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Washington, D.C: 1871.
Portrait engraving of President Ulysses S. Grant. Boldly signed U.S. Grant. The engraving measures 5.5 inches by 4 inches. This portrait engraving produced by the U.S. Bureau of Engraving and Printing. In near fine condition, affixed to an 8 inch by 10 inch sheet bearing a small note. Matted and framed. The entire piece measures 16.5 inches 18 inches.
FIRST EDITION OF ANDREAS VESALIUS'S MAGNUM OPUS, THE MOST MONUMENTAL ACHIEVEMENT IN THE HISTORY OF MEDICAL EDUCATION AND "ONE OF THE MOST BEAUTIFUL SCIENTIFIC BOOKS EVER PRINTED": DE HUMANI CORPORIS FABRICA LIBRI SEPTUM; ON THE FABRIC OF THE HUMAN BODY IN SEVEN BOOKS
Basel: Ex Officina Joannis Oporini, 1543.
First edition of the most important and influential book in the study of human anatomy and “one of the most beautiful scientific books ever printed”(Grolier). Folio, bound in full 18th century calf, woodcut title page with Vesalius performing a dissection, woodcut portrait of the author, over 200 woodcut anatomical illustrations, including 21 full page and 2 folding-sheet figural woodcuts of the skeletal, muscular, vascular and nervous systems. In very good condition with some light dampstaining to some pages. Rare and desirable, especially in contemporary calf. A splendid example of Vesalius’ masterpiece, one of the most monumental achievements in the history of both medical education and printing.
"The Most Important Work of Modern Times": One of the Earliest Presentation Copies of James Joyce's Ulysses; Inscribed by Joyce to Lewis Galantiere
Paris: Shakespeare and Company, 1922.
First edition, one of 750 numbered copies, this example is number 282. Quarto, original blue wrappers as issued. Association copy, inscribed by the author on the half-title page, “To Lewis Galantiere James Joyce Paris 11 February 1922.” Ulysses was scheduled for publication on Joyce‘s fortieth birthday (February 2, 1922), but only two copies were ready on that date due to technical difficulties in printing the cover, the color of which Joyce wanted to match with the blue of the Greek flag. One of these was the copy delivered by Sylvia Beach to Joyce on February 2, which he then inscribed to his wife Nora, being the only known presentation copy to predate Galantiere’s. The present copy in turn predates by two days the three copies presented to Sylvia Beach, Harriet Shaw Weaver and Margaret Anderson, and by three days the copy inscribed to Robert McAlmon, who helped Joyce prepare the final typescript. Galantiere was an American translator of French literature, writer, playwright and journalist. From 1920 to 1927 he was secretary of the International Chamber of Commerce in Paris, and came to know most of the literary figures of the day, including Hemingway. In a letter to Harriet Weaver of 17 April 1926, Joyce writes: “I am to read [from Finnegans Wake] … to a small group, this time including … a young American Galantiere who is preparing a course of lectures of Ulysses” (Joyce Letters vol 3, p 140). Slocum & Cahoon A17; Connolly The Modern Movement 42. In excellent condition with light rubbing, rebacked without the folding flaps. With Galantiere’s marginal markings in pencil and in ink. Housed in a custom full morocco clamshell box. An exceptional rarity of this twentieth century milestone.
Boston: Little Brown and Company, 1951.
First edition of the author’s first book. Octavo, original black cloth. Presentation copy, inscribed by the author opposite the title page, “To Ned Thompson with all good wishes J.D. Salinger Windsor, VT Nov. 5, 1961.” Lightly rubbed, near fine in a bright near fine dust jacket with some toning to the spine and some minor rubbing. Jacket design by Michael Mitchell. Photograph of Salinger by Lotte Jacobi. Salinger’s signature is scarce and signed copies of Catcher in the Rye are rare; signed firsts are exceptionally scarce. Until Salinger died in 2010, we had not seen a signed first printing of The Catcher in the Rye since the Phoenix Book Shop sold one from Howard Moss’s library in 1984 — a span of more than a quarter century. Housed in a custom half morocco clamshell box.
London: Printed for H. Herringman, and are to be sold by Joseph Knight and Francis Saunders, 1685.
