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Thursday, August 12, 1999
93. Millay, Edna St. Vincent. Conversation at Midnight. Quarter cloth & boards, paper spine label. First Trade Edition.
New York: Harper, 1937.
Light wear to spine label, corners bumped; previous owner's name inked to front pastedown, embossed stamp to t.p., else about very good. (50/80).
94. Millay, Edna St. Vincent. Aria Da Capo: A Play in One Act. Gilt-lettered cloth, printed jacket. First American Edition in Book Form [?].
New York: Mitchell Kennerley, 1921.
Slight browning to jacket; corners & spine ends slightly rubbed or bumped, but most edges uncut, a near fine copy.
(60/90).
95. Millay, Edna St. Vincent. Buck in the Snow. Cloth-backed boards, slipcase, paper labels. Edition Limited to 515 copies, this being no. 171 of 479 copies on Arches. First Edition.
New York & London: Harper & Bros., 1928.
Signed by Millay on the limitation page. The type for this impression was destroyed. Many edges uncut. Fine in slightly soiled slipcase with extremity wear. (120/180).
96. Millay, Edna St. Vincent. Collected Sonnets. Cloth, gilt, slipcase. (Light wear to slipcase). 1941. * Letters of Edna St. Vincent Millay. Cloth-backed boards, jacket. 1st Ed. 1952. * Collected Poems. Cloth, jacket. (Light wear to dj extremities). 1956. Together, 3 vols.
Various places: various dates.
Very good. (50/80).
97. Millay, Edna St. Vincent. The Fatal Interview. Cloth-backed boards, jacket. First Trade Edition. New York: Harper, 1931.
Light wear to head of jacket, spine faded, price-clipped; else a near fine copy. (50/80).
98. Millay, Edna St. Vincent. A Few Figs from Thistles: Poems and Sonnets. Quarter cloth & boards, paper cover label.
New York: Frank Shay, [1922].
Darkening to edges of boards, lightly rubbed corners; some foxing, esp. to gutter, but very good. (50/80).
99. Millay, Edna St. Vincent. The Harp-Weaver and Other Poems. Original gilt-lettered black cloth. First Collected Edition.
New York & London: Harper & Bros., 1923.
Spine faded & dulled with light wear to extremities, a bit shelfworn; sound, very good internally. (50/80).
100. Millay, Edna St. Vincent. Huntsman, What Quarry? Half cloth & boards, paper spine label. First Trade Edition.
New York & London: Harper & Bros., 1939.
About fine. (50/80).
101. Millay, Edna St. Vincent. The King's Henchman. Woodcut frontis., dec. title printed in red, head-pieces. Half cloth & boards, paper spine label. New York: Harper, 1927.
Light rubbing to corners; offset to free endpapers from pastedown glue, else very good or better. (50/80).
102. Millay, Edna St. Vincent. Make Bright the Arrows: 1940 Notebook. Half cloth & boards, paper spine label, metallic silver & blue jacket. First Edition.
New York & London: Harper & Bros., 1940.
Light wear to top edge of jacket with some chipping; endpapers slightly browned, else near fine in an about very good jacket.
(70/100).
103. Millay, Edna St. Vincent. Mine the Harvest. Gilt-lettered cloth-backed boards, jacket. First Collected Edition.
New York: Harper & Bros., [1954].
Light wear to jacket's extremities; vol. spine dulled with corners bumped else very good.
(50/80).
104. Millay, Edna St. Vincent. The Murder of Lidice. Original printed wrappers. First Edition.
New York & London: Harper & Bros., 1942.
Light fading & chipping about wrappers; Millay's obituary affixed to front free endpaper, else about very good. (50/80).
105. Millay, Edna St. Vincent. Poems Selected For Young People. 1st Ed. Thus. * The Princess Marries the Page: A Play. 1st Ed. Together, 2 vols. Each illustrated with plates & decorations by J. Paget-Fredericks, incl. tipped-in color frontispieces. Cloth & cloth-backed boards, jackets (1st title has wraparound printed label announcing the thitherto unpublished material).
New York & London: Harper.
& Bros., 1929 & 1932.
Jackets lightly rubbed with short tears about the edges; vols. with very slight rubbing or discoloration, else about near fine in good jackets. (100/150).
106. Millay, Edna St. Vincent. Renascence and Other Poems. Cloth, paper spine label, pictorial jacket.
New York & London: Harper & Bros., [1922].
Light wear to jacket spine ends & corners, price-clipped; previous owner's inscription inked to front free endpaper, a bit of thumbing to half-title & title, else very good. (50/80).
107. Millay, Edna St. Vincent. Second April. Original gilt-lettered black cloth.
New York & London: Harper.
& Bros., [1927?].
With "I-B" on the copyright page. Gilt lightly dulled; bookplates to front endpapers, else about very good. (50/80).
108. Millay, Edna St. Vincent. "There Are No Islands, Any More." Lines Written in Passion and in Deep Concern for England, France and My Own Country. Original printed boards. First Edition.
New York & London: Harper & Bros., 1940.
Fine, scarce. (50/80).
109. Millay, Edna St. Vincent. Three Plays. Woodcut frontis. by Cimino. Half cloth & dec. paper over boards, paper spine label, pictorial jacket. First Collected Trade Edition.
