Browse the latest catalogs, newsletters, and e-lists of rare books, fine bindings, incunabula, print ephemera, and much more from the members of the ABAA below. (Also includes podcasts, blog posts, and other digital formats.)
*New* indicates any catalogs brought to our attention since mid-February 2025.
[New York]: Ballantine Books, [1969]. Color halftone, 36.25” x 23.625, on slightly larger sheet. CONDITION: Very good, occasional slight rippling, one faint dot of soiling below “a” in “Forodwaith” at top, 1.5” pen mark at serial number in lower-left corner, recently backed with Japanese tissue.
A rare and visually enchanting poster map of J.R.R. Tolkien’s Middle-earth, bordered by illustrations adapted from Barbara Remington’s inaccurate but iconic cover art for the first authorized American edition of the Lord of the Rings trilogy.
At the center of this poster is what Tolkien called the “general map” of Middle-earth, created by his son Christopher in late 1953 and charting “the whole field of action” from the Northern Waste at the top to Haradwaith and Far Harad at the bottom (“General Map”). A compass rose appears in the lower-left quadrant, just above the title. The price of $1.49 is printed in the lower-right margin. Other examples of this map, presumably printed later and responding to increased demand, bear the higher price of $3.
Bordering the map on all sides are Barbara Remington’s fanciful and ominous illustrations, many parts of which are evidently adapted from her cover illustrations for the first Tolkien-authorized edition of the The Hobbit and the Lord of the Rings trilogy in America, published by Ballantine Books in 1965. Production of this edition moved so rapidly—Ballantine was trying to pull ahead of an unauthorized edition from another publisher—that Remington had no time to access the books: “I didn’t know what they were about…I tried finding people that had read them, but [they] were not readily available in the states, and so I had sketchy information at best” (Carmel). Accordingly, her illustrations “puzzled Tolkien. ‘What has it got to do with the story?…Where is this place?’…He thought the cover ugly, with ‘horrible colours’” (Hammond, p. 28). Remington later wrote to Tolkien explaining her circumstances, and admitting that “after reading the books thoroughly she agreed that her art was inappropriate to the text” (Hammond, p. 28). Wanting to establish the series in the American market, however, Ballantine Books refused to print different illustrations until the ’70s, and by then Remington’s work had “achieved mass-cult status” (Carmel).
Barbara Remington (1929–2020) was born in Minnesota and moved to New York in the early 1960s, where she became friends with many Beat artists. She worked as a freelance illustrator, including for Alfred Hitchcock’s Mystery Magazine and for the popular children’s magazine Highlights. She also designed costumes for plays at the Gateway Theatre, created window displays for Tiffany & Co., ushered at Carnegie Hall to see performances for free, and “worked on a yacht to go on free trips to Martha’s Vineyard. It was a great deal of fun” (Hage). She later opened a store with her first husband, and after several decades in New York moved to Thompson, Pennsylvania, where she died in 2020.
OCLC records just four holdings of this map, at the Library of Congress, University of Illinois, Harvard, and the Osher Map Library.
A scarce map of Middle Earth illustrated by the artist whose cover illustrations became the first face of Tolkien’s work in America.
New York: Simon and Schuster, 1945. First Edition. First printing, June 1945, Little Golden Book number 21. Illustrated by Tibor Gergely. Chip to the top spine end, some general wear, else very good in a jacket with chips and rubbing, else very good. Very good / very good. Item #845
Here is Publishers Weekly’s most-recent ordering of the all time, top 10, best selling children’s books in hardcover (7 1/2 of the 10 are written by women): 1. The Poky Little Puppy by Janette Sebring Lowrey (1942), 2. The Tale of Peter Rabbit by Beatrix Potter (1902), 3. Tootle by Gertrude Crampton (1945), 4. Green Eggs and Ham by Dr. Seuss (1960), 5. Harry Potter and the Goblet of Fire by J. K. Rowling (2000), 6. Pat the Bunny by Dorothy Kunhardt (1940), 7. Saggy Baggy Elephant by Kathryn and Byron Jackson (1947), 8. Scuffy the Tugboat by Gertrude Crampton (1955), 9. The Cat in the Hat by Dr. Seuss (1957), 10. Harry Potter and the Chamber of Secrets by J. K. Rowling (1999).
