Recently found

2006-10-30. Good. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May not contain Access Codes or Supplements. May be re-issue. May be ex-library. Shipping & Handling by region. Buy with confidence, excellent customer service!

2008-08-05. New. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May be re-issue. Buy with confidence, excellent customer service!

1996-01-03. New. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May be re-issue. Buy with confidence, excellent customer service!

Modern marble paper covered boards, blue cloth spine with paper title label. 8vo 7½'' x 5''. Containing 79 pages of text with embellished capital letter, header and tail-piece. Newspaper cuttings from The Times pasted to the rear paste downs, cracking between the title page and the first page of text, the paper is not foxed and has only marginal age toning to the edges. Charles II's father, King Charles I, was executed at Whitehall on 30 January 1649, at the climax of the English Civil War. Although the Parliament of Scotland proclaimed Charles II King of Great Britain and Ireland in Edinburgh on 6 February 1649, the English Parliament instead passed a statute that made any such proclamation unlawful. England entered the period known as the English Interregnum or the English Commonwealth, and the country was a de facto republic, led by Oliver Cromwell. Cromwell defeated Charles II at the Battle of Worcester on 3 September 1651, and Charles fled to mainland Europe. Cromwell became virtual dictator of England, Scotland and Ireland, and Charles spent the next nine years in exile in France, the United Provinces and the Spanish Netherlands. A political crisis that followed the death of Cromwell in 1658 resulted in the restoration of the monarchy, and Charles was invited to return to Britain. On 29th May 1660, his 30th birthday, he was received in London to public acclaim. After 1660, all legal documents were dated as if he had succeeded his father as king in 1649. Charles II was popularly known as the Merry Monarch, in reference to both the liveliness and hedonism of his court and the general relief at the return to normality after over a decade of rule by Oliver Cromwell and the Puritans. Charles's wife, Catherine of Braganza, bore no live children, but Charles acknowledged at least twelve illegitimate children by various mistresses. As illegitimate children were excluded from the succession, he was succeeded by his brother James. Member of the P.B.F.A. ENGLISH HISTORY