New York & London: Harper & Bros., 1926.
Compiled are "Two Slatterns and a King," "Aria Da Capo," and "The Lamp and the Bell." Original publisher's advertisement laid in. Price-clipped jacket has chipping to head of spine & corners, else near fine in very good jacket. (50/80).
110. Millay, Edna St. Vincent. Wine From These Grapes. Half cloth & boards, paper spine label, jacket. First Trade Edition.
New York & London: Harper & Bros., 1934.
Jacket slightly soiled with short tears to heads of panels; front hinge cracking at endpapers, else very good. (70/100).
111. Miller, Henry. The Air-Conditioned Nightmare. Illustrated from photographs on plates conjugate with the text leaves, plus dec. endpapers. Gery cloth, pictorial jacket with photo of Miller on the rear panel. Second Edition.
New York: New Directions, [1945].
Second issue jacket carries photo of Miller on rear panel not present in the first; also a thicker and taller volume in the grey cloth rather than the tan of the true First Edition. Lightly rubbed jacket, with tiny tear on rear panel & creasing to spine ends; vol. spine ends & corners a bit rubbed, else near fine in very good jacket.
(70/100).
112. Miller, Henry. Big Sur and the Oranges of Hieronymus Bosch. Illustrated with plates from photographs of Big Sur & from the art of Bosch. Original orange cloth, pictorial jacket. First Edition, "Second Printing."
[New York]: New Directions, [1957].
Identical to the First Printing but for the words "Second Printing" on the front flap of the jacket & The Colossus of Maroussi advertised in paperback, priced at $1.25 instead of the $3.00 hardbound edition advertised on the first printing. Jacket with old tape repairs at heads of spine, front & rear panels; tape remnants affecting pastedowns, light sunning to spine, else very good. (70/100).
113. Miller, Henry. The Books in My Life. Illustrated with 4 tipped-in plates from photographs. Original olive-tan cloth, jacket. First Edition, First Issue.
[Norfolk]: New Directions, [1952].
First Issue with the 4 tipped-in plates and notice of a forthcoming set (never published) inclusive of this work; these not present in the second issue. Dedicated to Lawrence Clark Powell, Librarian at UCLA. Tiny chips out of spine ends & corners of jacket, somewhat faded; vol. near fine. (70/100).
114. Miller, Henry. The Colossus of Maroussi. Blue cloth, paper spine label, jacket. First Trade Edition.
San Francisco: Colt Press, [1941].
A non-pornographic piece from Miller, whose publishers luridly anticipated his manuscripts following Tropic of Cancer, but this one was rejected by 10 New York publishers before being accepted by the more modest West Coast press at an advance of only $100. Prints in the appendix a letter from whom Miller calls a "characteristic" Larry Durrell. Jacket darkened with neat crease down middle of spine & short tears at joints & corners; rubberstamp to front free endpaper, fading to cloth, with wear to extremities, odd marginal glue-stain running throughout vol., else a good copy. (50/80).
115. Miller, Henry. The Cosmological Eye. Medium blue cloth, pictorial jacket.
[Norfolk]: New Directions, [1957 or after].
In blue cloth; no printer's imprint on title-page verso, and with books by Henry Miller listed on the rear flap, including Big Sur and the Oranges of Hieronymus Bosch. Light wear or creasing to jacket extremities; vol. corners bumped, else about near fine. (50/80).
116. Miller, Henry. Greece. Illustrated by Anne Poor. Gilt-stamped cloth, color pictorial jacket. First Edition.
New York: Viking Press, [1964].
Jacket lightly rubbed; very slight soiling to white portion of cloth, else near fine. (50/80).
117. Miller, Henry. Insomnia, or the Devil at Large. Folder containing: 10-page typescript of a "Postscript" for Insomnia with Miller's holograph corrections. * 9-page typescript of the preceeding now called "The what you may call 'em." with holograph corrections on 5 pages. * 8-page typescript of preceeding now re-titled "Postscript." * 9-page typescript of preceeding titled "rewrite and final draft" with Miller's holograph corrections throughout, incl. a final page entirely in holograph. * 9-page carbon of preceeding, now titled "Cadenza" and incorporating changes. * 2 photocopies of the preceeding. * Photocopy of holograph text as published. * Together with picture postcard of Hoki Miller published by Loujon and 1-page text of Insomnia with carbon. Housed in a folder.
[N.p.: 1970].
Miller biographer Jay Martin called Insomnia, or the Devil at Large Miller's best writing of a decade. Nice collective evolution of this work. Fine. (300/500).
118. Miller, Henry. Maurizius Forever. Plain wrappers, pictorial green-blue jacket. Third Edition (Second Trade Edition).
Michigan City, IN.: Fridtjof-Karla, [1959].
Near fine. (50/80).
119. Miller, Henry. Money and How It Gets That Way. Previously unpublished foreword by Miller. Illustrated by Jack Wright. Original pictorial wrappers. 1 of 1500 copies (according to the colophon) printed by the Van Vechten Press. First American Edition.
Berkeley: Bern Porter, 1946.
Inscribed and signed by Miller on the front free endpaper, dated 1955. This was Miller's ninth collaboration with Bern Porter. Light soiling to the covers, with a touch of browning to head of front cover, else near fine. (100/150).