[Dublin]: George Grierson, [1730 or later]. Engraving, 16 5/8”h x 20 7/8”w at neat line plus margins, traces of old color. Minor soiling, more evident in margins, soft diagonal fold line at upper left, and minor edge wear including a short tear in left margin not touching neat line. Good.
A considerable rarity, the Dublin edition of the most detailed chart of Boston Harbor for its time, first engraved and published for inclusion in the English Pilot. Fourth Book, the most important English 18th-century pilot book of North America and the Caribbean. The chart was of considerable influence and longevity, as it was not fully superseded until the new series of surveys made during the Revolutionary War siege of the town, 1775-1776.
The chart depicts Boston Harbor from modern-day Winthrop in the north to Hull and Hingham in the south. It provides an immense amount of information for these complicated waters, including the many harbor islands, hundreds of soundings, and a multitude of rocks and shoals. Of particular interest is the ship channel that threads its way between “Bruster”, George, Lovells, Long, and Spectacle Islands. There is also a surprising amount of terrestrial data, particularly in the depiction of Boston, where Beacon Hill, the Mill Pond, the harbor-facing wharves, and the concentration of housing in the North End are all clearly visible.
Though not the first navigable chart of Boston Harbor – that honor goes to Thomas Pound’s “New Map of New England”, known from a unique example held at the Library of Congress – this is one of the earliest a collector can hope to obtain. A smaller chart of the area did appear in the 1689 first edition of the English Pilot. Fourth Book, but it was so schematic as to be more hindrance than help to pilots, as is the insets on Mordens “New Map of the English Empire in North America” (1695).
Paris [&] London: Publié par V. Morlot [&] Mc.Léan, [n.d., ca. 1830]. First edition. Oblong folio (10 5/8 x 13 7/8 inches; 270 x 352 mm.). Twelve numbered hand-colored lithographed plates. Plates lithographed by Bernard. Each plate with the publisher's oval blind-stamp in lower blank margin. Bound without the printed titlepage. Mid-nineteenth century quarter red calf over marbled boards, smooth spine ruled and lettered in gilt. A superb example with fne contemporary hand-coloring.
The plates are captioned: “L’Écrou;” “Chambre du détenu malheureux;” “Chambre du détenu philosophe;” “Les Élections;” “Le Cabinet de lecture;” “Le Cabaret;“ “Le Café;” “Le Repas dans la cour;” “Les Jeux dans la cour;” “Le Bain du créancier;” “Le Paye;” and “Sortie du débiteur;.”
An exceptionally rare album depicting various scenes at the Parisian prison of Sainte-Pélagie. Tis prison, once located in the 5th arrondissement, was active from 1790-1899 and housed many renowned prisoners during and after the French Revolution, including the Marquis de Sade. In this series, Adam conveys in various scenes of prison life the dignifed squalor to which its inhabitants were reduced. We have only seen this book once before - a copy with modern hand-coloring which we sold in 2003. OCLC locates just one copy - BCU Dorigny (Lausanne, Switzerland).
Publication: New York: Delacorte Press / Seymour Lawrence, First Trade.
Notes: First edition of Harrison's seminal novella collection, signed by the author, with the original review slip laid in.
This collection features three novellas, including the title work that became the acclaimed 1994 film starring Brad Pitt. The title novella follows a Montana family to the bloody battlefields of Europe during the First World War. The collection also includes "Revenge" (made into a Kevin Costner film) and "The Man Who Gave Up His Name." The first printing consisted of 12,000 copies (see Orr and Torrey's bibliography, A14.c). [x], 276, [2] pages.
Edition + Condition: First edition (first printing stated). A near fine copy in a near fine dust jacket (the jacket paper is slightly discolored and there is a light crease to the rear flap). This copy is signed by Harrison on the title page and is quite uncommon thus. A review slip, formerly taped to the top of the front free endpaper, is laid in.
Swiss Watch Chamber of Commerce. La Chaux-de-Fonds, Switzerland. 1950s. A 1950s booklet die-cut into the shape of a watch, promoting Swiss watches. Printed in Switzerland for the Swiss Watch Chamber of Commerce to court the American market. The organization was founded in 1876, and was dedicated to promoting the Swiss watch trade abroad. This publication is notable for its clever bit of book design: when the first leaf is turned, the mechanism under the watch’s dial is revealed, making the viewer feel as if they are uncovering the inner works of a real watch. Includes detailed descriptions of how watch mechanisms work with diagrams inside. Aims to show how finely produced Swiss manufactured watches are and that they are a “safe investment”. Single vol. (3.75” by 5.75”), pp. 12, illus., die-cut.
