Books Exhibited at the RBMS BookSeller's Showcase

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2012 RBMS Preconference: Futures! The Booksellers ShowcaseWednesday, June 20th, 8:00 a.m. - 7:30 p.m.53rd Annual RBMS PreconferenceSan Diego, CaliforniaJune 19-22, 2012

Boston, MA. and Mount Desert Island, ME.31 Newbury Street Boston, Mass. 02116 U.S.A.

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A Selection:

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A Presentation Copy to Mark TwainInscribed by Thomas Bailey Aldrich to the American Master

Prudence Palfrey; A Novel - First Edition - 1874

1 Aldrich, Thomas Bailey. PRUDENCE PALFREY; A NOVEL (Boston: James R. Osgood & Co., 1874) First Edition and a copy with superb provenance, A PRE-SENTATION COPY FROM ALDRICH TO MARK TWAIN, INSCRIBED ON THE FRONT BLANK: “MARK, FROM HIS FRIEND T.B.A.” And with the additional ownership provenance of the Estelle Doheny collection with her bookplate pres-ent. 8vo, publisher’s original green cloth, the lettering in gilt as issued, in a nice cloth folding protective box. 311 pp. A very pleasing copy of a unique item, neatly restored at some time in the distant past. A UNIQUE ITEM. THE FIRST EDITION OF THIS NOVEL BY ONE OF AMER-ICA’S MOST FAMOUS WRITERS OF THE 19TH CENTURY, INSCRIBED BY AL-DRICH TO MARK TWAIN, HIS FRIEND. Twain first met Aldrich, after corresponding for some months, in November 1871. From that day forward the two enjoyed a lifelong friendship. Twain once said he “could not admire” Aldrich’s “The Story of a Bad Boy” (published 1869) but it is clearly a model for “The Adventures of Tom Sawyer”, and Twain credited it as his inspiration for that novel. In his autobiography Twain praised Aldrich’s brilliant conversation, remarking that he had no peer for “pithy and witty and humorous sayings.” Twain’s autobiography is famous for the LACK of praise he heaped upon his contemporaries, it is thus clear that his affection for Aldrich was genuine. Twain was in attendance at Aldrich’s memorial service in 1908. At the top of his career Aldrich outranked both Twain and Walt Whitman in popular-ity, his light verse and witty stories delighted the literary public who considered him an equal to Longfellow, Lowell and Holmes in the canon of American Literature, an honor Twain would have to wait many more years to achieve. “Beginning with the collection of stories entitled Marjorie Daw and Other People (1873), Aldrich wrote works of realism and quiet humor. His novels Prudence Palfrey (1874), The Queen of Sheba (1877), and The Stillwater Tragedy (1880) had more dra-matic action. The first portrayed Portsmouth with the affectionate touch shown in the shorter humorous tale, A Rivermouth Romance (1877).” BAL 278$8950.

The Story of Little Black SamboHelen Bannerman’s Classic Children’s Story

2 Bannerman, Helen. THE STORY OF LITTLE BLACK SAMBO (London: Chat-to and Windus, 1928) Very early issue. Illustrated in colour throughout with all chromolithographs on separate leaves and text on separate pages. 12mo, bound in the publisher’s original blue boards printed in black, with a pictorial paste-down on the upper cover. 113 pp. A fine copy but for loss to a small section of the blue panel at the foot of the spine with loss of “T” and “H” in the word “THE”. AN EARLY PRINTING AND A RARELY SEEN ISSUE OF THIS CLASSIC. Bannerman wrote her stories to entertain her own children. LITTLE BLACK SAMBO was their favorite. The author never intended the book for publication, but through the encouragement of her children and friends the manuscript was shown to E.V. Lucas who agreed to publish it as the fourth title in his series of ‘The Dumpy Books for Children’” (Schiller, p. 381) Together with Beatrix Potter, Helen Bannerman established the genre of children’s books that gave pictures and text equal importance. Very few copies of the original print-ing have survived, and of the copies known, most have been badly worn because the small book was unable to withstand the constant handling of children. “Should a census even-tually be attempted, there would probably be fewer copies located than of the notoriously rare and suppressed 1865 Alice” (Schiller, p. 386)$450.

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From the Fust and Schoeffer Bible of 1462The First Dated Bible and Only the Fourth Printed Bible

A Fine Leaf From Numbers

3 Bible, Leaves of the Bible, Füst and Schoeffer; Early Printing. A LEAF FROM THE FIRST DATED BIBLE. FROM THE PENTATEUCH, THE FIVE BOOKS OF MOSES, Numbers XXIII, XXIIII, XXV, XXVI. (Mainz: Fust and Schoeffer, 1462) A fine leaf from the Pentateuch, the first five books of the Bible, the books of Moses and the first dated Bible, the Fourth printed Bible (preceded only by: Gutenberg, the 36-line Bible and Mentelin). Using a new type face; type set on a smaller body with more lines to the page. Printed double column, 48 lines per page. With manuscript titles in red and blue, large red and blue chapter numbers and three beautiful large extended initials in red and brown or red and blue, each with fine pen work extending well over 20 lines Folio single leaf. A beautiful leaf, very well preserved. A RARE AND IMPORTANT LEAF FROM THE 1462 BIBLE. For all intents and purposes, the earliest obtainable printed Bible leaves after those of the Gutenberg Bible – and these, at a fraction of the cost. This leaf contains some of chapter 23, all of chapters 24 and 25 and some of chapter 26 of NUMBERS. Within these chapters; Balaam still continues to prophesy good things in favour of Israel. The people fall into fornication and idolatry; for which twenty-four thousand are slain. The zeal of Phinees. The people are again numbered by their tribes and families.$4500.

The Birth of Modern Anesthetic Usage in SurgeryThe Very Rare and Important First Edition Offprint

Insensibility During Surgical Operations - 1846An Extraordinary Landmark in Medicine and Science

4 Bigelow, Henry Jacob, M.D. INSENSIBILITY DURING SURGICAL OPERATIONS PRODUCED BY INHALATION. [offprint of] The Boston Medical and Surgical Jour-nal, Vol. XXXV. Wednesday, November 18, 1846. No. 16. (Boston: Offprint from the: Boston Medical and Surgical Journal, 1846) First Separate Printing, the Scarce Off-print of the first printed account of the use of an inhaled anesthesia in surgery. 8vo, original printed self-wrappers, threaded as issued. Now housed and protected in a very handsome gilt decorated morocco backed solander case with chemise. (309)-316 as paginated in the rare offprint. A very well preserved copy, handsome and clean, the edges of the paper with just a bit of age wear or mellowing. HIGHLY IMPORTANT ACCOUNT OF WHAT CAN BE ARGUED AS ONE OF THE GREATEST ADVANCES TO THE QUALITY OF HUMAN LIFE. Prior to the modern use of anesthesia, surgery was one of the harshest and most painful experiences people could be forced to endure. Even minor surgeries were complicated by the threat of shock or death as patients were tied down or otherwise restrained, given something to bite down on or at best, put into a partial state of stupor with large quantities of alcohol. Bigelow, a highly respected surgeon associated with Massachusetts General Hospital in Boston had became aware of a Boston dentist, W.T.G. Morton, who was experimenting on animals with sulfuric ether and of Professor Charles Jackson who had documented his own inhaling of ether with no lasting harmful effects. Morton had subsequently used ether on a patient for the first time during a tooth extraction on September 30, 1846. Through Big-elow’s influence Morton was allowed to administer ether to a patient at Mass General who was having a tumor removed from his neck. The surgery, and the anesthetic, were deemed to be highly successful. Bigelow read a preliminary communication concerning the results to the American Acad-emy of Sciences on November 3rd, 1846. The first printed account appeared 15 days later in the Boston Medical Journal. We offer here the rare offprint of that immensely important article. With safe and humane anesthesia now possible, surgery truly entered the modern age. Although more recently developed inhaled anesthetics have largely replaced the use of ether, the basic concept, usage and results are nearly identical today as they were a century and a half ago when the discovery was made and this offprint was issued. RARE: We note only three copies in institutiional collections. No copy but that of Norman have been offered at auction in over 25 years to our knowledge. Grolier Medicine 64 A; Heirs of Hippocrates 1859; Osler 1355; Wellcome II, p. 166; Norman 232 (936).$7500.

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A Rare Offering in ChurchillianaSir Winston Churchill’s Journeys Undertaken

The Map of The Prime Minister’s World War II Travels

5 [Churchill, Sir Winston]. DUNKIRK TO BERLIN; A MAP OF THE HISTORIC WAR-TIME JOURNEYS UNDERTAKEN BY THE RIGHT HON. SIR WINSTON CHURCHILL, IN DEFENSE OF THE BRITISH COMMONWEALTH AND EMPIRE (Great Britain: George Philip & Son Ltd in Association with “Time and Tide”, April, 1956) First edi-tion. Issued to World Books members to commemorate the completion of publication of the Reprint Society Edition of the Churchill War Memoirs. A very large colour map printed on heavy folding stock, beautifully decorated and featuring views of warships and aircraft and with a bright and beautifully coloured legend explaining the journeys with fine text in an engraved style. Very large multi-folding coloured map, preserved in the publisher’s pictorially decorated and as issued slipcase. A fine and clean copy, the map in wonderful shape with vivid fresh colors, the slipcase with only some expected mellowing from age.

SCARCE RECORD OF CHURCHILL’S HISTORIC WORLD WAR II JOURNEYS. This is a cartographic record of the travels Churchill took as the Prime Minister in defense of Britain during the period of 1940-1945. Presented in full color are his journeys to numerous political conferences from New York to Moscow, beginning with the “Atlantic Charter” of 1941, which was the product of his meeting at sea with Roosevelt that established the general desire on both sides for a democratic, progressive post-war world. After a number of intercontinental circuits the map brings his journeys to an end at the Potsdam Conference of 1945, the historic meeting of the “Big Three,” the U.S., Britain, and Russia, to negotiate post-war treatment of Germany in terms of their demilitarization, requirement of reparations, etc. The map shows Churchill’s

journey from Bordeaux to Berlin and then ultimately back to England. In addition, it also illustrates Churchill’s 1944 tours of the beaches of Normandy and the invasion coasts of Italy and Southern France. Featured at the bottom are detailed color illustrations of his traveling crafts, including the ships “King George V” and “Queen Mary” and the remarkable B.O.A.C. Flying Boat “Berwick.” This map is becoming increasingly scarce and is a visually stunning summation of the extensive efforts of Churchill to help Britain prevail during this monumental war and ultimately bring them to victory.$350.

An Exceedingly Rare ExampleRegarding the Birth of Modern Photography

An Historically Important Manuscript From Louis DaguerreA Month Prior to the Demonstration at the Académie des Sciences

6 Daguerre, Louis. A SIGNED AND DATED MANUSCRIPT LETTER, IN ENGLISH, FROM LOUIS DAGUERRE TO AN ASSOCIATE IN LON-DON SPECIFICALLY DISCUSSING THE PUBLICATION OF HIS DIS-COVERY, THE PHOTOGRAPHIC PROCESS. ([France]: Manuscript let-ter, July 22, 1839) Handwritten in cursive. 7.5 x 9 inches, a single sheet Remarkably well preserved, a bit of minor wear to a corner. AN ESPECIALLY RARE AND HISTORICALLY IMPORTANT STATE-MENT PRECEEDING THE ANNOUNCEMENT OF THE PHOTOGRAPH-IC PROCESS BY ARAGO IN AUGUST 1839, DISCUSSING THE LONDON PUBLICATION OF THE OF THE DAGUERREOTYPE PHOTOGRAPHIC DISCOVERY. Only a few months before the date of this letter, on January 7, 1839, Daguerre showed members of the French Académie des Sciences products of an invention that would forever change the nature of visual representation: photography. The letter is also dated nearly a full prior to when on August 19, 1839, the revolutionary process was explained by Daguerre, step by step, before a joint session of the Académie des Sciences and the Académie des Beaux-Arts. In the letter Daguerre expresses gratitude regarding an offer for the publica-tion of the discovery in England, but explains he can not answer yet as transac-tions with the French government are ”not quite at an end.” This letter appears to be unknown to scholarship.$26,500.

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The Earliest and Most Ancient Written LanguageAn Important Sumerian Clay Foundation Cone

From the Area of Southern Mesopotamia Near to LagashDated from Approximately 2130 B.C.