120. Miller, Henry. Order and Chaos chez Hans Reichel. Intro. by Lawrence Durrell. Illus. incl. original photograph of Miller at front & self-portrait of Reichel. 10x8-3/4, variegated colored papers & cork endpapers in wove tissue-covered boards, slipcase. 1 of 1399 copies of the Cork Edition. First Edition.
Fine. (100/150).
121. Miller, Henry. The Red Notebook. Entirely in facsimile of the original author's holograph with short printed intro. by Miller on the front flap. Plain wrappers with red pictorial jacket mounted to inner covers. First Edition.
Highlands, NC.: Jonathan Williams. [1958].
Jargon No.22 - First printed version of the manuscript composed at Beverly Glen in Miller's haze of watercolors, astrologers & Rimbaud. Faintly noticeable shelfwear, near fine. (50/80).
122. Miller, Henry. Remember to Remember: Volume 2 of the Air-Conditioned Nightmare. Illustrated with tipped-in plates from photographs. Maroon cloth, gilt-lettered & -ruled on spine, pictorial jacket. First Edition, Variant Issue.
[New York]: New Directions, [1947].
The HMLS notes that in some copies, like the present one, Miller's portrait plate faces p. viii instead of p.iii (displacing the plate normally at p.viii to p.xxxii) and terms it a variant "due to bindery error." Light chipping to jacket spine ends & corners, short tear at head of rear joint & on rear panel; else a fine vol. in very good plus jacket. (70/100).
123. Miller, Henry. Stand Still Like the Hummingbird. Cloth, jacket. First Edition.
[New York]: New Directions, [1962].
Jacket rubbed as usual; vol. suprisingly fine as this was a poorly made book & highly uncommon fine. (70/100).
124. Miller, Henry. Sunday After the War. Orange cloth, spine lettered in black, black & white pictorial jacket.
Norfolk: New Directions, [n.d.].
Apparently a later edition, bound in orange cloth with a black and white dust jacket. With very hep photograph of Miller on the front panel of jacket. Light wear about extremities of jacket, else near fine. (70/100).
125. Miller, Henry. To Paint Is To Love Again. Illustrated with 14 color plates from original watercolors by Miller. Printed wrappers. First Trade Edition.
Alhambra, CA.: Cambria Books, [1960].
Slight wear about the edges, near fine.
(50/80).
126. Miller, Henry. The Waters Reglitterized: The Subject of Water Color in Some of Its More Liquid Phases. Illus. with frontis. port. of Emil Schnellock & after paintings by Miller. Original printed wrappers, saddle-stiched. Edition Limited to 1000 numbered copies, the present (like most) being out-of-series, unnumbered. First Edition.
[San Jose]: John Kidis, 195.0 A bit of discoloration towards the stitching, else quite fine. (80/120).
127. Miller, Henry. With Hilaire Hiler & William Saroyan. Why Abstract? Illustrated from photographs of 5 of Hiler's works. Original printed wrappers. 1 of 500 copies of the Collector's Edition (Revised) signed by Hiler. Second Edition.
New York: George Wittenborn, 1962.
Signed by Hiler on a gilt label affixed to the front cover. Hiler's post-script has been rewritten and re-set for this edition; the rest is a photo-offset of the First Edition. Wrappers lightly soiled & cover label slightly creased, else near fine. (70/100).
128. Miller, Henry. The Wisdom of the Heart. Cloth, jacket. First British Edition.
London: Editions Poetry, [1947].
Originally published by New Directions in 1941. This copy with tape repairs to jacket along joints & edges, & with dj flaps firmly taped to endpapers; cloth not examined due to fragility, internally clean but for tape offset from the free endpapers, good.
(70/100).
129. (Miller, Henry) Echolalia: Reproductions of Water Colours by.... 11x8-1/2, 12 loose sheets, incl. 1 photographic portrait of Miller with his introduction & facsimile signature plus 11 monochrome reproductions of his watercolors. Folder. (Some soiling to folder). 1945. * Miller, Henry & Brassaï, Lawrence Durrell, Bissière. Hans Reichel: 1892-1958. In French. Illus. Plain wrappers, stiff paper jacket with original printed wrap-around band. (Short tear to head of dj spine). 1962. Together, 2 vols.
London & Paris: Editions Poetry &.
Jeanne Bucher, 1945 & 1962..
Very good. (80/120).
130. (Miller, Henry) Of By & About Henry Miller. Wraps. 1 of 1000 copies. 1947. * Perlès, Alfred. My Friend Henry Miller: An Intimate Biography. Preface by Miller. Cloth, jacket. 1956. * Henry Miller Literary Society. Bibliography: Henry Miller. Ed. by Thomas Moore. With Addendum laid in. 1961. * Vandenburgh, John. Kleine Biografie Van Henry Miller. Wraps. 1961. * RinozEros III: Wir Lieben Henry Miller.... Illus. Wraps. 1961. * Moore, John G. The Latitude and Longitude of Henry Miller. Frontis. Wraps. 1st Ed. 1962. * Bess, Donovan. "Miller's `Tropic' on Trial" in Evergreen Review, Vol. 6, No.23 (Mar.-Apr. 1962). Illus. from photographs. Wraps with port. photo of Miller by Cartier-Bresson. * Cendrars, Blaise. Selected Writings. Preface by Miller. Wraps. [1966]. Together, 7 vols.