Strasbourg: Thomas Anshelm, January 10, 1488. Contemporary blindstamped calf over wooden boards. With 59 woodcuts, of which 28 are combinations of 23 separate blocks. Colored throughout by a contemporary hand. Offered with a French export license.
Impossibly rare sole edition of this lavishlyillustrated incunable, the very first oeuvre of the humanist printer-woodcutter Thomas Anshelm (ca. 1468-1523), in which he employs a revolutionary program of illustration dubbed by modern scholars the ‘combinaison des bois’ (cf Dupeux). In this scheme, the woodcuts are designed with ‘adaptable’ backgrounds which line up perfectly alongside multiple other blocks, thus allowing the illustrator to depict a variety of different scenes using a relatively small number of blocks. Quite aside from its rarity (no copy has ever been offered at auction; no copy resides in any US institution), this copy is the only one known to us with hand-colored illustrations.
London: John Murray, 1871. 2 volumes octavo (20 cm). Original green cloth. Spine cocked somewhat on volume 1. Both volumes well-read, but quite good. Owner's name in pencil on title page of volume 1. References: Norman 599; Garrison-Morton 170. Corrections to the text in volume 1 mark this printing as the second issue of the first edition. Volume 2 is the first restriking (“seventh thousand.”) It is noted that the word "evolution" occurs here on page 2 of volume 1 for the first time in any of Darwin’s works.
Offered by Rodger Friedman Rare Book Studio and found in "Darwin."
New York: Women’s Liberation Center of New York, 1973. Offset. Single leaf folded to form [4]pp. 8 1/2 x 11 in. Three small tears to edges, slight loss to bottom right corner; very good.
Early flyer from The Women’s Liberation Center, published just a year after its founding by Lesbian Feminist Liberation and the Lesbian Switchboard.
The Women’s Liberation Center was a key node in the New York women’s and gay liberation movement, housing the offices and meeting space of several important organizations of the period, including Lesbian Feminist Liberation, Women’s Abortion Project, the Lesbian Lifespace Project, Older Women’s Liberation, the Lesbian Switchborad, Radicalesbians Health Collective, and several others over its 15 years in the firehouse. Additionally, the Center hosted frequent programming, including concerts, screenings, workshops, community dinners, and many other public events.
A year before the publication of this newsletter, The Women’s Liberation Center was evicted from a loft on 22nd Street and moved into the firehouse, which housed the Center until 1987. This newsletter details the history of the firehouse, the precarious legal status of the Center’s use of it, the process the Center would have to successfully navigate in order to formalize its use of the firehouse, and an ultimately successful political strategy to win a lease. The newsletter also includes an article on the prevalence of rape in New York City and movement efforts to combat it and support survivors, along with a comic by Carol Sanders.
A scarce document from an important early node of the women’s liberation movement and movement for abortion rights.
OCCASIONAL LIST 22: A Miscellany: Original Art Work; Small Archive of Major English Watercolourist; Interesting Theatrical Pieces; Manuscript Material, Etc., Etc. -- available on request from fgrare@fgrarebooks.com...
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Bloomfield Hills, Michigan: Charles Pachter at Cranbrook Academy of Art, 1966. (12 3/8 x 9 1/2 inches). Prints interspersed with text on a series of folded sheets of handmade paper. Signed by Pachter on colophon page, within protective buckram board case (13 1/4 x 10 inches). Housed within original a custom cloth chemise and fine modern full black morocco box.
Artist's proof for a Edition limited to 15 copies of a collection of poems by Margaret Atwood, which reimagines the perspective of Dr. Frankenstein from Mary Shelley's novel through a series of poetic speeches, notable for its unique artistic collaboration with illustrator Charles Pachter.
Speeches for Doctor Frankenstein is a collaborative work between renowned Canadian author Margaret Atwood and Canadian artist Charles Pachter. It was produced as an artist's book made with materials found around Pachter's home with the prints created from combinations of blocks of wood and linoleum, silk screens, and certain found objects. This unique collection combines Atwood's thought-provoking poetry, which delves into themes inspired by Mary Shelley's Frankenstein, with Pachter's whimsical and evocative illustrations. The poems chart the process of the monster's creation as it emerges into being through the hands of Dr. Frankenstein. The collection explores the complex twinship between creator and creation, reflecting on the responsibilities and consequences inherent in the act of creation.