First edition of the Fourth Folio of Shakespeare. Bound in full brown morocco, elaborately gilt-decorated spine. The fourth folio is the final and most magnificent of the four 17th-century folio editions of Shakespeare’s plays. The Fourth Folio “contains the additional seven plays that first appeared in the 1663 edition [including the authentic Pericles, Prince of Tyre], as well as a good deal of correction and modernization of the text designed to make it easier to read and understand” (Folger’s Choice). Old paper repair to verso of title-page, several other very minor paper repairs. Some browning and minimal staining, a very good example. As in some other copies, as Greg notes, number of errors in signatures have been corrected in manuscript, presumably at the time of publication. Although there is no accurate census of the number of folios still extant today, it is believed that copies of each printing number only in the hundreds. The rarest form of the fourth folio. This is the rare Knight and Saunders issue, with their names on the title-page. W. W. Greg observes, “Since the title is entirely reset it is presumably a cancel printed after the volume was complete and perhaps republished, and designed for those copies that Herringman chose to issue through his own booksellers” (Greg III, 1121). In 1684, Herringman turned over the retail side of his business to Francis Saunders and his partner Joseph Knight. Fourth Folios almost invariably bear the imprints “Herringman-Brewster-Bentley” or “Herringman-Brewster-Chiswell-Bentley.”
New York: Charles Scribner’s Sons, 1925.
First edition, second printing of the author’s masterpiece. Octavo, original green cloth, gilt titles to the spine. Inscribed by the author on the front free endpaper,“For Esther Sidman on her 21st birthday from her admirer. F Scott Fitzgerald, Hollywood, 1938.” In near fine condition with a touch of wear. Housed in a custom half morocco clamshell box. Great Gatsby’s signed and inscribed by Fitzgerald are rare.
“FOUNDED THE SCIENCE OF MODERN POLITICS”: RARE 1640 FIRST EDITION IN ENGLISH OF MACHIAVELLI’S THE PRINCE
Nicholas Machiavel’s Prince. Also, The life of Castruccio Castracani of Lucca. And The meanes Duke Valentine us’d to put to death Vitellezzo Vitelli… Translated out of Italian into English by E.D.
London: R. Bishop for Wil: Hils, 1640.
Rare first edition in English of Machiavelli’s Prince, a seminal work in the foundation of modern political theory, and the great classic of political science. 12 mo, bound in full contemporary calf. From the library of William Constable, Baronet with his bookplate, in near fine condition. Housed in a custom full morocco clamshell box. An exceptional example, most rare and desirable in this condition.
First Edition of the Ayn Rand's Magnum Opus The Fountainhead; Signed by Her and In the Scarce First Issue Dust Jacket
Indianapolis: Bobbs-Merrill Company, 1943.
First edition, first issue with first edition stated on the copyright page of the author’s first major novel, as well as her first best-seller. Octavo, original red cloth. Presentation copy, inscribed by the author on the front free endpaper, “To Laura Roberts- with my thanks- Affectionately, Ayn Rand.” Fine in a near fine first-issue dust jacket with a touch of rubbing. Housed in a custom half morocco clamshell box. A superior example, most rare and desirable in this condition and inscribed.
Jack Kerouac’s candid handwritten reply to a young man’s questions about being a “Beatnik,” his life philosophy, his thoughts on Montana, and more. Students in Robert Dodd’s ninth-grade class were told to contact their favorite writer with their own unique series of questions relating specifically to that writer. The young Dodd chose Jack Kerouac, and the author replied at length to his questionnaire, which includes queries about his classification as a “Beatnik” (his answer: “I never was a Beatnik – it was the newspapers and critics who tagged that label on me….”), life philosophy (“My philosophy is ‘No Philosophy,’ just ‘Things-As-They-Are’”), career goals (“Be a great writer making everybody believe in Heaven”), the ideal way of life (“Hermit in the woods…”), his thoughts on fame (“My name is like Crackerjacks, famous, but very few people buy my books…”), and segregation (“[t]he Irish and Italians of Massachusetts never paraded in protest, just worked hard and made it”). Interestingly, Kerouac is most expansive in response to the final question: whether he has visited Montana. His answer fills three-quarters of the page, beginning: “Great day, my favorite state! – I wrote about Montana in ‘On the Road’ but the publishers took it out behind my back… I stayed one night, but up all night, in a saloon in Butte, to keep out of the 40-below February cold, among sheep ranchers playing poker.” Two pages. In near fine condition.
"Think you're escaping and run into yourself. Longest way round is the shortest way home": First Edition of Ulysses; One of 750 Numbered Copies
Paris: Shakespeare & Company, 1922.