Various places: various dates.
From good to about very good. (250/350).
131. (Miller, Henry) The Happy Rock: A Book About Henry Miller. Cloth-backed boards, printed jacket. First Edition, Second Issue.
Berkeley: Bern Porter, 1945.
Second Issue with "1947" printed on the cover instead of "1945." Attractive book, with multi-colored gatherings. Contributions by Larry Durrell, Knud Merrild, Osbert Sitwell, Parker Tyler, James Laughlin, Kenneth Patchen, Paul Weiss, and others. Short tears about the jacket with some slight soiling, tape repairs on inner spine & head of panels; boards have slight rubbing, else near fine in a good jacket. (50/80).
132. (Miller, Henry) Thoreau, Henry David. Life Without Principle: Three Essays. Preface by Henry Miller. Original cloth-backed dec. paper over boards, pictorial jacket by Lee Mullican, original glassine. 1 of 500 copies designed by Jack Warner Stauffacher and printed at the Greenwood Press. First Edition Thus.
Stanford: James Ladd Delkin, 1946.
Besides the title essay, there is also "Civil Disobedience" and "John Brown's Body." Small tears to glassine's rear panel, else quite fine. (150/250).
133. Miller, Henry & Alfred Perlès. Miller, Henry. Reunion in Barcelona: A letter to Alfred Perlès from Aller Retour New York. Edition Ltd. to 500 copies, this being no. 50 of 50 copies signed by Miller. 1959. * Perlès, Alfred. Reunion in Big Sir: A letter to Henry Miller in Reply to his Reunion in Barcelona. 1 of 500 copies. 1959. Together, 2 vols. Original printed wrappers. First Editions.
[Northwood]: Scorpion Press, 1959.
First title is signed by Miller in the limitation statement. Light creasing & slight wear to edges of wrappers, else near fine. (200/300).
134. Miller, Henry & Kenneth Patchen. Patchen: Man of Anger & Light. / A Letter to God. Plain wrappers, pictorial jacket. First Edition. [New York: Padell, 1946].
The Henry Miller Literary Society reports that this was actually issued in 1947. Mild rubbing to spine & edges of jacket, else near fine.
(80/120).
135. (Miller, Henry -- Phonographic Recordings) Henry Miller Recalls and Reflects: Recorded in Conversation with Ben Grauer, New York; April, 1956. Two 33&1/3 rpm phonographic recordings in original glassine sleeves, color pictorial double jacket. (Light tears to glassine sleeves & splitting along upper edge of a jacket panel). 1956. * To Paint Is To Love Again. Two 33&1/3 rpm phonographic recordings in original glassine sleeves, pictorial black & white double jacket, original printed wraparound band with Miller quote. (Crease to wraparound band). [1962]. * Just Wild About Harry. Two 33&1/3 rpm phonographic recordings in original glassine sleeves, color pictorial double jacket. [1962]. * Smile At the Foot of the Ladder. One 33&1/3 rpm phonographic recording in original glassine sleeve, color pictorial jacket. [1962]. Together, 4 album titles.
New York & Lausanne: Riverside.
& LVA, 1956 & [1962].
Nice, relatively large collection of phonographic recordings by Miller, attractively presented. Fine in some jackets with light extremity wear. (200/300).
136. (Miller, Henry) Durell, Lawrence. Folder containing letters from Lawrence Durrell, between 1975 and 1979 (some undated): 2-page typed letter, signed "Larry," dated only "Sunday Sixth October" on personal stationery regarding the occult and the publication of Livia. * 1-page typed note, undated, signed "Larry" regarding Miller's reaction to Monsieur. * 1-page typed note, undated, signed "Larry" regarding Mishima. * 1-page typed carbon with holograph corrections, dated only "September Ten," on personal stationery, signed "Larry" regarding about the writers' respective current affairs. In original envelope* 1-page typed carbon with holograph corrections, dated only "First November," on personal stationery, signed "Larry" regarding "crazy" Marcelle's visit. * 1-page typed carbon with holograph corrections, dated 28 Mar. 1975, on personal stationery, signed "Larry" regarding Anaïs Nin & writing. * 1-page typed carbon with holograph corrections, dated 3 Nov. 1975, on personal stationery, signed "Larry" regarding a mutual, aging acquaintance identified only as "The Colossus." * 1-page typed carbon fragment with holograph corrections, dated 28 Feb. 1976, on personal stationery, signed "Larry" regarding Brassaï, women and Jong. * 1-page typed carbon with holograph corrections, dated 1 May 1976, on personal stationery, signed "Larry" regarding Incest and life in Paris. * 1-page typed carbon with holograph corrections, dated 3 April 1976, on personal stationery, signed "Larry" regarding French television adaptations. * Typed note on personal calling card regarding enclosed Mary Hender writing. In original envelope. * 1-page holograph note on personal stationery, signed "Larry," dated 14 Dec. 1979, regarding writing. In original envelope. * Together with 2 holograph letters signed by Ghislain Durrell with photograph of Lawrence with a champagne wrapper over his nose. In original envelopes. * 2 other postscripts from Durell, seemingly unrelated to the rest. Housed in folder.
[Various places: various dates].