7 Earliest and Ancient Written Language; [Gudea]; Dedication Cone, Sumerian Cuneiform Writ-ing; Mesopotamia. A SUMERIAN CLAY FOUNDATION CONE BEARING A DEDICATION INSCRIPTION OF GUDEA, GOVERNOR OF LAGASH ([Lagash, Southern Mesopotamia]: , circa 2130 B.C.) in Cuneiform, deeply scribed onto the lower two-thirds of the cone in vertical lines. Roughly 16 cm. tall, about 4 cm. in diameter narrowing to a slender tip, with a head or base roughly 7 cm. in diameter, made of a very light grayish brown clay. In a remarkable state of preservation. The cuneiform writing is still very legible after over four thousand years, being what may well prove to be the longest lasting media yet devised by Man. The tip of the cone, on which there is no writing, at sometime restored, some minor chipping along the edge of the head, which is also an area with no writing. A REMARKABLY WELL PRESERVED CUNEIFORM DEDICATION CONE, INSCRIBED IN WHAT MAY BE THE WORLD’S OLDEST WRITTEN LANGUAGE. While Cuneiform is more com-monly found on tablets or round balls of clay, these clay cones, sometimes called nails, are found from the Babylonian period and were utilized by the kings for only about 700 years starting with Enanatum I of Lagash around 2400 BC and ending with Samsuiluna of Babylon (1749 BC – 1712 BC). They were constructed into the foundations or frameworks of important public buildings, much like the cornerstones used to dedicate buildings today. They likely evolved into the barrel cylinders, which were used for more formal or ceremonial purposes then the standard clay tablets. Gudea was a ruler of the state of Lagash in Southern Mesopotamia who ruled ca. 2144 - 2124 BC. He probably did not come from the city, but had married Ninalla, daughter of the ruler Urbaba (2164 - 2144 BC) of Lagash, thus gaining entrance to the royal house of Lagash. He was succeeded by his son Ur-Ningirsu. Inscriptions mention temples built by Gudea in Ur, Nippur, Adab, Uruk and Bad-Tibira. This indicates the growing influence of Gudea in Sumer. His predecessor Urbaba had already made his daughter Enane-pada high priestess of Nanna at Ur, which indicates a great deal of political power as well. The 20 years of his reign are all known by name; the main military exploit seems to have occurred in his Year 6, called the “Year when Anshan was smitten with weapons” Ezard, D.; Oklahoma Museum of Natural History; ADA; Hays, Jeffery.$16,500.

A Sumerian Clay TabletFrom Southern Mesopotamia - Circa 2143-2052 B.C.

A Record of Cattle Offerings to the Gods

8 Earliest and Ancient Written Language; Clay Tablet, Sumerian Writing; Mesopotamia. A SUM-ERIAN CLAY TABLET (Southern Mesopotamia: , n.d.) In Cuneiform, from the Third Dynasty of Ur (about 2143-2052 B.C.) 9 lines of Cuneiform deeply etched on one side of the tablet, the re-verse virtually covered with the Cuneiform writ-ing. A very large example, being 9.3 by 5 cm., the tablet being roughly 2 cm thick. The clay is a light gray/brown with a smooth surface, blackened in areas, likely by carbon. Extraordinarily well pre-served, in fact it is a testament to human ingenu-ity, after over four thousand years the scribe of this tablet would most likely find its appearance essentially unchanged and but for a few chipped areas on one side, as legible as ever.

This tablet bears a record in Cuneiform of cattle of-ferings to the gods. Cuneiform tablets represent one of the earliest forms of human written expression and thus mark the beginning of the Historic Period. Cuneiform writing was in use for a very long time, for over 35 centuries, and by peoples with at least 15 different spoken languages. It began as a system of pictographs. In the three millennia the script spanned, the pictorial representations became simplified and more abstract as the number of characters in use also grew gradually smaller, from about 1,000 unique characters in the Early Bronze Age to about 400 unique characters in the Late Bronze Age. Clay tablets with pictographs appeared around 4000 B.C. The earliest with Sumerian writing appeared around 3200 B.C. In about 2,500 B.C., Sumerian writing evolved into a syllabic script capable of recording the vernacular, it was thus far closer to our modern concept of an alphabet then other know hieroglyphics. With each change and simplification, it became progressively closer to what could be called a modern alphabet.

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Cuneiform documents were written on clay tablets, by means of a reed for a stylus. The symbols were made by scribes who used a reed, cut to have a triangular tip, to make impressions on damp clay. The reeds could make straight lines and triangles but could not easily make curved lines. Different characters were made by superimposing identical triangles in different combinations. Complex characters had around 13 triangles. The moistened tablets were left to dry in the hot sun. The impressions left by the stylus were wedge shaped, thus giving rise to the name cuneiform (“wedge shaped”, from the Latin cuneus, meaning “wedge”). The decipherment of Cuneiform was an academic challenge that also spanned centuries. Attempts at deciphering date back to Arabic/Persian historians of the medieval Islamic world, though these early attempts at decipherment were largely unsuccessful. In 1625 the Roman traveler Pietro Della Valle, coming back from Mesopotamia and Persia, brought back a tablet written in cuneiform glyphs he had found in Ur, and also the copy of five characters he had seen in Persepolis. Della Valle understood that the writing had to be read from left to right, following the direction of wedges. However he didn’t attempt to decipher the scripts. Englishman Sir Thomas Herbert, in 1634, reported seeing at Persepolis carved on the wall “a dozen lines of strange characters…” and thought they resembled Greek. He concluded, correctly, that they represented not letters or hieroglyphics but words and syllables. In 1836, the eminent French scholar, Eugène Burnouf discovered that the first of the inscriptions at Persepolis contained a list of the satrapies of Darius. With this clue in his hand, he identified and published an alphabet of thirty letters, most of which he had correctly deciphered. Meanwhile, in 1835 Henry Rawlinson, a British East India Company army officer, visited the Behistun Inscriptions in Persia. Carved in the reign of King Darius of Persia (522–486 BC), they consisted of identical texts in the three official languages of the empire: Old Persian, Mesopotamian Aramaic, and Elamite. The Behistun inscription was to the decipherment of cuneiform what the Rosetta Stone was to the decipherment of Egyptian hieroglyphs. Rawlinson correctly deduced that the Old Persian was a phonetic script and he successfully deciphered it. Adkins 2003, p. 47. Marckham Geller, “The Last Wedge”. Rawlinson 1847. Adkins, Lesley. Hayes, John L. Wikipedia. British Museum.$14500.

The Earliest and Most Ancient Written LanguageA Sumerian Cone - Uruk - Southern Mesopotamia

With Cuneiform Writing - Circa 1865-1804 B.C.

9 Earliest and Ancient Written Language; Clay Tablet, Sumerian Writing; Mesopota-mia. A SUMERIAN CLAY TABLET (Southern Mesopotamia: , n.d. Circa 1865-1804 B.C.) Assigned from the time of Sîn-kāšid, in Cuneiform, Circa 1865-1804 B.C. Rough-ly cone shaped, the Cuneiform in vertical lines all around the sides, with a flat bottom. About 54 mm. tall,, with a circular base roughly 35 mm. in diameter. Made of a very light brown-gray clay, darkening towards the top. Extremely well preserved. VERY RARE, AND AN ANCIENT WRITTEN LANGUAGE. From the city of Uruk dur-ing its period of independence after having been only a principality of Ur of Babylon. The cone shape is reminiscent of the Foundation Cones used in Southern Mesopotamia. This is probably a later example. Cuneiform tablets represent one of the earliest forms of human written expression and thus mark the beginning of the Historic Period. Cuneiform writing was in use for a very long time, for over 35 centuries, and by peoples with at least 15 different spoken languages. It began as a system of pictographs. In the three millennia the script spanned, the pictorial representations became simplified and more abstract as the number of characters in use also grew gradually smaller, from about 1,000 unique characters in the Early Bronze Age to about 400 unique characters in the Late Bronze Age. Clay tablets with pictographs appeared around 4000 B.C. The earliest with Sumerian writ-ing appeared around 3200 B.C. In about 2,500 B.C., Sumerian writing evolved into a syllabic script capable of recording the vernacular, it was thus far closer to our modern concept of an alphabet then other know hieroglyphics. With each change and simplification, it became progressively closer to what could be called a modern alphabet. Cuneiform documents were written on clay tablets, by means of a reed for a stylus. The symbols were made by scribes who used a reed, cut to have a triangular tip, to make impressions on damp clay. The reeds could make straight lines and triangles but could not easily make curved lines. Different characters were made by superimposing identical triangles in different combinations. Complex characters had around 13 triangles. The moistened tablets were left to dry in the hot sun. The impressions left by the stylus were wedge shaped, thus giving rise to the name cuneiform (“wedge shaped”, from the Latin cuneus, meaning “wedge”).

The decipherment of Cuneiform was an academic challenge that also spanned centuries. Attempts at deciphering date back to Arabic/Persian historians of the medieval Islamic world, though these early attempts at decipherment were largely unsuccessful. In 1625 the Roman traveler Pietro Della Valle, coming back from Mesopotamia and Persia, brought back a tablet written in cuneiform glyphs he had found in Ur, and also the copy of five characters he had seen in Persepolis. Della Valle understood that the writing had to be read from left to right, following the direction of wedges. However he didn’t attempt to decipher the scripts. Englishman Sir Thomas Herbert, in 1634, reported seeing at Persepolis carved on the wall “a dozen lines of strange characters…” and thought they resembled Greek. He concluded, correctly, that they represented not letters or hieroglyphics but words and syl-lables. In 1836, the eminent French scholar, Eugène Burnouf discovered that the first of the inscriptions at Persepolis contained a list of the satrapies of Darius. With this clue in his hand, he identified and published an alphabet of thirty letters, most of which he had correctly deciphered. Meanwhile, in 1835 Henry Rawlinson, a British East India Company army officer, visited the Behistun Inscriptions in Persia. Carved in the reign of King Darius of Persia (522–486 BC), they consisted of identical texts in the three official languages of the empire: Old Persian, Mesopotamian Aramaic, and Elamite. The Behistun inscription was to the decipherment of cuneiform what the Rosetta Stone was to the decipherment of Egyptian hieroglyphs. Rawlinson correctly deduced that the Old Persian was a phonetic script and he successfully deciphered it.$19,500.

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Our Little Ones Library - c 1896Heartwarming Stories in Miniature Bindings

10 [Early Children’s Books; Child; Illustrated Child]; [Nister, Ernest]. [OUR LITTLE ONES LIBRARY] A LITTLE PICKLE; A SNOWFIGHT; THREE FRIENDS; LIKE GRANDPA; CAT’S CRADLE; MISS BUSY BEE (Nurem-berg: Ernest Nister, ca. 1896) 6 volumes. Each volume complete with black and white sketches and full page colour chromo-lithographic illustrations. 12mo, in the original bindings of charming full-colur illustrated boards housed in the original illustrated fold-over chemise. RARE IN THIS COM-PLETE STATE. A very well preserved and pleasing set, with only minor evidence of wear or use, and far less than might be expected. DELIGHTFUL CHILDREN’S ILLUSTRATED MINIATURES. Titles include: The Little Pickle, Miss Busy Bee, Cat’s Cradle, Like Grandma, Three Friends, and the Snowfight.$1250.

Albert Einstein and Unified Field TheoryAn Important Offprint - Berlin, 1929

11 Einstein, A.[lbert]. ZUR EINHEITLICHEN FELDTHEORIE VON A. EINSTEIN. Sonderab-druck aus den Sitzungsberichten der Preussischen Akademie Der Wissenschaften Phys.-Math Klasse 1929 (Berlin: Verlag Der Akademie der Wissenschaften, 1929) An important offprint, first edition. With mathematical formulas in text. Small folio, in the original orange off-print paper wrappers printed in black on both covers. 8 pp. Very fine, nearly as new

A RARE AND IMPORTANT OFFPRINT. EINHEITLICHEN FELDTHEORIE, which means “A Coherent Theory of the Electro-Magnetic Field” and is the title of a five-page paper of highest mathemati-cal formulae which Relativist Albert Einstein worked on for ten years. His report is a purely mathematical extension of the general theory of relativity to include gravitational and electromagnetic phenomena.His relativity theory, which he phrased within only three printed pages, made time & space the creator of matter. When this paper on the Unified Field Theory was published, it was a headline story in the newspa-pers. Few, if any people, understood the complex mathematics, but many were fascinated by the thought that Einstein had possibly came up with a new theory, expanding on “General Relativity”, and unifying the fundamental forces of nature. It is considered Einstein’s last important scientific work (Weil #165).

“In 1928, [Einstein] embarked on a new approach to a unified field theory... involving what he called ‘distant parallelism’... By early 1929 he had solved the main problems involved in writing down field equations for his unified field theory. On the day of official publication of the third of a formidably techni-cal series of nine articles on the theory... excited headlines appeared in foreign newspapers throughout the world... In this frenzied, unscientific atmosphere, Einstein’s new theory was hailed in the press as an outstanding scientific advance. Yet Einstein had stated in his article that this was still tentative; and soon

he found he had to abandon it” (Hoffmann/Dukas, ‘’Albert Einstein: Creator and Rebel’’ (1972) pp. 225-226). Weil #165; Boni #173; Norman 700; Mallon, Gregory J. Prussian Academy of Physics.$1650.