First edition. One of 750 numbered copies on handmade paper from a total edition of 1000 copies. Thick quarto, original blue and white wrappers. A near fine example, internally fresh and largely unopened, the wrappers not significantly soiled or faded, and completely unrestored. Housed in a custom half morocco clamshell box. This is copy #992, and has laid in the front panel of the original prospectus with the tipped-on reproduction of the 1918 photo of Joyce by C. Ruf. The front panel of the prospectus has been amended, as often, to indicate the book “is now ready,” and the original buyer must have jumped at the opportunity, as the order panel of the prospectus has been neatly cut away. Sisley Huddleston’s 5 March 1922 review from The Observer is also laid in (though both items are in prophylactic sleeves that have prevented any offsetting). Also laid into the slipcase is some correspondence relating to the sale of this copy in 1972 by Duschnes in New York City. A very sharp example with exceptional provenance.
A LANDMARK IN THE HISTORY OF PRINTING, AND ONE OF THE GREATEST ILLUSTRATED BOOKS EVER PUBLISHED: 1493 FIRST EDITION OF THE MONUMENTAL “NUREMBERG CHRONICLE”
Nuremberg: Anton Koberger, 1493.
First and only Latin edition of the most fully realized illustrated book of the fifteenth century and one of the most impressive volumes ever published. Tall folio, bound in full blind-tooled calf, metal clasps, raised bands, copiously illustrated with more than 1,800 woodcuts throughout with the xylographic title and double-page map of Europe present and hundreds of splendid illustrations depicting the beginning of the world as told in the biblical narrative up until the establishment of the major cities and towns of the fifteenth century. Text complete with 20 unnumbered preliminary leaves with leaves 1-299 each numbered and present, 6 unnumbered leaves at rear. Minor wear and contemporary marginal notes and a few small repairs. A near fine example of this monumental achievement in the history of printing which has survived over five centuries.
"Shoot all the bluejays you want, if you can hit em, but remember its a sin to kill a mockingbird"; First edition of To Kill A Mockingbird; Signed by Harper Lee and Truman Capote
Philadelphia: J.B. Lippincott Company, 1960.
Philadelphia: J.B. Lippincott Company, 1960. First edition of Lee’s Pulitzer Prize-winning novel which had an initial print run of 5,000 copies. Octavo, original green cloth backed brown boards, titles to spine in gilt. Signed by both Harper Lee and Truman Capote on the front free endpaper. Truman Capote’s friendship with Harper Lee began in the summer of 1929 when the two became next door neighbors in Monroeville, Alabama; both were the age of five. They shared a love of reading and began collaborating when Lee was gifted a typewriter by her father as a child. Lee drew on their friendship as inspiration for the characters Lee and Scout in her masterpiece To Kill A Mockingbird; Capote based his tomboy character Idabel Thompkins in his first novel Other Voices, Other Rooms on Lee. They worked together on Capote’s true crime novel, In Cold Blood; Lee acted as his ‘assistant reasearchist’ and edited the final draft of the book. Upon its publication in 1965, Capote failed to acknowledge Lee’s contributions to the book, after which their relationship was never the same. Fine in a near fine dust jacket with light rubbing and wear to the extremities. Jacket design by Shirley Smith. Housed in a custom full morocco clamshell box. Exceptionally rare, this is the first example we have seen signed by both Lee and Capote.
FIRST EDITION OF FAULKNERS MASTERPIECE AND ONE OF THE GREATEST NOVELS OF THE TWENTIETH CENTURY THE SOUND AND THE FURY: IN THE RARE FIRST ISSUE DUST JACKET
New York: Jonathan Cape and Harrison Smith, 1929.
First edition of Faulkner’s masterpiece. Octavo, original cloth, black and white patterned paper boards. Fine in a fine first-issue dust jacket with the iconic design by Kathe Kollwitz on the front panel and a price of $3.00 for the book Humanity Uprooted on the rear panel, with just a touch of rubbing to the spine. Petersen A6.2a. Brucolli & Clark I:121. Housed in a custom half morocco clamshell box. The spine of this title is prone to fading, this example exhibits none. One of the nicest examples extant.
"If you liked The Great Gatsby, for God's sake read this. Gatsby was a tour de force but this is a confession of faith": First Edition of Tender Is the Night; Inscribed by F. Scott Fitzgerald To Hollywood Producer Harry Joe Brown
New York: Charles Scribner's Sons, 1934.