Candid look at the two writers' relationship. Near fine. (300/500).
137. (Miller, Henry) Jong, Erica. "They Had Fought..." [Epilogue]. 13-page photocopy typecript, with an inked correction in Jong's hand, inscribed in red ink to Miller.
[New York: c.1974].
Inscribed by Jong to Miller on the title-page in red ink: "For Henry with lots of love. From Erica." An erotic story, a bit racier than her landmark Fear of Flying, but with a protagonist emotionally not unlike Isadora Zelda. Within Jong's correspondence with Miller, the two give and take advice on writing, obscenity, women and the like; the style of this story apparently arises out of such discussions. Some thumbing with a bit of dampstaining to inscription, rust stains from paper clips, else very good. (200/300).
138. (Miller, Henry) Jong, Erica. 2-page T.L.s. on personal stationery in green, red, blue & brown ribboned ink, with post-script ms. note in red ink on verso of 2nd page, all with emendations in Jong's hand, to Henry Miller regarding Fear of Flying among other subjects, particularly writing.
New York: 1 June 1974.
Chatty letter from Jong, on her new typewriter from which she can change ribbon colors, and does so for emphasis as well as jokingly. After salutations: "I am up to my ass in Miller!...I think your greatest gift is having learned to write with all the naturalness of speech--& having learned to put your whole personality into your writing--to make a generous gift of yourself in your work...". Then, on publication of her novel: "So far, no French publisher has taken it [Fear of Flying]...All their `scouts' loved it; but their final decision was : `too American.' I met with the editor who finally turned it down. He said something about how the French weren't interested in psychiatry. I think he had the wrong idea about the book entirely. Maybe you know a French publisher who would understand the book. If so, please tell me where it should be sent...My current NY agent seems to be screwing me royally on the movie rights (an enormous mess at the moment). All this business bullshit really interferes with the writing...." More specifically, Jong delves into the richness of Fear of Flying: "I seem to have become the patron saint of adulteresses...I do mean to have Isadora survive at the end--& to be an inspiration to women who want to survive. There are too damn many books about women who commit suicide, women who go mad, women who destroy themselves over men...I wanted it to be clear that humor was Isadora's survival tool. On a personal note, "I want to meet you and the Miller ménage....I hate visits from writers too. They always WANT SOMETHING. Blurb me! they cry. Or grant me! Or Guggenheim me!." She notes also that she loves Isaac Bashevis Singer, especially his depicitions of Jewish peoples. With stains from former paper clip, else very good. (200/300).
139. (Miller, Henry) Jong, Erica. 3-page T.L.s. to Henry Miller on personal stationery with emendations in Jong's hand in blue ink, regarding Fear of Flying, Sylvia Plath, Isadora, and writing.
New York: 4 May 1974.
Jong begins by thanking Miller for his kind words to her and begins to connect with him, professionally and personally: "I love your writing--love its wonderful energy and life and I've always felt a deep kinship with it. Also, some of your observations on writing, sexuality, obscenity and literature have taken me through very dark times and have given me courage...At one time Fear of Flying was to have an epigraph from you...Yes, my name is Chinese and so is my husband--who is not nearly as inscrutable as he was a few years ago when I used him as a model for Bennett Wing. The book has changed him much for the better. Life follows literature, doesn't it?...I wonder whether you would like Sylvia Plath's poetry...Her husband, Ted Hughes, is a hulking Yorshireman who always seems like a warlock to me...My character Adrian was something of a secret pervert himself. His trip was not sex, but mind-manipulation...I wish I could convey to you how much joy and courage I have gotten from your writing in the past...I think it's true that the modern artist uses "obscenity" as the ancient artist used the miraculous--to jolt the reader and create an epiphany. Rich thank-you letter, good insight into both writers and their perceptions. Rust stains from paper clip, else near fine. (150/250).
140. (Miller, Henry) Jong, Erica. 4-page T.L.s. on personal stationery in green ink, with emendations in purple and in orange, to Henry Miller on sex, money, fan-mail and public perception.
New York: 29 June 1974.
In part of her discussion of her public and private personæ, Jong writes partly in response to Miller: "About the nut mail, I value it too, and certainly agree with you that it's more interesting than the academic drivel. I get a little frightened of nuts from time to time...I always have a feeling I will disappoint my admirers. If they expect me to be serious, I usually wind up making a million wisecracks and acting like a clown. If they expect me to be beautiful, I show up in old bluejeans and my slobbiest clothes. I don't really know why I do this--maybe to emphasize the gap between the writer and the writing". Jong then goes into humorous anecdotes about rubber-stamps various authors could use and not use on fan mail, writes about Miller's and her own feelings on Last Tango in Paris, and attacks Pynchon whose appeal is to the very intellectuals that Miller is "despised of." Some rust staining from paper clip, else near fine. (200/300).
141. (Miller, Henry) Jong, Erica. 8-page A.L.s. on personal stationery in green ink to Henry Miller, both personal and professional.
New York: 13 June 1974.