The First Edition of Einstein’s General Theory of RelativityThe Dawn of a New Scientific Outlook - PMM

12 Einstein, Albert. DIE GRUNDLAGE DER ALLGEMEINEN RELATIVITÄTSTHEORIE (Leipzig: Verlag Von Johann Ambrosius Barth, 1916) First edition . With mathematical for-mulas printed throughout. 8vo, original buff paper wrappers, printed in black. 64 pp. An unusually nice copy, and indeed, very well preserved in the original wrappers. RARE AND HIGHLY IMPORTANT. The first printing in book form of Einstein’s general theory of relativity. In 1893 Konrad Lorentz, in response to the negative result of the Morley-Michelson experiment regarding the relative speed of light, devised a theory of the electrical nature of matter and stated that all electrical particles become shortened when in motion along the direction in which the “ether” (the medium by which light waves are conveyed) drifted. The logical conclusion of the Lorentz hypothesis was that physical objects changed their size, and that the duration of any process varied in length according to the observer’s position. In 1905 Einstein proposed his “special theory” of relativity, which in essence had the same mathematical requirements as the Lorentz hypothesis, although the ideas underlying it were profoundly different. Einstein’s formulation of the famous e=mc2 equation was confined to optics and the electrodynamics of moving bodies. In the GRUNDLAGE he broadened the idea of relative motion in order to resolve certain paradoxes that arose from the assumption that there was an unambiguous frame of reference to which all events could be referred: “According to this theory there is no such thing as a ‘specially favoured’ co-ordinate system to occasion the introduction of the

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ether-idea, and hence there can be no ether-drift, nor any experiment with which to demostrate it.” This declaration, that it is impossible by any experiment to detect uniform motion relative to the ether, essentially destroyed the nineteenth-century idea of the ether (though the name still is used for something different from the medium which the Victorian physicists contemplated) and laid the ground-work for the wider acceptance of the theory of relativity--a theory which has not only transformed astrophysics and the whole scientific outlook, but has permeated every level of educated discourse in the twentieth century. Weil 80a; PMM 408; Horblit 26c.$7950.

A Fine Decorated Ethiopian Manuscript ScrollPainted in Red and Black with Extensive Calligraphy

13 Ethiopian Talisman, Magic Scrolls. A S ETHIOPIAN MAGIC SCROLLS, OR TALISMANS, HAND WRITTEN, DECORATED AND ILLUSTRATED on handmade Parchment, most likely goatskin, in the classical Ethiopian lan-guage of Ge’ez (Ethiopia: Manuscript, Circa early 20th century) The Ge’ez text in black and sometimes red, most of the scrolls are extensively decorated in traditional Ethiopian style, some with a number of very large human fig-ures. Additional decoration abounds. On adverage roughly 50 inches by 4 inches, made in segments of parchment stitched together with rawhide leather cording, rolled. All items extremely well preserved, the writing and decoration very bright and vivid, only a bit of expected aging to the animal parchments as would be expected. One of the more fascinating traditions still surviving today in Ethiopia but abandoned centuries ago in the West is the use of Talismanic art. Talismans, such as this Magic Scroll, are items not considered to be the products of the human artist that made them. They are Holy works, part of the great mystery only reproduced by the human craftsman through revelation. They represent the connections between men and spirits, animals, demons, stars, Saints and sicknesses all translated into pictures and language. They are considered to be able to influence the spirits due to their intrinsic holy nature combined with the dreams and desires of their owners. This scroll is a magnificent example being well over 4 feet long and produced in the ancient traditional methods.Prices vary, ranging from $950 to $1350.

The Experimental Researches in Electricity and MagnetismFaraday’s 6th and 7th Series - A Rare Presentation Copy

14 Faraday, Michael. EXPERIMENTAL RESEARCHES IN ELECTRICITY. (Sixth and Seventh Series.) (London: From the Philosphical Transactions, Printed by Richard Taylor, 1834, 1834) 2 volumes in one. A Rare Presentation Copy in-scribed by Faraday, of the exceedingly scarce Offprint and first edition of the Sixth and Seventh Series of the author’s masterwork. With the engraved leaf of illustrations at the end of the seventh number, depicting some of Faraday’s experiments. 4to, unbound and sewn in contemporary, most probably original wraps. title, 22pp.; title, 46pp., one engraved leaf of illustrations, unopened. RARE PRESENTATION COPY OF THE OFFPRINT. The discoverer of electo-magnetism, Faraday is recognized as perhaps the greatest experimental scientist of all time. Using a clue from earlier theories, Faraday discovered that a current-carrying wire would rotate around a magnetic pole or a pole around a current-carrying wire. This discovery would be the principle behind the electric motor. Pursuing this theory further,

he discovered that when a wire moved around a magnetic pole a current was produced. This would become the principle behind the dynamo and the transformer, leading into a new era of experiments with electricity. Pursuing his fascination with electro-magnetism, Faraday identified all forms of electricity, whether produced by nature or by man-made machine. His theories on magnetic force would become the basis for the later theories of Clerk Maxwell and Albert Einstein. While experimenting with electrolysis, Faraday was the first to discover that gases are vaporized liquids with low boiling points and created many of the terms and processes that are the basis for modern science-electrode, electrolyze, cathode, anode and ion. Faraday contribution to science cannot be overstated. His discoveries in electricity and how create and harness it have become the building blocks of our modern life. He made possible electric power, electric lights, telephones and now the computers and telecommunications wonders of our own time. The original 30 articles are rarely offered in original state. PMM 308.$4500.

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Concerning Galileo’s Work on Floating BodiesThe “Discorso” Di Galileo Galilei - Printed Bologna 1655

The First Collected Edition

15 Galilei, Galileo. RISPOSTA ALLE OPPOSITIONI DEL Sig. Lodovico Delle Colombe E Del Sig. Vincenzo Di Gratia, Contro al Trattato Del Sig. Galileo Galilei, Delle cose che stanno sù l’Acqua, ò che in quella si muouono. All’ Illustriss. Sig. Enea Piccolomini Aragona, Signo-re Di Sticciano &c. Nella quale si contengono molte considerationi filosofiche remote dalle vulgare opinioni [with] CONSIDERATIONI APPARTENENTI Al Libro Del Sig. Vincentio Di Gratia. (Bologna: HH. del Dozza, 1655) First Collected Edition and only the second issu-ance, printed with independent pagination and included in the First Printing of the OPERA in 1655. With woodcut device on the title-page. 4to, original unbound sewn sheets. 188; 189-264pp. A fine and fresh copy, clean and crisp withal. SCARCE AND IMPORTANT. GALILEO’S FINAL WORK ON FLOATING BODIES and his important findings and answers to Lodovico Delle Colombe and Vincenzo Di Gratia with illustrations from the work of Piccolomini and Sticciano. Cinti 51 notes: “Ludovico delle Colombe rispose nel 1612 con il suo “Discorso Apologetico”, cui fece seguito nel 1613 l’opera di Vincenzo di Grazia “Consider-azioni sopro ‘l Discorso di Galileo Galilei”...D.S.B. V, pp. 241-2: “Using the concept of moment and the principle of virtual velocities, Galileo extended the scope of the Archimedean work beyond purely hydrostatic considerations...The Book on Bodies in water drew attacks from four Aristotelian profes-sors at Florence and Pisa...Galileo prepared answers to his critics, which he turned over to Castelli for publication in order to avoid personal involvement. Detailed replies to two of them...written princi-pally by Galileo himself appeared anonymously in 1615, with a prefatory note by Castelli implying that he was the author ad that Galileo would have been more severe.”$2250.

From One of Greatest Books on Hawaiian BirdsWith Ten Hand-Coloured Plates - Folio - April 1894

Wilson and Evens’ Aves Hawaiienses - Original WrappersMany Single Plates Also Available -From Various Parts 1894 - 1899

16 [Hawaiiana; Birds]; Wilson, Scott Barchard (and) Evans, Arthur Humble. AVES HAWAIIENSES: The Birds of the Sandwich Islands: Part 5 (London: Taylor & Fran-cis for R. H. Porter, April 1894) First edition. With nine hand-colored lithographs of birds found by Wilson in the Hawaiian Islands, of the nine included five are now classified as extinct and one as possibly extinct. Folio [325 x 260 mm], a very rare original single part in the printer’s original green printed wrappers. included with the plates are twenty pages of descriptive text. A very handsome and well pre-served collection of impressive ornithological plates, the plates are clean and fresh, as is the text, the wrappers well preserved. Also available are a large selection of individual plates from this part as well as several others. SCARCE, A FULL PART IN ORIGINAL WRAPPERS FROM ONE OF THE TWO GREATEST ORNITHOLOGICAL WORKS ON HAWAII. AVES HAWAIIENSES is a beautiful three part publication, produced over nearly a decade, containing magnificent hand-coloured lithographs of Hawaiian birds. The plates were drawn and lithographed by F. W. Frohawk. For backgrounds Frohawk drew upon the plates in Isabella Sincairs 1885 work, ‘Indigenous Flowers of the Hawaiian Islands. The exact print run is unknown, but is believed to be roughly 250 copies. In 1887, with the support and encouragement of Alfred Newton (Professor of Zoology at Magdalene College in Cambridge), British ornithologist and explorer, Scott Barchard Wil-son went to Hawaii to study and collect information on the local birds. Although scientific knowledge of some species have been obtained in 1778 by Captain James Cook, no serious ornithological exploration of the Islands has been taken place in over a century. On his re-turn, Wilson, with the assistance of Arthur H. Evans, wrote Aves Hawaiienses. (Evans was a colleague of Professor Newton at Cambridge). The work became an instant success mainly due to the exquisite stunningly hand-colored plates, which were executed in fine detail. The plates show magnificent species such as the Hawaiian Honeycreeper, Palila, Alala, Mamo, Hawaiian Goose, Apapane, Amakihi, Moloka’i and Maui Creeper, Akialoa, Maui & Kaua’i Nukupu’u, Kona Finch, Noio, Hawaiian Noddy, Moho, and many others. Hand-colored plates of the original edition were drawn and lithographed by renowned English zoological artist and lepidopterist, Frederick William Frohawk. Illustrations captioned with scientific names of each species. In the ensuing century, unfortunately half of the 64 species depicted in the work have become extinct or endangered. This single part contains plates and descriptions of 9 impressive birds, 6 of which are now most likely extinct. The plates included are: Palmeria Dolii, Hemignathus Lichtensteini, Hemignathus Lucidus, Rhodocanthus Palmeri, Drepanis Funerea, Acrulocercus Bishopi, Acrulocercus Apicalis, Numenius Tahitiensis, and Pennula Ecaudata (Gallirallus Philippensis).Plates sold separately or in groups or complete parts in wrappers. Please Inquire for further details on available parts and plates.

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With Miniatures Portraits and Fine Hand-ColouringFrom a 16th Century Psalter on Vellum - Burnished With Gold

17 Illuminated Leaf, Miniatures. A Handsomely Hand-Coloured leaf of a Printed Psalter, on Vellum, with Ornate Hand-Coloured Borders and Miniatures in Many Colours and Burnished with Gold. (Probably French: 16th Century) 29 lines of text in handsome Roman letters,within coloured and highly detailed borders and featuring at least 4 fine hand-coloured miniature portraits. Approx. 8 by 5 inches, printed on vellum, now handsomely mounted in cream with fine outline in blue, framed in gilt and glazed. Single leaf. Very lovely and extremely well preserved. A beautiful piece surviving from the early days of the art of printing. Its appearance and style clearly mimic the medieval manuscripts which were progenitors of the early printers.Please Inquire.

A Fine Renaissance Manuscript ExampleFrom a German Antiphonal of the 15th Century

18 [Illuminated Manuscript; Antiphonal Leaf, Renaissance Manu-script]. A LARGE LEAF FROM A GERMAN MANUSCRIPT ANTIPHONAL on Vellum. (German: , Circa 15th century) Written in gothic letter in black, blue, red, gray and yellow-gold, with a very large and beautifully decorated initial capital over two inches tall, additional initials and fine penwork. Single folio leaf on vellum [15” x 10”], handsomely presented in cream mounting. Very finely preserved, very bright and very fresh and in excellent condition.$950.

An Illuminated Manuscript With Fine Original MiniaturesLettered and Painted On Vellum and Beautifully Bound

19 [Illuminated Manuscript]; Aldrich, Thomas Bailey. FRIAR JEROME’S BEAUTIFUL BOOK (By hand: Siuol Na-Haub, ND (circa 1915)) An illuminated manuscript on vellum done for the Renaissance Society. With the provenance of Phoebe Boyle, with her bookplate. The famed Boyle collection was dispersed in 1923 when Sotheby’s New York predecessor, Anderson Galleries, sold the Phoebe Boyle collec-tion. Written and illuminated by Siuol Na-Huab, including 17 hand-painted miniatures or designs, title-page with original miniature, and 29 large hand-painted illuminated initials. Small folio, (21 by 15 cm), beautifully bound for the Renaissance Society in full purple morocco, the covers decorated with a central tool and four large corner pieces all in a stylized morning-glory motif within a triple-lined gilt fillet framework, the spine gilt lettered and ruled, the inner covers with purple and green morocco end-leaves gilt ruled and deco-rated with four large cornerpieces in a motif of thistle and morning-glories, silk end-leave. In a purple cloth covered chemise in a purple morocco backed cloth covered slipcase. [ii], 28, [1] pp. Very beautifully preserved, the morocco binding in excellent condition, the text pristine, with only a light bit of mellowing to the end-leaves and a touch of wear to the protective slipcase which has succeeded well to its purpose. A BEAUTIFUL ILLUMINATED, HAND-PAINTED MANUSCRIPT. THIS WONDER-FUL WORK FROM THOMAS BAILEY AL-DRICH’S FAMOUS POEM. The work was printed a number of times and illustrated or produced specially by fine printers and binders through the years. This Illuminated, hand-paint-ed manuscript is a unique item.