This 11 3/8” x 8 1/4” photo album of 40 leaves/80 pages contains 210 photographs. The photographer was likely an engineer, his lens was regularly focused on the expansion of modernized infrastructure, energy, and mining locations.
The earliest images are of engineered tunnels for the city of Montreal, specifically the Mount Royal Tunnel for the Canadian Royal Railway. This tunnel now is the third longest tunnel in all of Canada. The plan and profile sketches of the tunnel as well as sketched of the muck handling drill carriage are on view at the beginning of this album.
More underground infrastructural photographs contained here include images of the steam shovel crew at the Gayosa Ave. Tunnel in Memphis, Tennessee in 1915. Here, black and white laborers appear dirty and exhausted by their hard work. There are a few instances of tycoon P.R. images of well-dressed men in suits sitting and standing in the underground tunnels. On the other side of the project in Memphis, was a similar project in Helena, Arkansas, pictured here.
This captain of industry chased mining projects in Coalinga, California, Mexia, Texas, and projects in Montana at the Missouri-McKee Mill and the Clear Creek Consolidated Mining Company. Other projects include: the Capital Prize Mine in Colorado, the Kelly Gold Mine in Red Mountain, California, the Bureau Research Labs in Boulder City, Nevada, an “asbestos prospect: in Sims Valley, CA, and the Cactus Mine in Mojave, California. Additionally, other infrastructural projects include the Mattie Mine and Power Plant, and the Boulder Dam (now known as the Hoover Dam) in the Black Canyon of the Colorado River on the border between Nevada and Arizona.
While the majority are held to the page by corner tabs, fourteen 9 1/2” x 7 1/2” images are loose and tucked into the end page. Otherwise, photographs range in size from 2 1/2” x 2” to 9 1/2” x 7 1/8”. There are 10 smaller photographs that are missing, indicated by empty corner tabs.
Sappho, poetry; Page duBois, introduction; Julie Mehretu, prints; John Daley and Page duBois, translators; Anita Cowles Rearden, wood engravings.
Poetry of Sappho. San Francisco: Arion Press, 2011.
Number 172 of 400 numbered copies for sale, with 26 lettered copies for complimentary distribution. Signed by the artist on the colophon. A superb production of Sappho's timeless poetry from the esteemed Arion Press. In the accompanying prospectus, they write that this was one of its major books done with artists and call it one of Arion's most beautiful and ambitious publications. The illustrator, Julie Mehretu joins a distinguished group of artists, including Jim Dine, Richard Diebenkorn, Jasper Johns, Sol Lewitt, and Robert Motherwell among many others. There are also wood engravings by Anita Cowles Rearden, did them in the 1890s and were intended as illustrations for a book on Sappho by her husband Timothy Reardon, but are printed for the first time on the title page, introduction and colophon. The prospectus offers comments about the introduction by deBois, saying that as a comparative literature scholar who is an expert on the Greek world, Sappho, and on women in antiquity, she provides the fullest and most meaningful context for appreciating Sappho in our time. The translation by duBois and poet Daley offers an opportunity to read Sappho through the eyes of a new poet, which can reveal something new. They sought to stay close to the Greek and to approximate the elegancies of Sappho's verse in Greek.
Bound in a lovely light green cloth with a a white vellum spine with the title in gilt to the spine. The covers are imprinted with a portion of an image by Mehretu from an extra suite of prints in darker green. Printed on Revere, an Italian mould-made paper usine Garamont type for the English translation and the Greek using Adobe Garamond Greek type. Housed in a dark green paper covered slipcase with edges in green cloth and a dark green label with gilt titling. In fine condition in a fine slipcase. Measures 9.75 x 14.5 inches. 112 pages.
New York: Currier & Ives, [1865]. Color print, 11-3/4" x 15-1/2" [by sight]. A black man, newly freed from slavery, kneels at Lincoln's feet, his shackles broken. He kisses Lincoln's hand. His wife and babies stand behind him. Lincoln's right arm is raised and pointing heavenward. Light uniform toning, but brightly colored. Two blank margin tears at lower right corner, one blank margin tear at upper left corner. Framed in wood [a few small dings] to overall size 16" x 20." Very Good.