In the New York Times on Sept. 7, 1974, a double article appeared entitled "Two Writers in Praise of Rabelais and Each Other," being a epideictic platform for the Miller-Jong mutual admiration. In this letter of earlier that summer, Jong touches on what must have been a draft sent to her of Miller's part: "Dear Henry, I am touched and grateful for your `fear and how it gets that way.' I feel honored to have such affirmation at the beginning of my career...By comparing my book to Tropic of Cancer you also make me realize that the story I have begun with F of F has many sequels...You've given me...a real kick in the ass about my next book, How to Save Your Own Life...my new Isadora-Erica finally slams the door on death and enters life...I love the review...". In a postscript, Jong understates her criticism of what does turn out to be a rather rambling section of Miller's article: "The only paragraph in the review which seems superfluous is the second paragraph on page 2: It seems slightly digressive--& in a way repeats what you've said about the Jews in the paragraph before But that's just a tiny quibble. I love the piece completely--& I especially love what you say about women writers of the future--& their fearlessness. Also included is a photocopy of the NYT article to which these quotes refer. Rust stains from paper clip, else near fine. (150/250).
142. (Miller, Henry) Jong, Erica. Marriage, Rational and Irrational. 9-page typescript essay (2 copies). [N.p.: n.d.].
Sobering essay about "the obsolescence of marriage" written by Jong after her own two marriages. Briefly discusses the historical necessities of marriage and its modern liabilities. Sent to Miller presumably for his comments. One copy stapled, the other with rust stains from paper clips, else very good.
(100/150).
143. (Miller, Henry) Jong, Erica. The Eggplant Epithalamion. Printed broadside, inscribed & signed by Jong to Henry Miller, dated May 1974, with notes in pen on obverse & reverse. * Testament (Or, Homage to Walt Whitman). Typed 4-page poem draft, signed & dated by Jong, 25-26 June 1974. * Typed letter signed from Jong to Miller, dated 10 March 1975 on personal stationery concerning P.E.N. * Group of 20 photocopy typed poems, all 1-page but the first, which is 2-page and being the only one signed by Jong, in pencil. Together, 22 poems. Each sent to Henry Miller by Jong.
[New York: c.1974].
Jong's poetry is not as critically acclaimed as her prose but captures the same themes. She makes light of the praise she received from "health food people" on The Eggplant Epithalamion in her note to Miller on the reverse of that broadside, but calls it "still one of my favorite poems" as "Poetry is meant to be eaten". Also included in the folder are photocopies and original clippings on Jong and Miller. About fine. (250/350).
144. Miller, Henry. Folder containing legal documents relating to the litigation of Tropic of Cancer. Approx. 45 pages of carbons and originals from Stanley Fleishman, Edward de Grazia and Charles Rembar to Henry Miller, Barney Rosset, Robert Kirsch and others regarding legal proceedings against Tropic of Cancer (1963).
[Various places: various dates].
Nice group of documents relating to the legality of a case that changed the face of censorship in America. About fine. (150/250).
145. (Nash, John Henry) Anderson, Melville Best. The Fate of Virgil as Conceived by Dante. A Dialogue of the Dead and the Living Between Walter Savage Landor and Willard Fiske. 12-3/4x9-1/2, 3/4 brown morocco & marbled cloth, spine lettered in gilt. No. 21 of 350 copies.
San Francisco: John Henry Nash, 1931.
Corners & spine scuffed, worn & splitting along joints; internally very good or better.
(50/80).
146.Pollock, Jackson. Museum of Modern Art, New York. Jackson Pollock. Profusely illustrated. Cloth, jacket, unopened in original plastic.
New York: MoMA, [date unknown/unopened).
Recent book, perhaps as early as the 1980s, mint & pristine in original plastic wrapping.
(50/80).
147. Ponting, Herbert. In Lotus-Land Japan. Illustrated with 8 mounted color plates & 96 monochrome plates from photographs by Ponting. 9-3/4x7-1/4, original red cloth, gilt-stamped pictorially & gilt-lettered, edges stained green, publisher's dust jacket. London: Macmillan & Co., 1910.
Jacket with 2" tear to head of spine affecting title, other tiny chips; free endpapers browned from dj flaps, underlining & marginalia in pencil, else very good with fine plates.
(100/150).
148. Pop-Up) Bookano Stories, With Pictures That Spring Up in Model Form. No.1. Ed. by Louis Giraud. Illustrated with 6 color pop-ups, plus color frontis. & title, color pictorial endpapers, and black & white drawings throughout. 8-1/2x6-1/2, color pictorial paper over cloth-backed boards.
London: Strand Publications, [c.1920s?].
With striking, beautiful center pop-up, "The Gorgeous Butterfly Sips the Orchid," wherein the orchid mimics nature and unfolds, the butterfly's wings have a bit of flutter. Paper over spine chipped with about half lost, cocked; second to last pop-up (Maypole scene) has two easily reparable tears which do not affect central scene, final pop-up apparantly lacking Dick Turpin and his horse; still extraordinary, a very good or better example.
(400/600).
149. Pyle, Howard. Howard Pyle's Book of Pirates: Fiction, Fact & Fancy concerning the Buccaneers & Marooners of the Spanish Main. Compiled by Merle Johnson. Illustrated by Howard Pyle with 36 plates, of which 8 are color & 2 are duo-tones. 12x9, cloth-backed boards, color pictorial cover label, gilt-lettered spine.
New York & London: Harper & Bros., [1921].
Light discoloration to head of spine, some dampstaining to top edge of board, corners bumped & worn; previous owner's bookplate, internally very good. (80/120).
