Search Results, p. 16

Pencil on paper. 8-1/4" x 10-1/4". No date. [#034002] $1,500

Pencil on paper. 8-1/2" x 10-1/2". No date. [#034009] $1,500

Pencil on paper. 8-1/2" x 10-1/2". No date. [#031586] $1,500

Pencil on paper. 8-1/4" x 10-5/8". No date. [#031587] $1,500

Pencil on paper. 12-5/8" x 19-1/8". No date. [#033998] $1,500

Pencil on paper. 8-1/2" x 11". No date. [#034006] $1,500

Oil on cardboard. 8-1/2" x 10-1/2". No date. [#034011] $1,500

Pencil on paper. 11" x 8-1/2". No date. [#033999] $1,500

Oil on cardboard. 6-1/2" x 12". No date. [#034012] $1,500

Oil on cardboard. 7-1/2" x 8-1/2". No date. [#034008] $1,500

1922. Watercolor. 8" x 5-3/4". [#033997] $1,500

Oil on cardboard. 5-1/2" x 11-1/2". No date. [#034010] $1,500

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

NY, Random House, (1959). The limited edition of the third volume in his Snopes trilogy. Copy No. 91 of 500 copies signed by the author. This title was a National Book Award finalist in 1960. A fine copy in a near fine, original acetate dustwrapper with a few tiny chips and tears. A very nice copy. [#034941] $1,500

Undated. An anatomical sketch by Feitelson, working on a male form, with a rocking chair on the verso. 4-1/2" x 8". Unsigned, but accompanied by a signed copy of the magazine Minotaure from 1933. The sketch shows some light green watercolor on the page and is near fine; the magazine has endured some unsuccessful attempts at reinforcing with a tape binding; the covers are detached. The signature, "Property of Lorser Feitelson," appears on the upper edge of the front cover. Feitelson was one of the founders of what came to be called the Los Angeles School of painting, a post-surrealist style that developed into what became the "Hard Edge" style of abstraction. This drawing exhibits a classical approach to draftsmanship. The issue of Minotaure is number 3-4, and features writing by Andre Breton, Tristan Tzara, and others; photographs by Man Ray and Brassai, among others; and artwork by Picasso, Matisse, Miro and Dali, among others. A glimpse of the artist's work, and a well-used example of a key surrealist publication, that provides some context for the artwork. [#032871] $1,500

NY, W.W. Norton, [1940]. The first edition of this collection of poems originally written when Garcia Lorca lived in New York and attended Columbia University, in 1929-1930, but not published until after he had died and the Spanish Civil War had ended. Spanish text, and English translation by Rolfe Humphries. A very near fine copy in a very good dust jacket with chips at the spine extremities and flap folds and a tear at the lower front panel. [#035643] $1,500
On Sale: $1,125

(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, Partisan Review, 1938-1979. An incomplete run of 60 issues, spanning five decades. From the estate of film critic Pauline Kael. Provenance available, but the direct evidence is that 1) Kael has excised her contribution from the Summer 1963 issue, and the cover says "clipped" in her hand; 2) Kael has written her name on the Summer 1967 issue and added praise inside at the Stephen Spender article; and 3) a postcard to Kael from Jack Hirschman is laid into the Fall 1967 issue. General condition: two issues from the 1930s (Jan and May 1938), good only; eleven issues from the 1940s (Spring 1945, Winter 1946, July/Aug and Sept/Oct 1947, Feb, May, July, Oct 1948, March, July, Dec 1949), all very good but for Sept/Oct 1947 which has heavily ink-stamped covers; 21 issues from the 1950s (July/Aug and Nov/Dec 1950, July/Aug and Sept/Oct 1951, May/June, July/August, Sept/Oct, Nov/Dec 1952, Sept/Oct, Nov/Dec 1954, Spring and Fall 1955, Fall 1956, Winter, Spring and Summer 1957, Spring and Summer 1958, Spring, Summer and Fall 1959), all in very good condition; 20 issues from the 1960s (Spring and Fall 1960, March/April 1961, Winter, Spring and Summer 1962, Spring, Summer and Fall 1963, Spring and Fall 1964, Winter and Summer, 1965, Summer 1966, Winter, Spring, Summer, Fall 1967, Winter and Summer 1968), all about very good but for those excised pages mentioned above; six issues from the 1970s (Winter 1971-72, Winter 1973, 1973 #2, 1974 #2 and #4, 1979 #2), all very good, but for the final three issue, which each bear a series of names on their covers that are partially crossed out. Will ship at cost. [#036222] $1,500

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

London, Field and Tuer, 1888. One of 50 numbered copies bound in full leather with raised bands, gilt stamping and marbled endpapers. Ex-library, with a bookplate on the front pastedown indicating it was from the Thomas H. Schollenberger Collection. Remains of a pocket on the rear pastedown, a number of blindstamps throughout, accession number on spine and dedication page. Still, an attractive and scarce binding, with a single foredge painting showing two separate scenes. Slight rubbing to the leather at the spine crown and on the raised bands; a very good copy. [#027363] $1,500