...So Friar Jerome began his Book. From break of dawn till curfew-chime He bent above the lengthening page, Like some rapt poet o’er his rhyme. He scarcely paused to tell his beads, Except at night; and then he lay And tost, unrestful, on the straw, Impatient for the coming day— Working like one who feels, perchance, That, ere the longed-for goal be won, Ere Beauty bare her perfect breast, Black Death may pluck him from the sun. At intervals the busy brook, Turning the mill-wheel, caught his ear;

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And through the grating of the cell He saw the honeysuckles peer, And knew ‘t was summer, that the sheep In fragrant pastures lay asleep, And felt, that, somehow, God was near. In his green pulpit on the elm, The robin, abbot of that wood, Held forth by times; and Friar Jerome Listened, and smiled, and understood.$11,500.

A Single Leaf Speculum Historiale - 1473Handsome Rubricated Red and Blue

20 [Incunable Leaf] Beavais, Vincent of. [A Single Leaf from Beavais’ Speculum histori-ale] (Strasbourg: Johann Mentelin, 1473) The page is from the second edition of this work, printed in Strasbourg by Johann Mentelin in 1473. Printed, in black ink, on both sides in double columns containing 62 lines in thick roman script. Many of the capital letters are touched in yellow ink and there are paragraph rubrics in red as well as large rubricated capitals in red and blue. The leaf is headlined XXXI on one side in red and II on the other in blue. Folio, approx 18 by 12 inches, handsomely mounted in cream boards ruled in yellow and red Single leaf. Extremely well preserved, fine and very handsome. VERY RARE EARLY INCUNABULA BY ONE OF THE MOST IMPORTANT PRINTERS OF THE EARLY RENAISSANCE. Vincent of Beauvais was a Dominican friar who left the mo-nastic life and eventually became lector and chaplain to the court of the French King Louis the IX. It was under such patronage that he undertook the task of writing three huge encyclopedias which he intended to include the sum of all knowledge from the time of creation to his own present day. The three major works were divided into the Speculum Majus, the Speculum Doctrinale and the Speculum Historiale. The last, despite its name, is not as much a historical overview as much as it is metaphysical commentary on religion, faith and other things supernatural. It is often regarded as the most personal and introspective of the three works and includes (as do the other two) pieces of poetry and music, possibly written by the author himself. Despite its many omissions and fallacies, all three sections of the Speculum were an influence and inspiration to poets and writers for centuries afterward, and was especially important to many of the Romantic writers, with Lord Byron often citing him as a primary influence.$750.

An Important Woodblock Hand-Coloured Japanese MapFrom the Beginning of 1684 - Very Rare and Very BeautifulJapan Eiri Edo Oezu - Very Large Joined and Folded Paper

21 [Japanese Hand-Coloured Wood-Block Printing]; [Maps and Atlases]; [Tokyo Map], Hyoshiya Ichirobe. A WOODBLOCK HAND-COLOURED MAP OF TOKYO; JAPAN EIRI EDO OEZU (Illustrated Edo) (Edo [Tokyo]: Hyoshiya Ichirobe, First month, 1684)A large

woodcut map of Edo (To-kyo) with fine handcolour-ing, on joined and folded paper. The map is breath-taking in its detail and fea-tures many paintings of im-portant landmarks, temples, bridges and people, who are often pictured working or fishing from boats on the waterways running through Tokyo. A stunning and very rare woodblock map beauti-fully and unusually hand-coloured. Roads, blocks, buildings, open areas, ca-nals and waterways, are all vividly laid out on this huge and most impressive map. 123.5 by 149.5 cm., folded within paper covers, folds to 28 by 18 cm, now pre-served in a fine clamshell box. A remarkably well pre-served and very

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rare item, with some light rubbing due to age and as to be expected. A bit of old worming or light soiling and occasional small repairs, but in all quite astonishing in its quality and beautifully preserved with bright and vivid colour and detail. AN EXTRAORDINARY ITEM, REMARKABLE FOR BOTH ITS CARTOGRAPHIC DETAIL AND ITS ARTISTIC BEAUTY. The wood block printing shows land tenures of Daimyo and Hatamoto. It also shows temples and shrines, includes a distance chart and descriptive listing of Daimyo showing crests and halberds. There is also a inset of the eastern portion of Edo. East Asian Library, Berkeley EA9.$23,500.

An Exceptional Autograph Letter by Thomas JeffersonOf Rare and Highly Important Intellectual Content

From the Great Founding Father and Third U.S. President

22 Jefferson, Thomas. AN EXCEPTIONAL AUTOGRAPH LETTER OF RARE AND IMPORTANT INTELLECTUAL CONTENT IN THE HAND OF THOMAS JEFFERSON AND SIGNED. Written at Monticello to Parsons and Cooley (Charlot-tesville, VA.: Handwritten, at Monticello, Feb. 14, 1823) Signed and Dated Manuscript in the hand of Thomas Jefferson, au-thor of the Declaration of Independence, Third President of the United States, author of NOTES ON THE STATE OF VIRGIN-IA, FOUNDER OF THE UNIVERSITY OF VIRGINIA, ARCHI-TECT AND PLANNER OF MONTICELLO, etc., etc., etc. Writ-ten in cursive ink on one side of a single leaf of paper. Roughly 9 x 11 inches. Extremely well preserved and very legible, some expected softness to the paper and lines from folding. AN AUTOGRAPH LETTER OF RARE AND HIGHLY IMPOR-TANT INTELLECTUAL CONTENT BY THOMAS JEFFERSON ON THOMAS JEFFERSON,THE WRITER. Answering a request for one of his books, Jefferson here gives an overview of his writing career — modestly downplaying his contri-bution as a political writer; affirming his authorship of Notes on the State of Virginia (indicating it is the only work he himself has ever published); and highlighting his “Report on the Plan of an University in Virginia” — a copy of which Jefferson sends on. The correspondents to whom Jefferson is here replying appear to have been trustees of Wil-liams College (in Williamstown, MA), who contacted Jefferson for the

sake of adding one of his books to the College library. Jefferson’s gift is altogether fitting: his “Plan” is both a work in which he took great pride and one whose ideas would most meaningfully enrich the receiving College’s readers. The exceptional content of this letter deepens and reinforces our understanding of how Thomas Jefferson viewed himself and his own achievements. As an “Enlightenment Intellectual,” Jefferson was an ardent advocate for the mind’s freedom and growth — a position essentially affirmed by the inscription on his own tombstone:

Here was buriedThomas JeffersonAuthor of the Declaration of American Independenceof the Statute of Virginia for religious freedomFather of the University of Virginia

Jefferson himself drafted this inscription -- “because by these as testimonials that I have lived, I wish most to be remembered” — an inscription in some good measure presaged by the contents of this letter. Jefferson letters of such important intellectual self-definition are Very Rare in the Marketplace. No letter of comparable content has been publicly offered in many years. $97,500.

Pomes Penyeach - The Poetry of James JoyceFirst Edition - Very Pleasing Copy in Original Paper Boards

23 Joyce, James. POMES PENYEACH (Paris: Shakespeare and Co., 1927) First edition. 16mo, origi-nal pale green paper-covered boards printed in dark green on both the upper and lower covers. [24] pp. A very nice copy indeed, a bit of mellowing to the spine as usual, spine panel solid and intact and unrestored, with the errata as called for. A VERY PLEASING COPY OF THE FIRST EDITION, RARE IN THIS CONDITION, UNRESTORED AND WITH THE BACKSTRIP IN GOOD ORDER. This is Joyce’s second collection of poems. It was printed in a very small run by printer Herbert Clarke, whose name is given on the back cover. It is believed that Herbert Clarke was actually a pseudonym for American poet Harry Crosby. POMES PENYEACH contains 13 poems, below each of which is given the place and the year in which the poem was originally composed. Such fine copies are extremely difficult to come by.$1250.

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Very Rare - Corrected Proof Pages from The Kelmscott PressFrom Poems by the Way - The Second Book of the Press

First Use of Black and Red and With Pre-Raphaelite Design

24 [Kelmscott Press] Morris, William. [ORIGINAL PUBLISHER’S PROOF PAGES TO] POEMS BY THE WAY ([Hammersmith: Kelmscott Press, 1891]) Printer’s proof pages, with manuscript notes and corrections in pencil. Printed in black and red, with large engraved initials through-out. 8vo, Signature E3 provided twice, one with manuscript corrections and the other without, signatures F2 and F4, signature I2 with manuscript corrections, signature O1 with manuscript corrections, wrapped in a blank sheet of the same fine paper with manuscript notes in pencil. All together a total of 22 pages. Perfectly preserved, a fine copy. SCARCE, PROOF PAGES FROM THE EARLY DAYS OF THE KELMSCOTT PRESS ARE QUITE RARE, and these are from the second book issued by the Press, one of the earliest, and clearly display the beauty and grace for which the Kelmscott Press is famous. Designed by William Morris, the book featured many ten-line and six-line engraved initials of stunning Pre-Raphaelite design. The book was the first by the Press to be printed in black and red.$5500.

The Rare Trial Opening Bifolium to the Kelmscott Chaucer“The Most Famous Page in the History of Typography”

The Most Beautiful Book in the LanguageDesigned by William Morris - Printed in 1893

25 [Kelmscott Press]; Chaucer; Morris, William. VERY RARE PUBLISHER’S TRIAL PROOF FOR THE OPENING BIFOLIUM FROM THE FAMED KELMSCOTT CHAU-CER, “THE MOST FAMOUS PAGE IN THE HISTORY OF TYPOGRAPHY”. (Ham-mersmith: The Kelmscott Press, [1893]) RARE prepublication trial proof from the celebrated Kelmscott Chaucer which was limited to 438 copies. This is the opening bifolium, the most famous leaves from this masterpiece of the printer’s art. Among the most famous illustrated leaves in printing history, heavily embellished with large woodcut illustrations, William Morris’ Gothic lettering and decorative initials includ-ing amazing interlacing vine patterns and borders, and with the large woodcut illus-tration designed by Edward Burne-Jones. Morris drew the plants and ornaments for the illustration. And with a 19-line opening initial, as well as five additional 5 line initials. In the margins, the first four pilgrims are printed in red. This specimen differs from the final printed version, details of which below. 16-3/4 x 11-3/8 inches, single bifolium, untrimmed and unbound, tipped to a stiff paperboard backing with manu-script description in neat calligraphy. It is tipped in manner that still allows viewing of all four pages of the bifolium. 2 leaves. Fine and very well preserved, the paperboard to which it is tipped is worn at the corners. VERY RARE, THIS IS A PUBLISHER’S TRIAL PROOF FOR THE FIRST FOUR PAG-ES, THE OPENING BIFOLIUM, TO THE MOST BEAUTIFUL BOOK IN THE ENGLISH LANGUAGE. The Kelmscott Chaucer is “the most famous book of the modern private press movement, and the culmination of William Morris’s endeavor” (The Artist and the Book). The specimens were printed in 1893 and were issued by Morris to a few leading booksellers. One was exhibited at the Arts and Crafts Exposition of 1893, three years prior to the final com-pletion of the book in 1896. These specimens differ slightly from the final production. On the first page Morris rejected this format as he felt the “W” was too near the bordered block above it. This change required the replacing of a few lines of text. Thus, in this version there are seven lines beneath the initial, while on the finished version there were only six. The removal also caused all the pages of the bifolium to have a different typographic setting. Additionally, on page 3 the picture of Palamon & Arcite had a different border in the final book then the one which appears here, in the trial proof being offered. This leaf was formerly the property of Prof. S.P. Thompson, according to the author of the short lines of description on the mounting board.$29,500.

Inscribed by John F. Kennedy - As We Remember JoeThe Rarest of All Works in the Kennedy Genre

His Touching Tribute to His Fallen Elder Brother - 1945

26 Kennedy, John F. Editor. AS WE REMEMBER JOE (Cambridge: Privately Printed, designed and printed at the University Press, 1945) VERY SCARCE. INSCRIBED BY JOHN F. KENNEDY. First edition, first issue with the Wings insignia printed in dark red on the title-page, very limited printing of probably 250 copies such. Extensively illustrated with black and white photographs, letter

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facsimiles and a colour reproduction of the Navy Cross. 8vo, in the original burgundy cloth lettered in gilt on the spine and gilt lettered within a gilt ruled border within a black cloth box on the upper cover. xi, 75, with printers colophon on verso of page 75. A very handsome copy of this very scarce work, the cloth is fresh and bright, internally solid with fresh paper, hinges fine and well cared for, with an inscrip-tion as noted below providing more of an interesting history then be-ing a distraction. With a rare genuine period signature by the future President. BOLDLY INSCRIBED BY THE FUTURE PRESIDENT. VERY SCARCE, THE RAREST OF ALL JOHN F. KENNEDY RELATED BOOKS AND WITH VERY EARLY PUBLISHED WRITINGS BY THE FUTURE PRESIDENT. Privately printed and limited, the work is known in two is-sue states. This is the first state with the title page printed in black and red. It is estimated that there were roughly 250 copies printed such. The second state was printed with the title page all in black. While 500 copies in total was the official printing record, it is believed that the actual print count was only 360. AS WE REMEMBER JOE was privately printed by the Kennedy family as

a memorial to Joseph P. Kennedy Jr., John F.’s elder brother who was killed in action during World War II. It was to provide a remembrance for family, friends and a few important associates. In content, AS WE REMEMBER JOE is a collection of essays or writings by various persons concerning Joe Kennedy. It was only John Kennedy’s second book (after WHY ENGLAND SLEPT in 1940) and it includes a forward by him and his very touching essay, MY BROTHER JOE. It also includes a short essay by his youngest brother Teddy, who was only 12 years old at the time. Teddy had convinced his brother John and sister Eunice to allow him to submit a story about a sailing race in which he accompanied Joe and where Joe, “seized me by the pant and through me into the cold water.”. With all of the youngest Kennedy’s spelling and punctuation errors intact it is a very sweet and touching addition. With the death of Joe Kennedy in 1944 his brother John F. Kennedy assumed the responsibilities and stature expected of an eldest son in the Kennedy family. This change in family position no doubt affected him for the rest of his life, greatly influencing his career in public service and leading 15 years later to the White House. J. Maddalena: K. Hasely: John F. Kennedy Library & Museum.$9500.