150. Rogers, Bruce. Paragraphs on Printing Elicited from Bruce Rogers in Talks with James Hendrickson on the Function of the Book Designer, with Occasional Notes and Illustrations. Illus. with examples and facsimiles. Gilt-lettered cloth. First Edition.
New York: William E. Rudge's Sons, 1943.
Very good or better condition. (70/100).
151. (Rounce & Coffin Club) Collection of announcements and other ephemera from the Rounce & Coffin Club. Approx. 31 pieces, incl. 6 catalogues of Western Books exhibitions.
Pasadena, etc.: 1940's & '50's.
Near fine to fine condition. (50/80).
152. (Roxburghe Club) Collection of announcements & keepsakes from the Roxburghe Club of San Francisco, printed by a variety of small presses from the San Francisco Area. Approx. 44 pieces. San Francisco: most from the 1950's.
Generally fine condition. (100/150).
153. (Russian Art & Iconography) A portfolio of 39 miniature Palekh lacquer plates, with some of the original accompanying text left, pp.41-55 only, but including plate list. 15-1/4x12, original gilt-dec. red cloth fall-back box.
[Moscow?: 1958].
With printed presentation bookplate on the inside of the front cover, noting "This folio of miniature Palekh paintings has been reproduced from the works of ancient and modern artists in the U.S.S.R. It was presented to R.W. Hemphill by Mr. Vladimir Babkin on behalf of Mr. Vladimir Ankudinov, Chairman of the Board of Intourist in Moscow - September 14, 1962." Slight wear to the box, with some tape remnants; wanting title-page and most of text, but plates fine, a scarce collection. (150/250).
154. Shaffer, Ellen. The Garden of Health: An Account of Two Herbals - The Gart der Gesundheit and the Hortus Sanitatis. Original tipped-in leaf with 4 woodcuts. 13-1/4x9, cloth-backed dec. boards. 1 of 300 copies printed by Lawton Kennedy.
San Francisco: Book Club of California, 1957.
BCC 96 - The two great herbals discussed here, both printed in Mainz in the 15th century, laid the foundation for pharmacy and good health for centuries, as well as for many fantasies and fables. Fine. (200/300).
155. Sterling, George. The House of Orchids and Other Poems. Original blue cloth decorately stamped in silver. First Edition.
San Francisco: A.M. Robertson, 1911.
BAL 18756 - Presentation copy inscribed on front free endpaper, "Dear Haig: Believe me ever your affectionate friend and very sincere admirer, George. San Francisco, Dec. 15th, 1917." Also signed by him on the title-page, and with at least one holograph correction to the text (p.55). Some rubbing & wear to covers, small stain to front; dampstaining to contents, good to very good. (50/80).
156. Sterling, George. Lilith: A Dramatic Poem. Cloth-backed dec. boards. No. 81 of 350 copies printed by Taylor & Taylor.
San Francisco: Book Club of California, 1920.
BCC 12 - Originally issued the previous year, poorly printed & with errors, the Book Club edition was printed to give the work a corrected text & a handsome & lasting format. Fine. (50/80).
157. Sterling, George. Truth. Half cloth & boards, paper cover & spine labels. No. 217 of 285 copies. First Edition.
Chicago: The Bookfellows, 1923.
BAL 18809 - Signed by Sterling in the colophon; inscribed and signed by him to Jim Bishop on the dedication-page; lengthy signed inscrpition on the front free endpaper, "Dear Jim: Let us remember many happy hours in `the cool, grey city of love' and hope they will continue, despite prohibitionists, blue-noses and other reformers. Yours for beer, light wines and birth-control. George, San Francisco, Aug. 5th, 1924." Typed quotation by Sterling tipped to half-title. Some rubbing, sunning & soiling to boards, stain near spine foot; some marginal darkening to contents, bookplate, else very good. (100/150).
158. Sterling, George. A Wine of Wizardry and Other Poems. Red cloth lettered in gilt, jacket. First Edition, Second Binding.
San Francisco: A.M. Robertson, 1909.
BAL 18751 - Second binding without sundial ornament on front cover. The jacket, which has the ornament, is darkening, spine head chipped, -3/4x2-1/2" piece clipped from lower front panel; vol. with darkening to endpapers from the jacket, else near fine in very good jacket. (60/90).
159. (Stevenson, Robert Louis) Balfour, Graham. The Life of Robert Louis Stevenson. 2 vols. Frontis. port. Rebound in full red morocco ruled in gilt, spines lettered in gilt, raised bands, gilt-ruled inner dentelles, gold endpapers, a.e.g.
London: Methuen, 1901.
A little rubbing to the covers else very good.
(60/90).
160. Teiser, Ruth & Catherine Harroun, eds. Printing as a Performing Art. Illus. by Peggy Conahan. 7-1/2x5-1/2, yellow cloth, gilt-lettered spine. 1 of 450 copies printed by Arlen & Clare Philpott.
San Francisco: Book Club of California, 1970.
BCC 134 - Interviews with noted Bay Area printers, incl. the Grabhorns, Allens, William Everson, Jack Stauffacher, et al. Prospectus laid in. Light soiling to the cloth, else near fine.
(50/80).