Folio (312 x 213 mm). Contemporary blind-tooled calf lifted from the original binding and relaid on heavy boards and rebacked to style (a pencilled note dates the restoration 1946), the sides panelled with a stylised wheatsheaf roll and a decorative roll incorporating heads, the fore edges showing the marks where clasps and catches were formerly attached. Housed in a dark brown cloth flat-back box. Early ownership inscriptions of John Rappe in French, one in The Romaunt of the Rose (foot of sig. 2E3v) dated 8 June 1583; early ownership inscriptions of Ro: Tirell (=Tyrell) at head of The Canterbury Tales part-title and again at head of The Knight's Tale, and of Thomas Lanham at foot of Troylus and Creseyde part-title; some early underlines and contemporary marginalia throughout; front free endpaper with pencilled note (in the hand of Lord Kenyon?) stating that the book was bought in 1891 at Christie's at the library sale of Captain Walter Tyrell, i.e. Walter Robert Tyrell (1811-1891) of Suffolk; modern bookplate of Robert S. Pirie. A few minor marks or stains, small paper extension at upper outer corner of A4 and lower outer corner of 3G5 and 3M6, not affecting text; short marginal tears neatly closed not affecting text to some 19 leaves (B1, G5, I2, I3, L1, N5, N6, K2, U6, 2R4, 2S1, 2S5,6, 3B2,3, 3E4, 3K4, 3Q1, 3T5); paper restoration in lower margin of "2Q3".1; paper repairs into text to N1, 2S6 (with small loss of text) and 3B4; last leaf 3V6 with paper restoration at upper outer corner with loss of end of folio number and one letter of colophon; these repairs mostly unobtrusive and affecting text in a couple of places only, the paper strong and generally clean, with good margins all round, overall a very good copy. 394 (of 397) leaves (lacking A1-3, supplied in good quality facsimile). Continental batard type, text in double columns. 20 woodcut illustrations from 15 blocks, section-titles within woodcut compartments (McKerrow & Ferguson 19) for "The Romaunt of the Rose," "Troylus and Creseyde," "Boetius de consolatione philosophie," "How Pite is Ded and Beried in a Gentyll Hert," and "The Testament of Love," all with continuous foliation and signatures, QQ3 cancelled as usual and replaced by four leaves incorporating Robert Henryson's Testament of Criseyde. First complete collected edition of Chaucer and the first attempt to collect into a single volume the complete writings of an English author, this copy in contemporary blind-tooled calf being much the most complete to have appeared in commerce in the past 40 years. The editor was William Thynne, clerk of the kitchen and of the green cloth to Henry VIII, and recipient of numerous grants and appointments. Thynne provides the first printed editions of many of Chaucer's major works in verse and prose, including The Book of the Duchess, The Legend of Good Women, Boece, and The Treatise on the Astrolabe. He also includes several works not by Chaucer, including poems by John Lydgate, Thomas Hoccleve, Richard Roos, and Robert Henryson, giving the volume an additional value as a poetical miscellany. Thynne's "was the first attempt at a critical edition and for over 200 years provided the standard text of The Canterbury Tales" (Hayward). The introductory materials to the edition are prefaced by an unsigned dedication to Henry VIII by Sir Brian Tuke, the king's secretary, arguing for the poet's pivotal role in the development of the English language. The Canterbury Tales alone had been first printed by Caxton, first without and then with woodcuts, before Pynson attempted something like a collected edition in three separate publications of c.1526. In the present edition, only The Canterbury Tales is illustrated: the cuts of the Knight and Squire are copies from Pynson's 1526 edition (Hodnett 2066, 2067), while the remaining 13 were cut for Caxton's 1483 edition (Hodnett 214-236). As Joseph A. Dane points out, this is a landmark edition in many ways. It is the last edition that modern editors suspect may have been printed, in part, from manuscripts no longer available. All arguments concerning the Chaucer canon, up to and including those by Skeat, take as their foundation Thynne's inclusion of them in this edition, the first avowedly designed to be complete. Later editions add minor works, but always at the end, and none of those included here are omitted until the 19th century. The book is attractively printed in a continental batard, harking back to Pynson's type 2, rather than in the self-consciously medieval blackletter (textura) of later Chaucer editions. Chaucer was never again printed in any type resembling this, but the monumental format of a double-column large folio gathered in sixes remained the model for later canonical vernacular authors, notably Shakespeare and Jonson. The publisher Thomas Godfray was associated with some of the more radical propagandists of the Tudor revolution and Thynne's edition began a gradual process in the 16th century by which Chaucer was both established as the father of English poetry and claimed for the nation as a proto-Reformer, so that John Foxe the martyrologist would later acclaim him as "a right Wycliffian". The only other substantially complete copy to have appeared in the past 40 years was the William Morris-Richard Bennett-Michael Tompkinson-Albert May Todd copy, lacking six leaves (A1, A4, Uuu1, Uuu2, Uuu5 & Uuu6) and the lower outer portion of Ttt4, sold at Sotheby's, 10 July 2003, lot 76. Though Morris used Skeat's Victorian edition as his copy text, his own copy of the 1532 Thynne folio surely supplied inspiration for the Kelmscott Chaucer. Grolier/Langland to Wither 28; Hayward 2; Pforzheimer 173; STC 5068. Joseph A. Dane, Who is Buried in Chaucer's Tomb? Studies in the Reception of Chaucer's Book, Michigan State UP, 1998.

Black cloth (hardcover) in mylar protected dust-jacket. Limited 1/2000 copies. 274 pages; jacket by Ronald Clyne. Derleth's second collection of his own stories. Bookplate of Frank Cooper Associates Agency Inc., 9145 Sunset Bouldevard, Hollywood Calfif. on front fly, internally clean and tight in unclipped ($3.00) showing light chipping at head and tail. Size: Octavo

Afrikaans text. A rare book. Excellent, clean and tightly bound book. 843 pages. Illustrated. index. ------------------ Orders over $100.00 are shipped using tracked courier delivery services. Size: Approx 6" Wide and 9" Tall

Deluxe re-issue 2016 126pp Starfire. Illus. inc. col. Quarter leather over hand marbled paper covered boards. NM in NM d/w, housed in NM slipcase. Ltd. ed. 32/71, signed by Steffi Grant. A re-issue of Grant's first published Nightside Narrative.

