virginia O'Hanlon died, in 1971, friends formed a press to publish the editorial and its back story as a children's book; in 1974, the book became an Emmy Award-winning animated television special; and, in 2009, it became a CGI animated television special entitled simply, "Yes Virginia." The items offered here all predate the story's book and animation fame, and include the typescript of a 1956 television appearance by O'Hanlon, a Sun broadside of the editorial, and Two Christmas Classics, which is likely the editorial's first appearance in book form, in 1968. The lot is as follows: 1. The 3-page typescript of a 1956 segment of the television show The Children's Hour, hosted by Ed Herlihy, with guest appearances in this episode by Santa Claus and by Virginia O'Hanlon, who would have been in her late 60s. In it, Santa asks Herlihy if there really is a Virginia, and Herlihy introduces "Dr. Laura Virginia O'Hanlon Douglas," using her married name (kept after her divorce), acknowledging her doctorate (from her career as an educator), and revealing that "Virginia" was actually her middle name. Herlihy then recounts the story of the editorial, and O'Hanlon is given unscripted time to talk about events since, followed by her own reading of Francis P. Church's famous response to her younger self. These pages are stapled to: 2. An undated New York World Telegram/The Sun broadside of the full editorial, entitled "Is There a Santa Claus?," and adding a paragraph at the bottom on "How Editorial Happened to Be Written." 3. A cover letter is included, written on New York World Telegram letterhead and dated October 21, 1956, from a former employee of the paper to "Miss Clements" (Alice Clements, producer of The Children's Hour), saying that he is acquainted with O'Hanlon and feels he can convince her to appear on the show, adding, "Each and every year during the month of December I was shocked by the nation-wide demand for reprints of the Virginia O'Hanlon story." These three items are folded in half, and the corner staple is rusted; they are otherwise near fine. 4. Together with the chapbook Two Christmas Classics, issued by Columbia University Press, ca. 1968, and printing both Church's editorial and Clement Clarke Moore's A Visit from Saint Nicholas ("Twas the night before Christmas") as a holiday keepsake, as both Church and Moore were graduates of Columbia College. (Coincidentally, O'Hanlon received her Masters Degree from Columbia.) The chapbook also prints brief, anonymous, introductions to each. Approximately 4-3/4" x 6-1/2", edge-sunning to the front cover; near fine in stapled wrappers, with a holiday greeting laid in that is signed by Carl B. Hansen, of Columbia University Press. A relatively early grouping of items in the enduring legacy of one child's curiosity and Church's timeless response embodying the meaning of Christmas. [#032276] $2,000

1942-04-01. Oil on cardboard. 8" x 8-1/2". [#034039] $2,000

Oil on cardboard. 8-1/2" x 11". No date. [#034046] $2,000

1940-09-07. Oil on cardboard. 8-1/2" x 18". [#034047] $2,000

Oil on cardboard. 7-1/2" x 8-1/2". No date. [#034044] $2,000

Oil on cardboard. 8-1/2" x 9". No date. [#034038] $2,000

Watercolor. 12" x 9". No date. [#033248] $2,000

1944-10-27. Oil on cardboard. 8-1/2" x 15". [#034049] $2,000

1939-01-01. Oil on cardboard. 8-1/4" x 8-3/4". [#034048] $2,000

Oil on cardboard. 7" x 10". No date. [#034043] $2,000

Oil on canvasboard. 8" x 10". No date. [#034037] $2,000

Pencil on paper. 8-1/4" x 10-5/8". No date. [#034035] $2,000

Oil on cardboard. 5-1/2" x 8-1/2". No date. [#031639] $2,000

Oil on cardboard. 8-1/2" x 15". No date. [#034042] $2,000