"This commemorative print was issued soon after the assassination of President Lincoln to comfort his supporters. The semi-allegorized representation portrayed the former president as the emancipator of enslaved African Americans, guided by divine principles" [Description online at The Met].
Entering Richmond in 1865, Lincoln was met by many former slaves who kneeled before him. Lincoln told them to stand and thank God, not Lincoln, for their freedom. A decade later the Colored People's Educational Monument Association, headed by the African-American abolitionist Henry Highland Garnet. created a memorial to Lincoln. The result was a sculpture, erected in 1876 in Lincoln Park near Capitol Hill, depicting a supplicant slave and a towering Lincoln. Known as the Emancipation Memorial, or the Freedmen's Memorial, it generated some contemporary criticism for its depiction of the inferior position of the black man.
Offered by David M. Lesser, Fine Antiquarian Books and found in "Black History Month."
Boston: Little, Brown, and Company, 1929. Revised Edition. Hardcover. 184 pages. 19.5 x 13.5 cm. Capturing the societal norms and dining customs of the early 1900s, this book was published as both a training manual for anyone working in the service industry. By the early 1900s, many households and food establishments were hiring women, from many different backgrounds, to work within homes and businesses. This book provided detailed instructions on serving techniques, table setting, and proper etiquette, emphasizing the importance of professionalism and personal hygiene. Focusing on the role of education and skill, this book highlighted the respectability of a trained professional - elevating the status of a waitress. Interior and boards pristine. Dust wrapper heavily rubbed with some chips. Covered in protective mylar. Green illustrated cloth covered boards. Fine, in good dust wrapper.
Staines, Middlesex (UK): Short Circuit, presumed Publisher. No date, circa 1978/79. Side folding wraps. 12 ½ by 9 7/8 inches. 16 pp. A few black and white photos throughout. Edited by Amanda Chadburn, Short Circuit offered a somewhat straightforward look at the punk scene, featuring interviews and an uncluttered layout with a streamlined aesthetic. With coverage/interviews on The Clash, X-Ray Spex, Essential Logic, The Condemned, The Jam, Dead Fingers Talk, and Rock Against Racism. GOOD condition. Minor toning, soiling and wrinkling. Some curling along the top edge. A few tiny stains to the rear cover.
Offered by Mare Booksellers and found in "Catalog 25."
MEXICAN ILLUSTRATED BOOKS. 50 YEARS OF ILLUSTRATED BOOKS PUBLISHED IN MEXICO -- catalog available to institutional buyers by request from mmbooks@comcast.net
Illustrated Catalog on Carlos Merida (1891–1984) -- Mexican painter, sculptor, writer and graphic designer -- available by request from mmbooks@comcast.net
Châlon sur Sa ône: chez Antoine Delespinasse Marchand Libraire [ca. 1714 -1727].
12mo (142 x 78 mm). 10 pp., [1] leaf. Woodcut printer’s mark on title, type ornament headpiece, verso of final leaf with two further woodcut devices (recto blank). (First and last leaves slightly soiled.) Partly untrimmed, two deckle edges. 19th -century half hard-grain morocco, title gilt-lettered along spine (rubbed, cracks in covers).
AN ANONYMOUS DEFENSE OF THE SUPERIORITY OF WOMEN, impressively wide-ranging in its ten pages. Citing the Bible and the Church Fathers as well as classical philosophers, the author claims that women are more saintly, more beloved to God, more heroic, more beautiful, cleverer, more diligent, kinder, more rational and more peaceful than men. The erudite author opens with Genesis, arguing that the Biblical names for man and woman imply the former’s lesser nobility, as the word for man is derived from “dead and inanimate earth” (Adam, which literally means “red,” derives from adamah, ground or earth), while woman “was taken from the living substance of man, and her name bears the meaning life” (the Hebrew name for Eve, Chavah, means living one or source of life). This daring polemicist affirms that men are more at fault for the arrival of sin in the world, since the grace brought into the world by the Virgin outweighed Eve’s error; moreover since a woman was the Mother of God, while no man can claim His paternity, “the glory of her sex is infinitely higher than that of men” (p. 6).