(n.p.), (New Directions), (1962). One of 8000 copies in wrappers of Merton's meditation on the bombing of Hiroshima and Nagasaki. Inscribed by Merton: "For Doris/ from Tom." Doris Dana and Merton met in 1966, having been introduced by Dana's godfather, Jacques Maritain. Dana visited Merton at the Gethsemani monastery twice in 1967, and the two maintained a correspondence until Merton died in December, 1968. Foxing to covers, and a creased bump to the spine crown; very good in wrappers. Mailing label from the Abbey of Gethsemani, made out to Dana in Merton's hand is included. There was a signed limited edition of this title done -- 500 copies -- which is uncommon now; signed copies of the trade edition are considerably scarcer, especially with a good association as this one has. [#035855] $1,500

1969. The photocopied typescript of four poems by Ondaatje that would be collected four years later in Rat Jelly. Given by Ondaatje to Greg Gatenby (later the director of Toronto's annual International Festival of Authors) in 1969 when Gatenby was Ondaatje's student. Includes "Rat Jelly," "Burning Hills" (2 pages), "Near Elginburg," and "Sullivan and the Iguana." All correspond to the versions published in 1973 except for one extra line in this earlier version of "Sullivan and the Iguana." One tiny hand-correction reproduced in "Burning Hills." Pages are folded once; some spotting to pages, mostly on versos, not affecting text. Near fine. Manuscript material from this early in Ondaatje's career is practically unknown in the market, and this group comes with impeccable provenance, only one step removed from the author. [#029953] $1,500

Garden City, Doubleday Doran, 1928. Inscribed by the author at Christmas in the year of publication: "To Somebody the Kewpies love/ from all the band, including Dr. Goldwater and Rose O'Neill." Creator of the Kewpie comic strip, and the inventor of the Kewpie doll, O'Neill was also the first published female cartoonist in the U.S. and active in the women's suffrage movement. Small (original) price stamp rear flyleaf, slight play in text block, and light crown wear; a very good copy in a good, edge-chipped dust jacket with some tearing at mid-spine. With a letter of provenance from a descendant of Dr. Goldwater. Uncommon signed and in dust jacket. [#033649] $1,500

(n.p.), (n.p.), 1961/1962. Mimeographed typescripts of two one-act plays, which were collected in his 1962 volume entitled Children is All. Inscribed by Purdy on the title page of Cracks to the poet Quentin Stevenson "with the sincere admiration of James" and additionally signed, James Purdy. Purdy was a controversial author whose works explored gay themes at a time when this was taboo; his popularity and critical reception suffered as a result, but many of his more celebrated contemporaries considered him a genius and a great writer, among them being Tennessee Williams (who wrote a blurb for the book publication of Children is All); Edward Albee (who produced Purdy's play Malcolm); and Gore Vidal, who called him "an authentic American genius" and wrote in the New York Times article entitled "James Purdy: The Novelist as Outlaw" that "Some writers do not gain wide acceptance because their work is genuinely disturbing. Purdy is one of them." As best we can determine, OCLC lists only two copies of the former typescript and one of the latter in institutional collections. Another collection lists "photocopies" of these two plays, but these productions predate plain paper photocopying. Children is All (1961) runs 41 pages; Cracks (1962) runs 16 pages. Each is near fine; stapled in the upper left corner. Scarce works by a writer Jonathan Franzen called "one of the most undervalued and underread writers in America." [#031486] $1,500

Boston, Houghton Mifflin, 1976. Inscribed by Robbins: "To Paul, with 'eternal' gratitude for introducing me to the Clock People. Your friend, Tom Robbins." Paul Dorpat, who is the first person acknowledged in Robbins' Author's Note for the book, was a co-founder with Robbins and others of Seattle's first underground newspaper, Helix; and an issue of the paper featured a story about The Great Clock and the legend of the Eternity of Joy, the text of which parallels Chapter 59 of Cowgirls (in addition to "the clockworks" playing a larger role in the novel as a whole). A dozen or so ink and pencil notes in the text, presumably by Dorpat. Apart from the annotations and a bit of spotting to the boards, this is a near fine copy in a very good dust jacket with a chip at the upper rear spine fold. One of the best possible association copies of this beloved, irrepressible novel. [#034749] $1,500