[North Webster, IN: Delirium Books, 2001. Octavo, cloth. First edition. One of 250 numbered copies signed by Thomas, author of the foreword Jeff VanderMeer, author of the introduction Michael Pendragon, and artist Colleen Crary. A collection of 26 stories, most first published here. The Massachusetts artist and poet's first collection of short fiction. A fine copy in fine dust jacket. (#154871)

Boston: Houghton Mifflin Company, 1928. Hardcover. Complete 2-volume set. Small 4to. Blue cloth with gilt spine lettering. xxviii, 607pp; vii, 741pp. Tissue-guarded frontispieces, illustrations. Very good. Faint binding edgewear only, else tight and internally fine. A handsome fifth printing of Beveridge's opus -- with superb autograph addition: Tipped opposite the half-title page of the first volume is a Typed Letter Signed from Beveridge, 1p, 8½" X 11", Indianapolis, IN, 3 June 1922. Addressed to Robert Underwood Johnson (1853-1937, writer/editor and diplomat best remembered among Civil War buffs for editing the epic 4-volume "Battles and Leaders of the Civil War"). Very good. Touch of age toning and faint edgewear. On his personal letterhead, the former senator comments about the U.S. Senate primary in Indiana (which he had just won as a Republican) to the just-retired U.S. ambassador to Italy: "Thank you for your courteous letter of congratulations of May 4th. Acknowledgment has been delayed by many engagements and much pressing correspondence...." Signed huge and bold in black ink at the close, followed by a large 4-line postscript: "'Independent democrats,' eh! Fine -- lots of them voted for me & I hope they will in November." They didn't and he lost, never to hold public office again. Beveridge (1862-1927) was a noted Indiana senator (1899-1911) who won the 1920 Pulitzer prize for his 4-volume "Life of John Marshall," but it is for his mammoth biography of Abraham Lincoln that he is best remembered; it was only half finished when he died on 27 April 1927 at age 64 and thus only runs up through the year 1858. A lovely set of this hefty pair, with a great content author letter. MONAGHAN 2999.

Hardcover. Large octavo (9.25 x 6.25 inches). vi + 138pp. Red cloth with gilt titling to spine & front board. B/w illustrations. A reduced-size facsimile reprint of the first edition, but without the images of the Stele of Revealing or the facsimile of the manuscript of "The Book of the Law" (Liber XXXI). Although no limitation is given, Gordon Press print runs were typically tiny (about 200 copies) and were sold mainly to libraries, so the edition is uncommon. This copy from the collection of Clive Harper with his discrete book-label neatly tipped in at the rear. Harper is well- known as the bibliographer of Austin Osman Spare, for updating the Aleister Crowley bibliography in the 2011 Teitan Press collection of Gerald Yorke's writings, and as someone who has lent his expertise to numerous other publications. A hint of bruising & rubbing to head and tail of the spine, otherwise a sharp, clean VG+ copy. (no dust jacket issued). Scarce.

London: Chapman and Hall, 1850 The Cheap Edition, 1st Series, VG 1850, 1850, 1852. In red half calf, marbled boards, corners & edges lightly bumped & worn, some blind tooling. Spine, raised bands, decorative gilt tooling, edges bumped and worn, title in gilt to black calf label, joints worn. Internally, red marbled endpapers, text block edges marbled in red and blue, some light foxing to front and rear blanks. 3 stories each with a plate from the Cheap edition, 1st issue bound in 1, all printed by Bradbury & Evans, Whitefriars. American notes for General Circulation, 1850, frontis by T Bolton, (v-xiii), [1], 175 pp, 1 pl, [1]. Sketches by Boz. Illustrative of every-day life and every-day people. With a frontispiece by George Cruikshank, Chapman and Hall, 1850, (v-xiv), [2], 303 pp, 1 pl, . Christmas Books, Chapman and Hall, 1852, frontispiece by John Leech, [4], 266 pp, which contains The Christmas Carol, The Chimes, The Cricket on the Heath, The Battle of Life and The Haunted Man. A lovely book with a great feel to it. Uncommon! (see Eckel 113, 15, 116, 121, 125, 127 & 131 for info)American notes was written in 1842 upon Dickens's first return from the US. With regard to Sketches by Boz, Dickens stated that his share was only £400 whilst his publisher made 10 times that amount!Dickens, Charles John Huffam, novelist see ODNB for a full Bio.