Vincenzo Maria Coronelli compiled this unique planisphere at the pinnacle of his illustrious career, combining the best geographical knowledge with the finest cartographic traditions. Coronelli’s gorgeous map reflects how cartographers grappled with a vast intermix of geographical knowledge and myth produced during the apex of global exploration.
Among the many elements that make Coronelli’s maps so important and collectible was his direct access to the latest French sources. This made him far more confident about inserting new features and pushing cartographical boundaries in his maps. These maps are no exception. Other appealing features include the decorative borders that enhance the aesthetic appeal and reflect Coronelli’s interest in astronomy and its relation to geography. This Old World map includes coordinates and descriptions of specific zodiacs along the outer rim of the chart, along with a triple band of latitudinal coordinates and meridians to complete the composition.
The map was created for Coronelli’s prestige project, the Atlante Veneto (1691), which he designed as a continuation of Willem Blaeu’s groundbreaking Atlas Maior. It was compiled in 1690, as indicated in the atlas’ frontispiece, but was not published until the following year. In addition to the compendium of geographical and scientific knowledge, the Atlante included an essential treatise on globe-making. Coronelli based this planispheres on his large globe gores from 1688 (Shirley 537), which presented the world from a distinctly Italian perspective.
Catalog 53 -- featuring Fine Books and Manuscripts from 1641 to 1930, with special emphasis on High Spots in English and American Literature, Fine Bindings, Illustrated Books, 1890’s, Press Books and early, scarce children’s books.
Paris: L. Conquest and L. Carteret, 1905. 8vo, 8 1/2 x 5 1/2 inches. Finely bound by Captain Gladstone in full green crushed morocco with exquisite all-over gilt design on both covers, four large triangular inlaid blue morocco pieces to each corner with half-moon gilt-tooled patterning, center with blossom and vine motifs, with two circular blue morocco inlaid pieces. Wide dentelles with similar patterning and two inlaid pieces, blue silk moiré doublures. TEG, signed CEG in gilt, front dentelle. Colored engraved title and illustrations by Leon Lebegue, with added duplicate uncolored plates bound in. This copy issued to ‘Monsieur le Dr Rivet’ signed ‘L C’ [ L. Carteret, the publisher], red card paper wrappers bound-in, in place. Near fine, with slight even sunning to spine.
Offered by Nudelman Rare Books and found in "Catalog 53."
New York: Vintage Contemporaries, 1991. Paperback, signed by Ellis on the title page. A fine copy with some light toning to underside of wrappers.
Sharp signed copy of Ellis's most successful novel, which was turned into a film starring Christian Bale in 2000. This edition with a price of $13 to rear cover, original Vintage Contemporaries logo to spine, and a different number line on the copyright page.
New Orleans, Louisiana, March 4, 1808. Letterpress funeral invitation, 9 1/2 x 7 in. (24 x 18 cm). English and French text in parallel columns, surrounded by decorative frame. Woodcut devices in margins around frame. Old folds, some ink smudging, docketed on verso. About fine.
John Ward Gurley was struck dead in New Orleans on March 3, 1808, at the tender age of twenty-nine. At the time of his death, he was serving as attorney-general for the newly established Territory of Orleans, as registrar of the land office, and as aide-de-camp to the governor, William C. C. Claiborne, who had appointed the young man--holding a degree from Yale--attorney general four years earlier. By most measures, Gurley’s future in frontier politics, and perhaps even at the national level, seemed preordained. Yet to his constituents in New Orleans, among whom he was as well known for his hot temper and quickness to duel as for his political acumen, it must have come as no surprise when pistol and ball sent him to his grave. Early the next day, his parents and friends issued a hastily printed notice in English and French, inviting guests to the funeral at four that afternoon, adding that “The corpse is deposited at the house of Wm. Simpson, Esq., Dauphin street [son Corps sera exposé chez M. Wm Simpson, rue Dauphine].” This remarkable imprint is surely among the most haunting such notices in the genre, especially for its time and place. It also appears to be the earliest surviving specimen of New Orleans job printing.
Offered by Primary Sources, Uncharted Americana and found in "Catalogue 8" (item #4).
First edition, first printing of Ephron's final published book, a delightfully candid collection of twenty-three personal reflections. Signed by Ephron to the title page.
New York: Alfred A. Knopf, 2010. Publisher's original blue paper-covered boards; pp. ix, [1], 137, [5]. A near find copy in a near fine, unclipped dust jacket showing just traces of shelfwear. Very presentable, protected in archival mylar.