As We Remember JoeThe Most Scarce of All Works in the Kennedy Genre

JFK’s Touching Tribute to His Fallen Elder Brother - 1945

27 Kennedy, John F. Editor. AS WE REMEMBER JOE (Cambridge: Privately Printed, designed and printed at the University Press, 1945 [1965]) Scarce First and Limited Edi-tion of the second issue, one of 250 only, with the title page printed entirely in black. This issue was privately printed for Robert Kennedy with most copies being distributed by him personally. Extensively illustrated with black and white photographs, letter facsimiles and a colour reproduc-tion of the Navy Cross. 8vo, in the original burgundy cloth lettered in gilt on the spine and gilt lettered within a gilt ruled border within a black cloth box on the upper cover. xi, 75, with printers colophon on verso of page 75. An es-pecially fine copy of this scarce work, rarely seen in this condition. SCARCE, AND ONE OF THE MOST DIFFICULT TO OB-TAIN JOHN F. KENNEDY RELATED BOOKS AND WITH VERY EARLY PUBLISHED WRITINGS BY THE FUTURE PRESIDENT. Privately printed and limited, the work is known in two issue states. This is the second but probably scarcer state with the title page printed in black only. It is estimated that there were roughly 250 copies printed of the first issue with 500 cop-ies in total given as the official printing record. However it is believed that the actual total print count was only 360, thus making the second issue the less common of the two. AS WE REMEMBER JOE was privately printed by the Kennedy family as a memorial to Joseph P. Kennedy Jr., John F.’s elder brother who was killed in action during World War II. It was to provide a remembrance for family, friends and a few important associates. In content, the book is a collection of essays or writings by various persons concerning Joe Kennedy. It was only John Kennedy’s second book (after WHY ENGLAND SLEPT in 1940) and it includes a forward by him and his very touching essay, MY BROTHER JOE. With the death of Joe Kennedy in 1944 his brother John F. Kennedy assumed the responsibilities and stature expected of an eldest son in the Kennedy family. This change in family position no doubt affected him for the rest of his life, greatly influencing his career in public service and leading 15 years later to the White House. J. Maddalena: K. Hasely: John F. Kennedy Library & Museum.$1850.

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A Leaf from the “King James” BibleFrom The Book of PsalmsThe Editio Princeps - 1611

28 [King James Bible], [1611 Bible]. A LEAF FROM THE 1611 KING JAMES BIBLE, a Leaf From Psalms containing part of VI, all of Psalms VII, VIII, IX and part of X ([London: Robert Barker, 1611]) A single leaf from the First Edition or the Editio Princeps of the King James’ Bible. Printed double-column with headlines and chapter lines, this leaf with four fine five line ornamental capi-tal initials, text within woodcut rules, in both gothic and roman letter. Royal Folio, single leaf. A very fine and well preserved leaf with no staining or wear whatsoever. A large leaf showing the original stab marks for sewing from the original time of binding. A LEAF IN PERFECT CONDITION FROM THE BOOK OF PSALMS FROM THE EDITIO PRIN-CEPS OF KING JAMES’ BIBLE, COMMONLY KNOWN AS THE ‘AUTHORIZED’ VERSION, A LANDMARK OF PRINTING AND THE MOST FAMOUS OF ALL ENGLISH BIBLES. The King James Bible was described by W. A. Jackson as “perhaps the single most important influence upon the development of English prose style.” It was royally commissioned, in the hopes of reconciling or ameliorating the conflicts between the Bishop’s Bible, officially read in services, and the Geneva Bible, much more popular among the laity, but mistrusted within much of the Church hierarchy as being aggressively radical, especially in its annotations.$550.

A Finely Calligraphed and Decorated Koranic ManuscriptA Single Leaf - Probably 18th Century - Persia

29 [Koran, Arabic, Persia]. A FINE LEAF FROM A KORANIC MANUSCRIPT IN HANDSOMELY DECORATED AND RENDERED IN BEAUTIFUL ARABIC CALLIGRAPHY. (: Probably Persia, Circa 18th century) Finely written in Arabic calligraphy in black, outlined and highlighted in red and gold. Small Folio [6.5” x 3.75”], handsomely presented within a cream mount. A very finely preserved example.$200.

An Uncommonly Large Decorated Koranic ManuscriptPersian - A Single Leaf - Finely Calligraphed

30 [Koran, Arabic, Persia]. A FINE LEAF FROM AN ESPECIALLY LARGE KORANIC MANU-SCRIPT HANDSOMELY DECORATED AND RENDERED IN BEAUTIFUL ARABIC CALLIGRA-PHY. (: Probably Persia, Circa 18th century) Finely written in Arabic calligraphy in black with ad-ditional lettering in red outlined in blue, the entire page ruled and outlined in blue, red and gold. Tall Folio [16” by 9”], handsomely presented within a cream mount now outlined in blue and red just as the leaf. A very finely preserved example.$300.

Letchford’s Original Oil Magnificently ReproducedThe Elephant Folio Plates - Only 280 Sets Were Printed

A Wonderful Selection of Plates From the Best & Most Exotic Stories

31 [Letchford, Albert; Burton, Sir Richard F.]. Single Plates, A SELECTION OF SINGLE PLATES, FROM ALBERT LETCHFORD’S SERIES OF ORIGINAL ILLUSTRATIONS TO CAPT. SIR R. F. BURTON’S ARABIAN NIGHTS, Reproduced from the Original Pictures in Oil Specially Painted by Albert Letchford ([London: H. S. Nichols Ltd., De-cember 1897]) From the Choice Edition Deluxe, printed on plate paper, proofs before letters, limited to 250 numbered sets for sale and 30 un-numbered sets. Each is a large engraved illustration by Albert Letchford, there are several to choose from, many are from some of the most famous and exotic of Arabia Tales. This was originally plates numbered series. Elephant folio. Paper sizes approximately 22x17.5 inches; illustration sizes approximately 11x8.25 inches, each is included with its original accompanying text leaf, unbound as originally issued. On Some of the plates there is very light scat-tered foxing to the plate paper and text leaf, but in all cases the printed images are very vivid and strong. RARE, SINGLE PLATES FROM THE BEAUTIFUL ELEPHANT FOLIO LIMITED CHOICE DELUXE PRINTING OF LETCHFORD’S EXTRAORDINARY ILLUSTRA-TIONS FOR THE ARABIAN NIGHTS. These leaves come several of the best Arabian Nights Stories including Alaeddin and the Wonderful Lamp, Ali Baba and the 40 Thieves, Prince Habib and others. They often feature lav-ish Arabian scenery and costume, wonderous events and thrilling adventure.

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Burton and Letchford met while Letchford was in Florence during the beginning of his art education at the age of 18, which eventually led to his degree from Paris’ Beaux Arts, and the opportunity to study under numerous art masters such as Hebert, Jerome. Burton found Letchford to be “above the level of the general run of men, for, besides being an artist to his finger tips, he was very well read, and, his modesty once laid aside, proved a most interesting companion and the best of friends.” ‘Burton’s suggestion of illustrating the “Nights” had appealed greatly to Letchford on account of the unlimited scope such a subject would give to an artist who loved the East and had a boundless imagination.’ Only one of the illustrations was painted in Burton’s lifetime. These unbound, engraved illustrations, were beautifully reproduced from the original oils. A wonderful addition to any Burton collection or col-lection of fine art plates.Priced Individually.

On the Antiseptic Principle in the Practice of SurgeryJoseph Lister’s Epoch-Making Papers from The Lancet

32 Lister, Joseph. ON THE ANTISEPTIC PRINCIPLE IN THE PRACTICE OF SURGERY [with] ILLUSTRATIONS OF THE ANTISEPTIC SYSTEM OF TREAT-MENT IN SURGERY [With Four Additional Numbers of] THE LANCET, Volume II (London: The Lancet; George Fall, Sept. 21 - Nov. 30, 1867) First edition of these important articles and letters as printed in the journal ‘The Lancet’. Extracted from the various journal numbers and now presented bound together. 18pp, Folio jour-nal leaves (265x185mm), bound together in grey paper-covered boards with manu-script lettering on the spine and housed in a black cloth-covered slipcase with fold-ing chemise and lettered in gilt. Pages 353-358; 667-670; 409-410; 443-444; 501-502; 595-596. Very well preserved in fine state. SCARCE, JOSEPH LISTER’S SECOND OF TWO EPOCH-MAKING PAPERS ON ANTISEPSIS, one of the most important advances in all of medical science and quite pos-sibly the one which has been responsible for the largest number of lives saved by a singe medical technique. In 1860 Lister was appointed Regius Professor of Surgery in Glasgow. As in other hos-pitals at that time, the mortality rate at Glasgow for amputations and compound fractures exceeded forty percent due to rampant infection. Lister had for some years been studying the processes of inflammation and suppuration, and in the early 1860’s he “began declaring suppuration a form of decomposition. The prevailing medical doctrine about the cause of putrefaction derived from Liebig’s dictum (1839) that organic substances in the moist state and in the presence of oxygen undergo a peculiar state of combustion” (DSB). The resulting supposition that wounds should be shielded from the effects of atmospheric oxygen led to often harmful treatments. “Lister realized that oxygen could not be excluded from wounds, and he soon doubted its responsibility for provoking suppuration” (op. cit.). In 1865 a colleague introduced him to the work of Pasteur, whose revelation of the causes of wound sepsis provided Lister “the key for the banishment of hospital diseases” (ibid.). “To prevent bacterial infection Lister began using carbolic acid, a chemical then used routinely by the city of Carlisle to disinfect sewage. In a series of surgical cases he succeeded in completely eliminating infection. Although Lister was in error in assuming that the primary sources of infection were airborne, he had established the principle that the control of infection de-pended on the control of microorganisms” (Grolier Medicine). Presented here is the second of Lister’s two main papers on antisepsis, ‘read to the British Medical Association at their Dublin meeting of August 9, 1867. Lister announced that consistent application of his antiseptic treatment had entirely freed his Glasgow wards from hospital sepsis. After acknowledging his debt to Pasteur, he details his recommended procedures and describes further case histories of patients treated since publication of his previous article. Like Semmelweis’ recommendations for the implementation of aseptic hospital conditions a decade earlier, Lister’s ideas initially encountered indif-ference or outright hostility in the surgical community, especially in Britain. Eventually a number of favorable reports, from German surgeons in particular, began to turn the tide, and by the eighties and nineties a return was made to the aseptic recommendations of Semmelweis. “Withe the further work of Ernst von Bergmann in Berlin, antisepis and clouds of irritating carbolic acid mist gave way in the 1880’s to aseptic surgery and the aseptic routines which characterize the modern operating room” (Grolier Medicine 75). In recognition of Listers services to humanity, he was the first medical practitioner to be elevated to the peerage.’ (Norman) Also included in this collection of journal extracts are Lister’s replies to unfounded accusations made by Sir James Simpson that Lister had plagia-rized from works by surgeons in France and Germany, most specifically the French chemist Jules Lemaire. There is also one further follow up article included by Lister on his antiseptic methods. PMM (first article); Grolier Medicine; Dibner Heralds of Science 133; Garrison-Morton 5635; Norman Library 1367$3850.