161. Twain, Mark. Concerning Cats: Two Tales by Mark Twain. Intro. by Frederick Anderson. Illus. with 2 plates after photographs & 2 reproductions of drawings by Twain; decorations by Mallette Dean. 11-1/4x8-1/4, half cloth & dec. boards, paper spine label lettered in gilt; dust wrapper. 1 of 450 copies printed by the Grabhorn Press for the Colt Press.
San Francisco: Book Club of California, 1959.
BCC 102; GB 610 - Tiny stain to lower corner of front cover; offset to endpapers, near fine. (100/150).
162. Twain, Mark. Letter to William Bowen, Buffalo, February Sixth, 1870. Preface by Clara Clemens Gabrilowitsch. Foreword by Albert W. Gunnison. Illus. with drawings from the first edition of "Tom Sawyer." 10x7, half blue cloth & boards, spine label. 1 of 400 copies printed by the Grabhorn Press.
San Francisco: Book Club of California, 1938.
Rear cover slightly sunned, otherwise fine.
(70/100).
163. Twain, Mark. Mark Twain's Notebook. Ed. by Albert Bigelow Paine. 1935. * Mark Twain to Mrs. Fairbanks. Ed. by Dixon Wecter. 1949. * McBride, William M., comp. Mark Twain: A Bibliography of the Collections of the Mark Twain Memorial and the Stowe-Day Foundation. Profusely illus., some color. [1984]. * Fox, Alan C. Catalogue One. Devoted to books and manuscripts by Twain. 1 of 200 hardbound copies, from a run of 2000. [1980]. Together, 4 vols. Jackets except last, which was not issued with one. First Editions.
Various places: various dates.
Some wear to earlier jackets; very good or better condition. (100/150).
164. (Twain, Mark) Johnson, Merle, comp. A Bibliography of the Work of Mark Twain, Samuel Langhorne Clemens. A List of First Editions in Book Form and of First Printings in Periodicals and Occasional Publications of His Varied Literary Activities. Cloth, paper spine label, t.e.g. No. 346 of 500 copies. First Edition. New York: Harper, 1910.
Spine just a bit darkened, else near fine.
(150/250).
165. Wilde, Oscar. The Ballad of Reading Gaol. Intro. by Burton Roscoe. Illus. with lithographs by Zhenya Gay. 11x7, dec. embossed morocco, gilt-lettered spine, slipcase. No. 910 of 1500 copies printed by the Harbor Press.
New York: Limited Editions Club, 1937.
Signed by Gay in the colophon. Near fine.
(80/120).
166. Wilson, Andrian. Printing for Theater. Profusely illustrated with mounted & laid in samples from Mallette Dean, Dale Joe, Pacific Music Press, Grabhorn Press, Peggy Conahan and others, plus chapter heading & binding blocks by Nuiko Haramaki. 15-1/2x10, coarse oatmeal cloth stamped dec. in green, spine lettered in red, rear cloth pocket for laid in samples.
San Francisco: Adrian Wilson, 1957.
Contains very fine handbills in nice printings for the theatre. Some browning to the cloth; occasional mild foxing, else very good.
(600/800).
167. (Windsor Press) Venner, To. A Briefe and Accurate Treatise of Tobacco In which, the immoderate, irregular, & unseasonable use thereof is reprehended, and the true nature and best manner of using it, perspiciously demonstrated. 12-1/4x9-1/4, quarter morocco & dec. boards, gilt-lettered spine, slipcase. 1 of 200 copies printed by the Windsor Press.
San Francisco: Book Club of California, 1931.
BCC 40 -Spine scuffed, else very good. (100/200).
168. (Wright, Frank Lloyd) Entire Issue of Architectural Forum, Vol. 68, No. 1 (Jan.1938). Fully illustrated, incl. from photographs of Wright architecture & from his architectural plans. 12x9, original spiral-bound wrappers.
New York: Time Inc., 1938.
Light wear to front wrappers' ends at spiral, crease & tear repaired on inner front panel; internally clean, very good. (150/250).
169. (Wyeth, N.C.) Stevenson, Robert Louis. Treasure Island. Illustrated with 10 color plates by N. C. Wyeth, incl. title-page, plus facsimile map. 9-1/4x7, original cloth, color pictorial cover label, gilt-lettered spine.
New York: Scribner's, 1923.
Discoloration to cloth, light rubbing to extremities; internally very good or better.
(100/150).
170.Zolotow, Charlotte. William's Doll. Illus. in color by Willaim Pène Du Bois. 7x5, patterned glazed cloth, jacket.
New York: Harper & Row, [1972].
Inscribed by Zolotow on the front free endpaper, dated 1976. Jacket with tiny tear at foot of spine, small bump on spine, front flap clipped; vol. spine ends bumped, endpapers lightly browned, else very good plus.
(60/90).
|
The August Miscellany
Fine Press Books Henry Miller Ms. Material Western Americana William Everson Collection From the Library of Peter Bartlett |
|
Section I...Books in All Fields, Press Books, Henry Miller...Lots 1-170
Lots 1. ALLEN through 92. MEEHAN Lots 93. MILLAY through 170. ZOLOTOW
Section II...Western Americana, including Fine Press Printings...Lots 171-237
Section III...William Everson from the Library of Peter Bartlett, Lots 238-315 |