First edition of the work which Fitzgerald considered to be his finest. Octavo, original green cloth. Presentation copy, inscribed by the author on the front free endpaper with a full page inscription, “For Harry Joe Brown – late of the 17th Infantry Brigade. Wounded in Hollywood 1920-1940. – from his fellow dough boy F Scott Fitzgerald Encino, 1939.” The recipient, Harry Joe Brown was a Hollywood producer, who Fitzgerald noted meeting in late 1939: “Somewhere around this time [September 1939] Harry Joe Brown called me over to Twentieth Century Fox on a Sonja Heine picture” (Letter to the Berg-Allenberg Agency, 23 February 1940). Fitzgerald had been contracted as a writer by Metro Goldwyn Meyer Studios in the July of 1937, initially for six months. His contract was then extended for another year, but when this lapsed in December 1938 MGM did not renew it. Over the next two years, Fitzgerald freelanced for numerous studios on a number of films, including Everything Happens at Night for which Brown was an associate producer. An excellent near fine example in a very good first issue dust jacket with some light wear. Housed in a custom half morocco clamshell box.
"One need not be a prophet to be aware of impending dangers. An accidental combination of experience and interest will often reveal events to one man under aspects which few yet see": Rare First English Edition of The Road To Serfdom; Signed by F.A. Hayek
London: Routledge & Sons, 1944.
First edition of one of the most influential and popular expositions of classical liberalism ever published. Octavo, original black cloth. Signed by F.A. Hayek on the title page. Light rubbing, near fine in a very good dust jacket with some expert restoration. The British edition (which this example is) was published in March of 1944, preceding its American counterpart, which was published later that same year in September. Housed in a custom half morocco clamshell box. Rare signed.
"It is not down on any map; true places never are": Rare First Edition Of Herman Melville's Moby Dick
New York: Harper & Brothers, 1851.
First edition of Melville’s masterpiece. Octavo, original publisher’s brown cloth. A near fine condition with some of the usual light foxing and light shelfwear to the spine tips. Housed in a custom half morocco clamshell box. A completely unrestored example of this cornerstone. A superior example.
Edinburgh: J. Cochran and Company, 1743.
First edition of the first book devoted to golf. Thin octavo, bound in contemporary calf. In very good condition with some light browning to the text. A cornerstone of any golf library. Rare and desirable.
"If you liked The Great Gatsby, for God's sake read this. Gatsby was a tour de force but this is a confession of faith": First Edition of Tender Is the Night; Inscribed by F. Scott Fitzgerald
New York: Charles Scribner's Sons, 1934.
First edition of the work which Fitzgerald considered to be his finest. Octavo, original green cloth. Inscribed by the author on the front free endpaper, “For the unknown, unmet parents of Clare (note: double underlined). Knowing her, I hope you will find something to like in this present. Best wishes, F. Scott Fitzgerald.” A very good example with some wear to the crown and foot of the spine, extremities of the cloth in a very good unrestored first issue dust jacket that has some rubbing and wear. Housed in a custom half morocco clamshell and chemise case.
FIRST EDITION OF RICARDOS FUNDAMENTAL CONTRIBUTION TO THE SCIENCE OF ECONOMICS: ON THE PRINCIPLES OF POLITICAL ECONOMY AND TAXATION
London: John Murray, 1817.
First edition, without the publishers advertisements at the end. One of 750 copies. Octavo, contemporary half calf. Bookplate of John Hales Calcraft, member of Parliament in the late 18th century. Calf lightly rubbed, a near fine example. Rare in contemporary calf.
“A lady's imagination is very rapid; it jumps from admiration to love, from love to matrimony in a moment": Rare First Edition of Jane Austen's Pride and Prejudice
London: Printed for T. Egerton, 1813.
First editions of all three volumes of Jane Austen’s second novel and most popular. Octavo, three volumes, bound in full morocco by Zaehnsdorf, gilt titles and tooling to the spine, black morocco spine labels, all edges gilt, double gilt ruling to the front and rear panels, inner dentelles, marbled endpapers. In near fine condition with all three half titles present, the half-title of Volume I bound in from an early printing, bookplate to the pastedown. Volume I with the imprint of Sidney on the verso of the half title and Roworth at the end of the text. Volumes II and III printed by Sidney with their imprints on both the versos of the half titles and at the end of the text of each volume. A superior example of this landmark work in English literature.