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An Extremely Rare Complete Longfellow Manuscript PoemFrom the Library of His Friend and Publisher, James FieldsWith Additional Original and Autograph Material Included

33 Longfellow, Henry Wadsworth. [A SIGNED AUTOGRAPH POEM, “THE POETS”, IN THE HAND OF HENRY WADSWORTH LONGFEL-LOW, With Additional Original and Autograph Material Included (: Handwritten, March 13, 1876) The FULL MANUSCRIPT POEM, com-plete, of one of Longfellow’s most famous sonnets, handwritten, signed and dated by him. Included with the manuscript is an original drawing of Longfellow signed by Jacques Reich, an engraved portrait of Longfellow by C.G. Thompson, signed and dated 1840 by Longfellow, an engraved portrait by J. Wilcox, a page of typescript text signed by [ ], an engraved portrait based on the Healey portrait of 1862, a full typescript of the poem, an 1876 engraved portrait signed by Longfellow, an undated en-graved portrait signed by Longfellow, and the Hollyer engraved portrait signed by both Longfellow and Hollyer All items either engraved upon or tipped to folio sheets with the manuscript complete as written on the original paper, and the whole, handsomely bound into very fine full mo-rocco by Stikeman, with a buff morocco inlay on the upper cover lettered in gilt within gilt ruled borders, the spine with fine gilt lettering and ruled borders between tall raised bands, gilt turn-ins and edges with fine silk endpapers. 12 leaves of materials, followed by unpaginated blanks. The manuscript poem and other included materials all very fine, the binding handsome with a touch of minor edgewear. A COMPLETE MANUSCRIPT POEM IN THE HAND OF LONGFEL-LOW, Longfellow’s manuscripts are of excessive RARITY. This is one of the only two to have come from the library of his friend and publisher James T. Fields upon his death. Added since, is more fine provenance, the collection bears the bookplate of famed American book collector, bibliographer, author and bibliophile A. Edward Newton. The poem is one of Longfellow’s most famous sonnets, ending with the well-

known verses: “Not in the shouts and plaudits of the throng, But in ourselves are triumph and defeat”.$9750

A Leaf From the Book of Job - 13th Century - VellumA Very Rare Leaf From a Monumental Manuscript BibleOf Great Influence to Gutenberg - Two Centuries Later

34 Manuscript Leaf, 13th Century. A VERY RARE THIRTEENTH CENTURY LEAF OF MANUSCRIPT, FROM THE BOOK OF JOB, on vellum. (Manu-script: Handwritten, 13th century) The vellum leaf, from a 13th century copy of the Bible, is from a Monumental Bible of the period, a Bible of extremely large size. Written in double columns of 26 lines in black, red and blue, head-lines in blue and red, illuminated with one very large initial in blue and red and richly embellished in bright gold and over 13 lines in height, on the verso is a second large initial, being 9 lines tall also in blue, red and gold. 18 1/2” x 13” inches, period manuscript on vellum. Written on the Recto and Verso of a single leaf. A beautifully preserved example. AN EXTREMELY RARE AND DESIRABLE LEAF FROM A THIRTEENTH CENTURY MANUSCRIPT BIBLE. This is a very rare form for the Bible and it is a direct predecessor to the Gutenberg Bible and was one of the Bibles which Gutenberg studied in order to design his Bible and to form and develop his own fonts for use in printing his great printed Bible which was issued in Mainz some two centuries later. Leaves of this size and age and beauty are of great rarity.$7500.

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The Finest English Language Literary Signature AvailableOf Extreme Rarity - An Autograph Signature of John Milton

The Great Author of Paradise Lost and Paradise RegainedFirst Published in the Folio Works of Shakespeare

35 Milton, John. AN EXTREMELY RARE AUTOGRAPH SIGNATURE OF THE GREAT ENGLISH POET JOHN MILTON, penned while Milton still had his sight, pre-1655 (: , Before 1655) VERY RARE, realistically there is no greater English Literary Autograph obtainable, the rarity of Milton autograph material is legendary. Now displayed with a handsome engraved portrait of the poet. Roughly 5 X 2.25 inches, apparently clipped from a larger document. A superb signature and presentation, boldly penned by the great author, now matted in taupe silk with the engraved portrait in a custom gold stamped green leather folder. OF LEGENDARY RARITY, AND PENNED WHILE MILTON STILL HAD SIGHT. Sig-natures after 1655 are either by an amanuensis, and distinctly different in style, or are extremely shaky. THERE IS AVAILABLE NO GREATER AUTOGRAPH IN ALL OF ENGLISH LITERA-TURE. The scarcity of autograph material by Newton is demonstrated by the fact that since 1949 only two other examples have appeared for sale in either England or the United States. These were an unsigned manuscript and a legal document in which Milton signed as witness.$38,500.

A Charming MiniatureABC’s of Boston

36 [Miniature book]. ABC’s OF BOSTON Illustrated by E. Helene Sherman (Charlestown, MA: Emporium Publications, [ca 1986]) One of 250 numbered copies. With a drawing accompanying each letter, printed on rectos only. 32mo, original red cloth gilt, in the original glassine jacket. 54. As new. Featuring such recognizable landmarks as the Customs House Tower for the letter C, Haymarket Square for the letter H, and the Museum of Science for the letter M.$100.

Yukio Mishima – A Rare Publisher’s TypescriptActs of Worship: Seven Stories

37 Mishima, Yukio. A ACTS OF WORSHIP: SEVEN STORIES. Trans-lated by John Bester (New York: Kodanasha International, no date) Publisher’s typescript of this book of stories, a substantially complete typescript (lacking only pp. 16-79 from the story “Sword”) on plain white paper, in unbound sheets. 285 leaves, each story paginated separately. A fine set of these sheets, which represent one of the earliest stages of publication and thus one of the earliest forms of the final printed book. This collection of stories was first published in 1989. As a publisher’s typescript this is certainly a rare find as well as a fascinating glimpse into the publishing pro-cess. This collection of stories was first published in 1989. As a publisher’s typescript this is certainly a rare find as well as a fascinating glimpse into the publishing pro-cess. During his lifetime, Yukio Mishima was nominated for the Nobel Prize three times and had seen almost all of his major novels appear in English. While the flamboyance of his life and the apparent fanaticism of his death have dominated the public’s percep-

tion of his achievement, Japanese and Western critics alike are in agreement that his literary gifts were prodigious. Mishima is arguably at his best in the shorter forms, and it is the flower of these that appeared here for the first time in English. Each story has its own distinctive atmosphere and each is brilliantly organized, yielding deeper layers of meaning with repeated readings. The psychological observation, particularly in what it reveals of the turmoil of adolescence, is meticulous.$250.

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Sir Isaac Newton’s First Published Work - Very RareThe Basis of all Modern Theory on Light and Colour

“A Letter of Mr. Newton...” In the Philosophical Transactions

38 Newton, Isaac. “A LETTER OF MR. ISAAC NEWTON … CONTAINING HIS NEW THEORY ABOUT LIGHT AND COLORS: Where Light is declared to be not Similar or Homogeneal, but consisting of difform rays, some of which are more refrangible than others: And Colors are affirm’d to be not Qualifications of Light, deriv’d from Refractions of natural Bodies, (as tis generally believed;) but Original and Connate properties, which in divers rays are divers: Where Several Observations and Experiments are alledged to prove the said Theory.” (London: Published in Philosophical Transactions of the Royal Society, No. 80., February 19, 1671/72) FIRST EDITION, and THE FIRST ISSUANCE OF NEWTON’S FIRST PUBLISHED WORK, Published in Philosophical Transactions of the Royal Society, No. 80, contained on pages 3075-87. 4to, handsomely presented in full panelled calf in contemporary style, the upper and lower coverswith panel designs of multi-ruled lines and corner pieces surrounding an inner panel made of broad roll tooled decoration, spine richly gilt in panel designs within compartments of the spine separated by raised bands, red morocco lettering label gilt. pp. 3075-87 (The Letter of Mr. Newton); 3088-3095 (book reviews); 3 index leaves for the 6th volume of the Transactions) A very well preserved, pleasing and quite fine copy of this highly important work. Up to a few words in each sentence underlined neatly in an early hand throughout. RARE AND HIGHLY IMPORTANT. NEWTON’S FIRST PUBLISHED WORK AND THE BASIS OF THE MODERN THEORY OF LIGHT AND COLOUR. OCLC LOCATES ONLY THREE COPIES WORLDWIDE IN INSTITUTIONAL LIBRAR-IES. It was in the late 1660s, that Newton began empirical experiments with the “celebrated phenomenon of colours. When he was first appointed to the chair of Lucasian Professor at Cambridge, Newton chose optics for the subject of his lectures and researches, and before the end of 1669 he had worked out the details of his discovery of the decomposition of a ray

of white light into rays of different colours by means of a prism. The complete explanation of the theory of the rainbow followed from this discovery. These discoveries formed the subject-matter of the lectures which he delivered as Lucasian professor in the years 1669, 1670 and 1671. The chief new results were embodied in a paper communicated to the Royal Society in February, 1672, and subsequently published in the Philosophical Transactions (as offered here). Before Newton, light was believed to be a homogeneous entity and color a mixture of light with darkness; the prism was itself believed to provide the darkness coloring light, and it was thought that all rays of white light striking a prism at the same angle would be equally refracted. Through his experiment, however, Newton came to the revolutionary conclusion that white light was n fact a mixture of many different types of rays, and that the prism split white light into a “rainbow spectrum” of rays – each of which was refracted at a slightly different angle through the prism, and each of which was responsible for producing a given spectral color. In his experiments, Newton set up a prism near his window and projected a spectrum on the far wall (22 feet away). To prove that the prism in fact refracted and didn’t itself color the white light, Newton refracted the light back again. A “crucial experiment” confirmed the theory: Newton selected out of spectrum a narrow band of light of one color and sent it thru a second prism; no further elongation or refraction of the ray occurred – thus confirming the theory. Newton conceptually arranged the color spectrum around the circumference of a circle, thus allowing primary colors to be arranged oppo-site their complementary colors – a model which inspired many 18th and 19th century systems of color. Due to a conceptual dispute with Hooke (who rejected Newton’s claim that his corpuscular theory of light was simpled derived with certainty from these experiments), Newton delayed publication of a fuller account of his researches until after the death of Hooke in 1703. (His Opticks was published in 1704). Immensely important both for its theoretical conclusion and for its demonstration of the power of empirical experiment, Newton’s “Letter” is also one of the earliest examples of the short scientific research paper. “Despite his protestations that he would rathr work in private and keep his discoveries unpublished, Newton was persuaded to allow the Royal Society to print his seminal paper on light and colours in the “Philosophical Transactions”.” “From this point onward, no matter how hard he tried, Cambridge’s eccentric Lucasian Professor would never again be able completely to resume the spectral existence that up to then had protected his anonymity” (Christianson, 152). “Arguably the greatest career in the history of science had been born. Newton’s OPTICS, published in 1704, is an expansion of the ideas first put forth in this paper. “If he had published nothing else, it would be sufficient of itself to guarantee him a place among the immortals of modern science.” Christianson, In the Presence of the Creator. “I procured me a Triangular glass-Prisme, to try therewith the celebrated Phænomenaof Colours. And in order thereto having darkened my cham-ber, and made a small hole in my window-shuts, to let in a convenient quantity of the Suns light, I placed my Prisme at his entrance, that it might be thereby refracted to the opposite wall. It was at first a very pleasing divertisement, to view the vivid and intense colours produced thereby; but after a while applying my self to consider them more circumspectly, I became surprised to see them in an oblong form; which, according to the received laws of Refraction, I expected should have been circular...” “... There are therefore two sorts of Colours. The one original and simple, the other compounded of these. The Original or primary colours are, Red, Yellow, Green, Blew, and a Violet-purple, together with Orange, Indico, and an indefinite variety of Intermediate gradations... But the most surprising, and wonderful composition was that of Whiteness. There is no one sort of Rays which alone can exhibit this. ‘Tis ever compounded, and to its composi-tion are requisite all the aforesaid primary Colours, mixed in a due proportion. I have often with Admiration beheld, that all the Colours of the Prisme being made to converge, and thereby to be again mixed as they were in the light before it was Incident upon the Prisme, reproduced light, intirely and perfectly white...” -Isaac Newton$14,500.

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A Copy with Fine Provenance and Original DrawingsPalladio - Isaac Ware’s Magnificent EditionThe Great Master of Western Architecture