New York: Daniel Wilson Productions, [1989]. Vintage original film script, 11 x 8 1⁄2" (28 x 22 cm), 102 pp. The name of Cynthia Greenhill is written on the title page. She worked on a couple of other films in this era, but is not included in this film’s credits. The front page notes that this draft includes revisions from 1/17/[89] on pink paper and revisions from 1/24/[89] on blue paper. This example of the script does incorporate those dated revisions, but the entire script is printed on white paper. Printed wrappers, brad bound, a few pages with light marginal spotting, overall near fine.
The completed film does not represent screenwriter Harold Pinter’s original vision for this adaptation of Margaret Atwood’s dystopian novel. When director Volker Schlöndorff took over the film’s direction (which had originally been assigned to Karel Reisz) and requested rewrites, Pinter suggested he enlist the original author and she, among several other people, were responsible for the final shooting script. However, only Pinter received screen credit for the script in the released film. Thus, this original Harold Pinter screenplay draft—never published—Is of tremendous value to scholars or fans of Pinter and his work. And, of course, any adaptation of Atwood’s feminist classic is of enduring interest.
Offered by Walter Reuben, Inc. and found in "Catalog 55."
New York, NY: Random House, 1990. First American Edition, First Printing. Octavo, 555 pages. In Good condition with a Very Good condition dust jacket. Blue spine with gold lettering. Dust jacket is wrapped in a mylar covering, price uncut "U.S.A $22.95/ Canada $29.95", has creasing along the front tail edge and mild shelving wear. Boards are significantly misaligned, has a dent along the front tail edge, bending wear along the spine and front head fore corner, mild scuff marks, and light stains along the rear board. Textblock has creasing on page 331, 355,357 mild warping along pages 357-386, stains on the front end-page and pages 106, 118 and along the edges, moderate foxing along the edges. Signed flat by A. S. Byatt on the title page.
[Dickens, Charles. 1812 - 1870]. Grego, Joseph - Editor.
London: Chapman & Hall, 1899. 1st edition. 2 volumes: 493, [3]; 507, [5] pp. 350+ illustrations. Crown 8vo. 8" x 5-5/8". Original green cloth bindings with gilt lettering/cover device. TEG. VG+ (gilt bright/bpt/minor foxing, primarily to end leaves). Item #283.4 Bibliography of Pickwick's illustrations, English & American, from 1837 to 1899. Somewhat scarce title.
Camden, NJ: Hunt Pen Co., 1956. 22.8x15.2cm: 96pp. 17th Edition. Color printed stapled wrappers. Light wear to edges and spine with a smoothed out crease to lower front corner. Small ink stain to inside of front wrapper. Pages lightly toned. Bi-fold advertisement for speedball pens laid-in. Better Than Very Good. A graphically interesting instructive guide to lettering styles and advertising design with eight pages in full color.
London: Rupert Hart Davis, 1957. First U.K. edition. A Fine copy of the book in a Near Fine dust jacket. Jacket price clipped and with an early price written on the front panel (now partially erased). Also a note at the top of the front flap attributes the inscription to "Bush Hunter - Hollywood actor." Inscribed by the author: For Bush! Ray Bradbury ****************** The Vintner Himself Signs Twice - To Prove His Friendly Wishes Ray Bradbury Aug. 22, 1963." A lovely copy with a generous full-page inscription.
Born from a short story that first appeared in Gourmet Magazine (1953), Dandelion Wine is an intimate semi-autobiographical reflection of a youthful summer spent in Illinois. Set in the fictional Green Town (a stand in for his hometown of Waukegan), the novel explores the rich inner life of a twelve-year-old boy, based on the author himself. Bradbury’s evocative prose captures the beauty of life, loss, and power of nostalgia. Fine in Near Fine dust jacket.
Offered by Whitmore Rare Books and found in "Ray Bradbury."
Originally published 1830, this was Benjamin’s fourth and vastly most popular work. This was the key book in introducing the Greek Revival to the New England countryside, as well as to the states in the mid-west. Hitchcock 130. 4to, modern (but not brand new) full cloth. 119 pp. with 64 engr. plates. With occasional scatered light foxing. Signed on front fly: “Thomas Lakey’s Bot 1 Mo 1854.”
Offered by Charles B. Wood, Bookseller and found in "Catalogue 201."
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