Cambridge, Peabody Museum of American Archaeology and Ethnology, 1913. Based on Spinden's 1909 doctoral thesis at Harvard and here Published as Volume VI of the Peabody Museum's Memoirs, this is the seminal study of Maya art and archaeology. Spinden was the first to study the range of Maya art, delineate its subject matter, and identify themes and motifs within the art and architecture of Maya society, including religious and philosophical ideas and calendrical notations. Probably the most important single volume ever published on the Maya. This copy is rebound in green buckram, and extra-annotated and illustrated in at least two hands. A (bookseller's?) note on the front free endpaper suggests the possibility that the annotations were those of the author, and indeed many of them seem to be of the type that an author would do if he were preparing a revised edition of his book. Some of the annotations correct errors in the earlier text, while others add new drawings, commentary or analysis, presumably based on information not available at the time of original publication. No revised edition of A Study of Maya Art was ever produced, however, so there is no corrected or updated text against which to compare this. Spinden, after gaining his PhD at Harvard, became the Assistant Curator of Anthropology at the American Museum of Natural History in New York, and from there went on to become the Curator of Mexican Archaeology and Ethnology at Harvard's Peabody Museum, perhaps the most prestigious post in the country for a Mayanist. Spinden also developed a widely accepted correlation between the Maya calendar and the Western calendar, which was called into question by J. Eric S. Thompson, the British Mayanist. The controversy got heated, and Spinden spent much of the rest of his time devoted to the Maya defending his correlation. It may be this controversy that pre-empted a new edition of his classic study. Thompson's correlation, or one or two days off from it -- Spinden's and Thompson's were 260 years apart -- is widely accepted today, although the issue is not without controversy even now. In any case, this is an extra-annotated copy of the first important work of Maya scholarship and, by all appearances, a unique copy. A bit of wear to the edges of the cloth, overall near fine. [#029130] $1,500

[Boston], [Houghton Mifflin], [1974]. The photocopied typescript of Stone's second novel, winner of the National Book Award and one of the best novels to link the impact of the Vietnam war on American society in the Sixties to the dark side of that era -- the official corruption and the underside of the drug experiences of a generation. Bearing the [now crossed out] working title: Skydiver Devoured By Starving Birds. The title appears in a scene in the novel; it also appears in Stone's memoir, in an account of his time working for a tabloid newspaper where the writers were given headlines made up by other writers and had to create stories around them. The one time it appeared in print was in the excerpt from Dog Soldiers that appeared in the newsprint literary magazine, Fiction, in 1973. Stone's piece was called "Starving Birds" and at the end was identified as being from "Skydiver Devoured by Starving Birds." According to a 1987 letter of provenance, this copy of the typescript was generated by the publisher and sent to the Book of the Month Club for early consideration for possible book club adoption. The pages bear, at the bottom, a torn Book of the Month Club filing sticker. 318 pages, plus cover sheet. The cover sheet and the letter of provenance are each signed by Robert Stone. The quality of the paper varies: several sheets have the blue tone of a mimeo. Near fine or better, in the bottom half of a manuscript box and the folding cardstock case of the Book of the Month Club, at this point more artifactual than protective. As far as we can tell, a unique copy of this award-winning novel, the basis for the highly regarded film Who'll Stop the Rain? [#033357] $1,500

NY, Knopf, 1965. Her second novel, a powerful and moving story of a young boy coming to terms with his little sister's death. A little foxing to top stain; else fine in a near fine, price-clipped dust jacket with a couple faint spots and rubbing to the spine. A very nice copy. [#024212] $1,500

[NY], (Scientific American), (1969). The first separate edition of this physics-themed poem. One of 6200 copies printed as Christmas cards to be issued with W.H. Auden's A New Year Greeting (not present). 24 pages, illustrated. Fine in stapled wrappers. Lacking the cardboard sleeve that combined the two booklets, but in a custom three quarter leather clamshell case from the Praxis Bindery. This copy is inscribed by the author: "For ___/ Merry Christmas 1995/ John Updike [with a drawing of holly leaves and berries]." While the print run of this item was not particularly small, especially when compared with the many limited editions Updike has done, the nature of its distribution -- as a freebie to Scientific American subscribers -- suggests that most copies would have been lost or discarded. [#030850] $1,500

1972. Four panoramic panels (constructed from nine individual images) of post-bombing destruction. Only one of the images is labeled, on verso: "Nam Ngan hamlet, Don Soc district, Thanh Hoa province, destroyed by US bombs dropped from B.52's at 2:30 hrs, April 26, 1972." Black and white photographs, mounted on mat board. These were given to members of a U.S. peace contingent visiting Hanoi in late October 1972, just before the Presidential election that year, in hopes that their content would be publicized in the U.S. upon their return. The high-profile entourage of women consisted of Jane Hart, wife of Senator Philip Hart; the poet Denise Levertov; and the novelist Muriel Ruykeyser. They met with the Vietnam Committee for Solidarity with the American People and the Vietnam Women's Union. Richard Nixon, running on a "Peace With Honor" platform, won the election in a landslide over George McGovern, who ran as an explicitly antiwar candidate. The peace delegation had little but symbolic impact: it reiterated, as had been the case for years, that the bulk of the artistic community in the U.S. was soundly antiwar, and it showed -- as had also been the case for some time -- that the antiwar movement now included part of the mainstream of American life, in this case represented by a moderate Senator's wife. Three are 20" x 7"; one is roughly 26" x 6". Near fine. In our experience, unique. [#031535] $1,500