Beautifully Engraved Plates Bound in Antique Morocco

39 Palladio, Andrea. THE FOUR BOOKS OF ARCHITECTURE... Literally Trans-lated from the Original Italian, by Issac Ware (London: by Isaac Ware, 1738) First edition of Isaac Ware’s translation, highly important and perhaps the best of all the early English translations. This copy with FINE PROVENANCE, having been owned by both Edward Cresy and Joseph Gwilt. With notes and architectural ren-derings in their hands and with additional architectural drawings by Cresy tipped in. With 4 engraved architectural title-pages, 204 engraved plates, 7 engravings within text and additionally decorated with engraved head and tale pieces by William Kent. Complete and perfect. Large folio, 405mm x 270mm, handsomely bound in later antique red morocco over marbled boards, the spine with raised bands bordered with gilt rules, head-cap gilt ruled, one compartment gilt ruled and lettered, others with central ornamental device gilt. [xiv, with the ad leaf], 110, the many plates on folio pages, a profusion of them being bound at the end of each of the four books, over 300 pages plus blanks. A very handsome copy with only expected mellowing from time and a touch of wear to occasional page edges, some occasional old stains from use, the binding is handsome and expertly strengthened at the hinges, title page edge reinforced. A HANDSOME AND IMPORTANT COPY OF THIS RARE BOOK. WITH SIG-NIFICANT PROVENANCE, HAVING BEEN OWNED BY BOTH JOSEPH GWILT AND EDWARD CRESY, AND WITH ORIGINAL NOTES AND ARCHITECTURAL RENDERINGS. Produced with the assistance of Lord Burlington, Ware’s translation sur-passed all earlier English editions in its faithfulness to the original. The divisional titles are reverse reproductions of the original woodcuts of 1570. A very skilled draughtsman and en-graver, Ware exactly traced and engraved the plates for his edition from Palladio’s original drawings in Burlington’s collection. This is a fine and beautiful folio edition of the master’s four books on architecture. Pal-ladio’s designs and work to this day remain the central pillar of classical architecture and all architecture which followed. Such early antique editions are truly scarce and here retains its original sophistication. ‘Palladio’s lasting influence on architectural style in many parts of the world was exer-cised less through his actual buildings than through this, his textbook. The book is divided into four sections: orders and elementary problems, domestic building, public building and own planning and temples. Palladio’s style was directly inspired by Roman classical models through the writings of Vitruvius and Alberti. Its characteristics are those of classicism: symmetry, order, fixed mathematical relations of the parts to each other and to the whole, logic and monumentality. Palladio followed the rules of classical Roman architecture more closely than any other architect...In spite of the vogue for the baroque and the fact that Palladio left no immediate successors, his book exerted a powerful influence on contemporary architecture and classical ideals until the end of the eighteenth century. As a practicing architect Palladio worked mainly in Vicenza, Venice and the Venetian countryside, especially along the Brenta River. His Villa Capra (known as La Rotonda) near Vicenza became virtually a prototype of the Palladian style, and it was widely and faithfully copied. At the end of his life he left plans for the tour de force of trompe l’oeil, the Teatro Olimpico in Vicenza, which was finished by his pupil Vincenzo Scamozzi.’ PMM 92 Ware (d. 1766) is reported “to have been originally a chimney-sweeper’s boy whom an unknown patron found drawing with chalk at Whitehall. He was sketching the elevation of the banquet house upon the basement walls of the building itself, and is said to have made similar sketches of the portico at St. Martin’s-in-the-Fields” (DNB). He developed into an eminently competent architect, among whose works were counted Chesterfield House, South Audley Street, of which Philip Dormer Stanhope, fourth earl of Chesterfield, took possession in 1749; he also built, for his own use, No. 6 Bloomsbury Square, which was inhabited later by Isaac D’Israeli. An excellent presentation of Palladio’s magnificent work. A remarkably fresh and clean survival. With the fine provenance of Edward Cresy, highly regarded British architect and engineer (1792-1858) and author of several important books on engineering, including the TREATISE ON BRIDGE BUILDING; ACCOUNT OF STONE CHURCH and AN ENCYLOPAEDIA OF CIVIL ENGINEERING. Joseph Gwilt was another famous British architect and writer of the period.After a visit to Italy in 1816, he published in 1818 Notitia architectonica italiana, or Concise Notices of the Buildings and Architects of Italy. In 1825 he published an edition of Sir William Chambers’ Treatise on Civil Architecture; and among his other principal contributions to the literature of his profession are a translation of the Architecture of Vitruvius (1826), a Treatise on the Rudiments of Architecture, Practical and Theoretical (1826), and his valuable Encyclopaedia of Architecture (1842), which was published with additions by Wyatt Papworth in 1867. In recognition of Gwilt’s advocacy of the importance to architects of a knowledge of mathematics, he was in 1833 elected a member of the Royal Astronomical Society. DNB; Britannica 11th edition.$12,500.

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“A Magnificent Photographic Achievement”Harry Callahan: Color - Pre-Publication Prints

40 [Photography; Callahan, Harry]. [INDIVIDUAL PHO-TOGRAPHIC PRINTS FROM HARRY CALLAHAN: COL-OR] (Providence, Rhode Island: Matrix Publications, 1980) First Edition, First Printing Before Publication. A single page photographic production used for marketing purposes by the publisher prior to publication and release of the first edition of Callahan’s important work. Square folio sheets, the plate is housed individually in the publisher’s specially designed original printed wrapper. A pristine copy in mint condition. A beautiful pre-published print by one of the most popular pho-tographs of the day. Multiple photographs are available and cover a wide range of his subjects and styles.$50.

Arthur Rackham’s ‘Pied Piper of Hamelin’A Fine Copy in the Scarce Pictorial Dustjacket

41 [Rackham, illus.] Browning, Robert. THE PIED PIPER OF HAMELIN (Philadelphia: J.B. Lippincott, [1934]) First edition, the first American issue, from the British sheets. With 4 colour plates, 4 plates in black and white and numerous black and white drawings throughout the text all by Arthur Rack-ham. 8vo, original maroon cloth with pictorially illustrated paste down on the upper cover. With the scarce full colour pictorial dust-jacket created by Arthur Rackham. 45pp. A fine copy, just a touch mellowed on the spine. SCARCE FIRST EDITION. The Lippincott imprint is internally identical to its British counterpart having been produced simultaneously by the same printer but with only a change to the imprint on the title page. The dustjacket of the American imprint differs however, it features a full colour reproduction of one of the plates on the front cover, the British issues jacket is only designed in two colors. With the earlier successes of similarly magical folk tales such as RIP VAN WIN-KLE, Arthur Rackham was the only logical choice for Harrap’s illustrated edition of Browning’s morality tale of the Pied Piper. With illustrations both bursting with happiness and sometimes sufficiently frightening, fans of this master illustrator were not disappointed. It remains one of the best of Rackham’s shorter works and perhaps the finest rendition of Browning’s classic yet produced.$695.

The Fine and Important Nolli Pianta Di RomaUnsurpassed In Detail, Grace and Beauty

The Scarce Danesi Full-Sized Reproduction - Printed in Rome

42 [Rome] , Nolli, Giambattista, ca. 1692-1756. PIANTA DI ROMA Disegnata da Giambattista Nolli Nel 1748 (Rome: M. Danesi, [1960]) Danesi’s magnificent near full-size facsimile reproduction of the 1748 original. Finely reproduced in all the original detail and artistic beauty of the original featuring engraved views, allegorical scenes, the dedication to Benedetto XIV and the full plan of the city. Like the original it is printed on 12 folio sheets each roughly 44 by 28.5 centimeters. Overall 135 by 114 centimeters, mounted as is-sued on white linen, folded at the joining lines and in the printer’s original portfolio slipcase of vellum-style paper covered boards, lettered and decorated on the upper cover in black, backed in white cloth, sometime lettered in manuscript on the thin spine strip. 12 folio sheets joined to make one page. The map quite fine with just a touch of nearly unnoticeable wear along the bottom edge, the port-folio case with some chipping and wear to the cloth backing and minor wear at the corners. THE MAGNIFICENT FULL-SIZED, RARE AND LIMITED FAC-SIMILE OF THE 1748 NOLLI MAP OF ROME,regarded by scholars and cartographers as one of the most important historical documents of the

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city. The beautifully detailed and decorated plan serves to geo-reference a vast body of information to better understand the Eternal City and its key role in shaping Western Civilization. The Nolli Map illustrates Rome and the structure of its urban form; it illustrates the evolution of the city over time; and it reveals diverse factors that determined its development. “Giambattista Nolli (1701-1756) was an architect and surveyor who lived in Rome and devoted his life to documenting the architectural and ur-ban foundations of the city. The fruit of his labor, La Pianta Grande di Roma (“the great plan of Rome”) is one of the most revealing and artistically designed urban plans of all time. The Nolli map is an ichnographic plan map of the city, as opposed to a bird’s eye perspective, which was the dominant cartographic representation style prevalent before his work. Not only was Nolli one of the first people to construct an ichnographic map of Rome, his unique perspective has been copied ever since. The map depicts the city in astonishing detail. Nolli accomplished this by using scientific surveying techniques, careful base drawings, and minutely prepared engravings. The map’s graphic representations include a precise architectural scale, as well as a prominent compass rose, which notes both magnetic and astronomical north. The Nolli map is the first accurate map of Rome since antiquity and captures the city at the height of its cultural and artistic achievements. The historic center of Rome has changed little over the last 260 years; therefore, the Nolli map remains one of the best sources for understanding the contemporary city.” - University of Oregon Nolli Interactive Project.$1450.

Shakespeare’s King Henry VI - Part the FirstFirst Octavo Edition, Rare Large Paper, First 18th Century

43 Shakespeare, William. THE FIRST PART OF KING HENRY VI. (London: for Jacob Tonson and E. Curll, 1709) Rare Large Paper Copy of the First Octavo Edition, First Scholarly Edition, First Eighteenth Century Edition and an extract from the First Rowe edition. With engraved decorations to the title and last leaf and with a large decorated initial at the beginning of Act1 Scene1. Large 8vo, bound into protective wraps, with tipped on title label to the upper cover. [73]pp. paginated within the Rowe text. A fine and well preserved copy. The text clean and sound. An excellent copy of this highly important printing, which represents a number of “firsts”: the first octavo printing, the first illustrated edition, the first scholarly edition, the first eighteenth century edition, the first to introduce act and scene divisions where they had been lacking in the folio editions, the first manual edition, from the first collection to present a biography of the poet, the first to bear an editor’s name and from the first complete collection of the works available other than the said four folios. To quote Colin Franklin, who so eloquently discusses the eighteenth century editions in his book, SHAKESPEARE DOMESTICATED (1991), “This remains a very attractive reading edition, witness to Tonson’s first intention in plan-ning it. To that extent and for its innovations Jaggard the bibliographer’s comment is true: ‘In importance and interest this edition ranks second perhaps to the editio princeps.’” JAGGARD, P. 497. FORD, SHAKESPEARE 1700-1740$850.

Shakespeare’s King Henry VI - Part the SecondFirst Octavo Edition, Rare Large Paper, First 18th Century

44 Shakespeare, William. THE SECOND PART OF KING HENRY VI. With the Death of the Good Duke Humphry. (London: for Jacob Tonson and E. Curll, 1709) Rare Large Paper Copy of the First Octavo Edi-tion, First Scholarly Edition, First Eighteenth Century Edition and an extract from the First Rowe edition. With engraved decorations to the title and last leaf and with a large decorated initial at the beginning of Act1 Scene1. Large 8vo, bound into protective wraps, with tipped on title label to the upper cover. [83]pp. pagi-nated within the Rowe text. A fine and well preserved copy. The text clean and sound. An excellent copy of this highly important printing, which represents a number of “firsts”: the first octavo print-ing, the first illustrated edition, the first scholarly edition, the first eighteenth century edition, the first to introduce act and scene divisions where they had been lacking in the folio editions, the first manual edition, from the first collection to present a biography of the poet, the first to bear an editor’s name and from the first complete collection of the works available other than the said four folios. $850.

Shakespeare’s King Henry VI - Part the ThirdFirst Octavo Edition, Rare Large Paper, First 18th Century

45 Shakespeare, William. THE THIRD PART OF KING HENRY VI. With the Death of the Duke of York. (London: for Jacob Tonson and E. Curll, 1709) Rare Large Paper Copy of the First Octavo Edition, First Scholarly Edition, First Eighteenth Century Edition and an extract from the First Rowe edition. With en-graved decorations to the title and last leaf and with a large decorated initial at the beginning of Act1 Scene1. Large 8vo, bound into protective wraps, with tipped on title label to the upper cover. [79]pp. paginated within the Rowe text. A fine and well preserved copy. The text clean and sound. An excellent copy of this highly important printing, which represents a number of “firsts”: the first octavo print-ing, the first illustrated edition, the first scholarly edition, the first eighteenth century edition, the first to introduce act and scene divisions where they had been lacking in the folio editions, the first manual edition, from the first collection to present a biography of the poet, the first to bear an editor’s name and from the first complete collection of the works available other than the said four folios. $850.

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Two of Shakespeare’s Great ComediesFrom the Famed Second Folio of His Dramatic Works

46 Shakespeare, William. “The Tempest” [with] “The Two Gentlemen of Verona” ([London]: [by Thomas Cotes for Robert Allot], [1632]) From the famed Second Folio of Shakespeare. Folio, quarter brown calf and marbled boards, gilt lettered on the spine. 1-38. A handsome copy, the binding in excellent order, the text with occasional spotting or light typical staining, the “Tempest” leaves trimmed a bit more then those of the “Two Gentlemen” and from another copy. TWO OF SHAKESPEARE’S ENGAGING COMEDIES, INCLUDING “THE TEM-PEST”, extracted from the Second Folio edition of his COMEDIES, HISTORIES, AND TRAGEDIES, a cornerstone--and some would say foundation--of English literature. While the complete Second Folio is one of the book collector’s great prizes, a status well reflected in its price these days, this is an opportunity to acquire two of the plays from the volume bound separately. THE TEMPEST is one of Shakespeare’s most famous romantic dramas. Its magical themes have inspired numerous later works of art such as; Milton’s COMUS, an unfinished opera by Mozart, Shelley’s ‘Ariel to Miranda’, music by Tchaikovski and Berlioz, Auden’s THE SEA AND THE MIRROR and even the groundbreaking science fiction motion picture ‘Forbidden Planet’ in 1954. Its influence is far reaching and with good reason. Though many incidences and classical works are considered as somewhat inspirational for it, no source for the story has ever been know, it is one of Shakespeare’s most original works.$6500.

Two of Shakespeare’s Great Roman HistoriesFrom the Great Second Folio - 1632Julius Caesar and Tymon of Athens

47 Shakespeare, William. “The Life of Tymon of Athens” [with] The Tragedie of Julius Cæsar” ([London]: [by Thomas Cotes for Robert Allot], [1632]) From the famed Second Folio of Shakespeare. Folio, quarter brown calf and marbled boards, gilt lettered and ruled on the spine. 107-150. A large and handsome copy, the bind-ing in excellent order, the textblock quite nice and with only occasional and typical light spotting or aging. RARE EXAMPLE FROM THE SECOND FOLIO OF SHAKESPEARE. Two plays of Shakespeare’s great series of Roman plays, of which JULIUS CAESAR is without question the most famous. Complete and extracted from the Second Folio edition of his COMEDIES, HISTORIES, AND TRAGEDIES, a cornerstone--and some would say foundation--of Eng-lish literature. While the complete Second Folio is one of the book collector’s great prizes, a status well reflected in its price these days, this is an opportunity to acquire two of the most famous plays from the volume bound separately. Both of these works, along with the other Classical dramas, are believed to have been derived from Sir Thomas North’s great translation of Plutarch. Shakespeare’s version of JU-LIUS CAESAR is of such high regard that for many modern people, when they think Caesar, they are actually thinking Shakespeare.$7500.

Henry David ThoreauA Rare Manuscript Leaf in His Hand

Relating to Journeys Through the Woods of Maine

48 Thoreau, Henry David. AUTOGRAPH MANUSCRIPT FRAGMENT (: , [ca. 1875]) Approximately 143 words, one page 4to, written in dark brown ink, with a few pencil notations spelling out numbers. Folio, 1 pp. In fine condition, laid into a larger sheet. RARE MANUSCRIPT LEAF IN THOREAU’S HAND FOR AN ARTICLE PRINTED IN THE ATLANTIC MONTHLY. A fine manuscript section of unusual content, relating to Thoreau’s journeys through the Maine Woods and including mention of “our first sight of Katadn,” the high-est mountain in Maine and the greatest mountain east of the Mississippi. Thoreau was one of the first white men to climb Katadn, a magnificent mountain of multiple peaks, now culminating with Baxter at its highest elevation. Thoreau ascended from the southern side. Many of the Thoreau manuscripts on the market are remnants of the Manuscript Edition of his works, and most of the pages that Houghton Mifflin inserted in

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those sets were from a piece entitled “The Fall of the Leaf” (see below). It is very uncom-mon to find manuscripts with content from another work. And it is especially uncommon to find manuscript leaves from works that were not part of the Manuscript Edition of the Writings of Thoreau, as here. This manuscript opens in the middle of a sentence that ends with the mention of Kat-adn. The remainder refers to Thoreau and his Indian companion, Joe Aitteon (Edward Hoar was the third traveller), tracking moose along the banks of Pine Stream: “We had gone but a few rods before we saw very recent signs along the waters’ edge, the mud lifted up by their feet being quite fresh, and Joe declared that they had gone along there but a short time before.” This is the beginning of a dramatic moment and ends: “As we were advancing along the edge of this, rather more quietly than usual, perhaps on account of the freshness of the signs, the design being to camp up this stream if it promised well, I heard....” A manuscript note by Edward Abbot, dated January 19, 1876, states that “This is one of two leaves of a manuscript article printed in the Atlantic Monthly, given us in 1875 by its former editor, James Russell Lowell.” This leaf, p. 59 on off-white paper was among those missing when the Princeton Edition was published in 1972. It turned up in 1982. The printer’s copy for the Atlantic was made up of both blue and off-white sheets. Page 59 is from the Printer’s Copy for the 1858 Atlantic Monthly publication of Chesuncook.$10,500.

A Fine and Very Personal Letter From J.R.R. TolkienTo One of His Closest Friends and Important Literary Colleagues

49 [Tolkien, J.R.R.]. A FINE AND PERSONAL TYPED LETTER, SIGNED, BY J.R.R. TOLKIEN TO HIS CLOSE PERSONAL FRIEND GEORGE SAYER (Unpublished, 24 June, 1953) An interesting and personal letter written by Tolkien around the time of the publication of his masterpiece “Lord of the Rings” trilogy. The recipient is well know for playing an important personal role in Tolkien’s endeavor to write and publish that great work. Typed in black ink and Signed. 180 by 135 cm, covering the entire recto and roughly three quarters of the verso of a single sheet of buff paper. The letter is boldly signed at the end in Tolkien’s impressive and almost calligraphic hand. 2 pages. Very finely preserved and in excellent original condition. A FINE TYPED LETTER BY J.R.R. TOLKEIN TO ONE OF HIS CLOS-EST FRIENDS AND AN IMPORTANT LITERARY ASSOCIATE. The let-ter offers an interesting glimpse into the mind and day-to-day life of one of the great masters of twentieth century fiction. Tolkien begins his letter with an apology for it being typed, stating that he is having pain in his hand and typing bothers it less then writing. He then goes into a discussion of news and matters relative to being an important professor at University, something Sayer would understand well as he was English Master at Melvern. The letter also delivers news of family matters typical between such close personal friends. Both George and his wife were longtime friends of Tolkien’s AND they had been highly influential in the publication of THE LORD OF THE RINGS. They were among Tolkien’s most trusted manuscript “proof” readers and he especially valued their advice on many aspects of the publication of the RINGS. In a letter to Rayner Unwin, Tolkien called George “..the most normal reader and liker of the work that I could think of..” Both Sayers helped him choose each book’s individual title and also helped with countless editing and rewriting sessions. Additionally the Sayers were well known in the publishing world and facilitated Tolkien’s dealings with Allen and Unwin publishers. Their friendship with Tolkien was deep and personal. Also interesting in this letter is Tolkien’s asking of George’s advice in regard to his plans to purchase a tape recorder. It is know from other letters that once while staying at the Sayer’s home in Malvern in 1952 Tolkien made a series of recordings of extracts from the yet unpublished “Lord of the Rings”. It was his first encounter with a tape recorder and he felt the need to exorcise his experience by first recording the Lord’s Prayer. His later BBC recordings were inspired by this experiment. In this letter Tolkien expresses his hopes that whatever machine he buys will be compatible with Sayers, so that he could send reels to George “for your criticism, or your use.”$3750.

From the Author of Lord of the Rings and The HobbitTo a Close Personal Friend and L.O.T.R. Associate

Discussing L.O.T.R. and The Silmarillion

50 [Tolkien, J.R.R.]. AN IMPORTANT AUTOGRAPH LETTER SIGNED FROM J.R.R. [Ronald] TOLKIEN TO CLOSE FRIEND AND LITERARY ASSOCIATE GEORGE SAYER. (Oxford: March 21, 1966) A signed and dated handwritten letter in Tolkien’s impressive cal-ligraphic penmanship. The letter is largely personal but also discusses the publication of the second edition of the “Lord of the Rings” and references “The Silmarillion”, the work Tolkien began before “The Hobbit” and, although not published till after Tolkien’s death,

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was the groundwork from which all four Middle Earth books were drawn from. This is a letter of importance, Tolkien refers to the revisions made in the second edition of LOTR and assures Sayer that they were necessary and lists the reasons. 175 by 135 cm, written on both sides of a single sheet of Tolkien’s cream-coloured Oxford stationary printed with the heading “Professor J.R.R. Tolkien” and with the Oxford return address. Well preserved and in fine origi-nal state, the ink dark and legible, showing only a bit of minor wear along the edges. AN OUTSTANDING LETTER FROM THE MASTER OF FANTASY LITERA-TURE, ONE IN WHICH HE DISCUSSES THE REVISIONS TO THE SECOND EDITION OF “LORD OF THE RINGS” AND MENTIONS THE AS OF THEN STILL UNPUBLISHED SILMARILLION. The letter is dated March 21, 1966, the year Allen and Unwin published the re-vised second edition of LORD OF THE RINGS and addressed to George [Sayer], a very close family friend and important literary colleague. George Sayer was English Master at Melvern and also had studied with both Tolkien and C.S. Lewis. Sayer was a longtime friends of Tolkien’s who had been highly influential in the publication of THE LORD OF THE RINGS. George and his wife Moira were among Tolkien’s most trusted manuscript “proof” readers and he especially valued their advice on many aspects of the publication of the RINGS. In a letter to Rayner Unwin, Tolkien called George “..the most normal reader and liker of the work that I could think of..” Both Sayers helped him choose each book’s individual title and also helped with countless ed-iting and rewriting sessions. Additionally the Sayers were well known in the publish-ing world and facilitated Tolkien’s dealings with Allen and Unwin publishers. Their friendship with Tolkien was deep and personal. They attended the funeral of C.S. Lewis together, aided Tolkien during his wife’s sickness and frequent invited him to their home in Melvern.

Any autograph material by this giant of 20th century literature is intrinsically desirable to collectors, this letter addressed to a close friend and as-sociate with the production of the LORD OF THE RINGS is all the more so. Carpenter, “J.R.R. Tolkien” and “The Letters of..”$6500.

Mark Twain’s - A Dog’s Tale - The True First EditionPrinted For the National Anti-Vivisection Society

51 Twain, Mark. A DOG’S TALE ([London]: For the National Anti-Vivisection Society, [1904]) First Offprint, First edition in any form other than the original appearance in the Christmas, 1903 issue of Harper’s Magazine and believed by Blanck to be printed from Harper’s plates and probably predating the American printing by at least a few months. Illustrated by W.T. Smedley. 8vo, original buff paper wrappers printed in black on the upper and lower cover, the lower cover being the list of officers of the National Anti-Vivisection Society, staple bound as issued. [7 unpaginated leaves, the verso of the last being an ad for the Society]. An essentially mint copy of this this fragile and very rare item, thus. FIRST EDITION, PRECEDING THE AMERICAN EDITION. The exact printing history of this is lost, with neither Harper’s or the National Anti-Vivisection Society re-taining any record. It is known however to have been printed sometime between January 1st and June of 1904 and the American publication did not appear until September. The Harper London edition did not appear till 1905. Twain wrote this short novel for his youngest daughter, Jane. She was an animal rights activist and had requested that her father write a story about animal abuse. This work shows Twain’s true concern for all animals. BAL 3479$750.

With Autograph Presentation by Mark TwainThe Innocents at Home - First Edition - Original Issue

52 Twain, Mark. THE INNOCENTS AT HOME (London: George Rutledge & Sons, n.d. [1872]) Scarce First Edition, the British Copy-right Edition and preceding the American edition of ROUGHING IT. WITH AUTOGRAPH PRESENTATION BY THE AUTHOR, MARK TWAIN. 12mo, rare in the original printer’s yellow stiff paper wrappers, lettered and decorated on the upper cover pictorially in colour, printed in black on the spine and rear cover, now protected in a very fine box of full brown morocco with inlays of red and blue mo-rocco and gilt decorations. The box is designed to resemble

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a finely bound book and is in fact made out of one. 224pp. Well preserved for such a delicate and uncommon item. The origi-nal wrappers with some expected edge wear, and more so to the spine, with some loss of the paper at the spine. FIRST EDITION OF THE BRITISH COPYRIGHT ISSUE WITH AUTOGRAPH PRESENTATION BY MARK TWAIN, Twain has in-scribed this copy on the titlepage with flare and boldness “Truly Yours, Mark Twain.” This scarce and delicate edition is the first printing of the final part of what would be published several days later in Hartford as “Roughing It”, it published in a very small number to secure the copy-right. It also includes a very early reprint of “Mark Twain’s Burlesque Autobiography.” “Roughing It” was in Twain’s words a ‘personal narrative and record of several years of variegated vagabonding...its object being to help the resting reader while away an idle hour rather than to afflict him with metaphysics or goad him with science. There is an interesting episode in the history of the Far West about which no books had been written by anyone on the ground and in per-son...and this is the telling of the tale of the opening of the silver-mining fever in Nevada.’ There is much here--from the encountering of despera-

does on the plains to the encountering of Chinese in Virginia City--from the enjoyment of California’s women and the experience of an earthquake in San Francisco to the enjoyment of the frolicking girls of the Sandwich Islands and to the discovery of new places in the Hawaiian Islands. A Mark Twain masterpiece, this is a wonderful and treasured creation of the great American writer. Bal 3336.$9500.

From the Great American Author Mark TwainA Fine Autograph Letter to Publisher Chatto

Signed by the Author of Tom Sawyer and Huck Finn

53 Twain, Mark; Clemens, Samuel. A FINE AUTOGRAPH LETTER FROM SAMUEL CLEMENS [MARK TWAIN] TO ANDREW CHATTO OF CHATTO AND WINDUS PUBLISHERS (Schloss Hotel, Heidelberg: Not published, June 3, 91878)) A fine auto-graph letter in the hand of the great American author Samuel Clemens, also known as Mark Twain. SIGNED WITH A FLOURISH BY AUTHOR SAMUEL CLEMENS. 8vo, one page. A fine letter in excellent state of preservation, bold and dark ink on finely preserved paper showing no wear or fading. From the Marcus Collection. Mark Twain, in this handsome autograph letter. writes Mr. Chatto from Heidelberg while on one of his European tours. He request to please send him paper-covered copies of two books, INNOCENTS ABROAD and ROUGHING IT. Chatto was Twain’s publisher in England and the two had a long and friendly working relationship. Interestingly, Mr. Twain seems to have confused himself. Chatto’s edition of INNOCENTS ABROAD would not be published for four more years. In 1878 it would had to have been INNOCENTS AT HOME that Mr. Twain was requesting. The London editions were typically copyright editions and frequently predated their American counterparts, as was the case with both the paper wrapped issues of INNO-CENTS AT HOME and ROUGHING IT. The two would be published in America together under the single title, ROUGHING IT.$4750.

Maria Vargas Llosa - The StorytellerPre-Publication Typescript Galley

54 Vargas Llosa, Mario. THE STORYTELLER ([New York: Farrar, Straus, and Giroux, no date]) Portion of a publisher’s photocopy typescript galley of his novel, comprising the first 65 unbound galley sheets in photocopy typescript. 65 leaves, plus one publicity sheet. A fine set of these sheets. THE STORYTELLER was first published in 1989. These pages represent one of the earliest stages of the publishing process. Materials such as these can be quite rare.$125.

Documents

Books Exhibited at the RBMS BookSeller's Showcase