London: Chapman and Hall, 1850 The Cheap Edition, 1st Series, VG 1850, 1850, 1852. In red half calf, marbled boards, corners & edges lightly bumped & worn, some blind tooling. Spine, raised bands, decorative gilt tooling, edges bumped and worn, title in gilt to black calf label, joints worn. Internally, red marbled endpapers, text block edges marbled in red and blue, some light foxing to front and rear blanks. 3 stories each with a plate from the Cheap edition, 1st issue bound in 1, all printed by Bradbury & Evans, Whitefriars. American notes for General Circulation, 1850, frontis by T Bolton, (v-xiii), [1], 175 pp, 1 pl, [1]. Sketches by Boz. Illustrative of every-day life and every-day people. With a frontispiece by George Cruikshank, Chapman and Hall, 1850, (v-xiv), [2], 303 pp, 1 pl, . Christmas Books, Chapman and Hall, 1852, frontispiece by John Leech, [4], 266 pp, which contains The Christmas Carol, The Chimes, The Cricket on the Heath, The Battle of Life and The Haunted Man. A lovely book with a great feel to it. Uncommon! (see Eckel 113, 15, 116, 121, 125, 127 & 131 for info)American notes was written in 1842 upon Dickens's first return from the US. With regard to Sketches by Boz, Dickens stated that his share was only £400 whilst his publisher made 10 times that amount!Dickens, Charles John Huffam, novelist see ODNB for a full Bio.

NAOMI SHEMER.Autograph Manuscript Signed of the lyrics to "Yerushalayim Shel Zahav" / "Jerusalem of Gold," handwritten music manuscript, and a printed booklet with her signature, all in Hebrew.Despite the UN partition plan and guarantee of access to holy sites, all Jews living in the Old City and the rest of East Jerusalem were forced out by Jordan in 1948. Losing their homes and possessions, they were barred from areas under Jordanian control, and many Jewish holy sites were desecrated. Still, reunification was far from people's minds. In 1967, Israelis again had real reason to fear for the nation's survival, as Arab leaders increasingly declared their plan to "wipe Israel off the map." Seeking simply to affirm the historic connection of the Jewish people, a month before the 1967 Israeli Song Festival, Mayor Teddy Kollek called for a new song dedicated to Jerusalem, and Shemer was asked to write it. Worried that she would not find inspiration in time, at first she demurred, but soon changed her mind.Perfectly capturing the mournful ancient longing for the Eternal City, Shemer chose an unknown young singer for the song's official debut. On May 15, 1967, Israel's Independence Day, Shuli Natan sung "Jerusalem of Gold" to an immediately entranced audience.That same day, President Nasser sent the Egyptian army into the Sinai. After ordering the UN Emergency Force to withdraw, on May 22, Egypt closed the Straits of Tiran to Israeli shipping, blockaded Eilat (which, by definition was an act of war), interrupted Israel's trade with Asia, and halted oil imports from its main supplier, Iran.Egypt, Jordan, Syria, and Lebanon, together fielded more than 450,000 troops, 2,800 tanks, and 800 aircraft, all being marshalled to focus on the destruction of Israel. Rather than waiting for the promised attack, on June 5, Israel preemptively struck, destroying nearly the entire Egyptian air force, and sending ground forces back to the Sinai.Prime Minister Levi Eshkol reached out to King Hussein of the Hashemite Kingdom of Jordan, promising that Israel would not attack if Jordan refrained from attacking Israel. However, at least partly due to false Russian and Egyptian claims that Israel's Sinai strike had failed, within an hour the Jordanian army started shelling West Jerusalem.Facing challenges to its survival on every side, Israel literally had no plans to take Jerusalem, but Israeli forces were ordered to stop the shelling and relieve Mount Scopus. After pitched battles, Eshkol again offered King Hussein a way out, to no avail. On June 7, at 6:15 a.m., the Israeli Defense Forces (IDF) were ordered to enter Jerusalem, while being cautioned against doing any harm to the ancient walls and sites. Incredibly, by 10:08 a.m., the Old City was under Israel's control. Defense Minister Moshe Dayan and IDF Chief of Staff Yitzhak Rabin soon arrived to witness a shofar blown at the Western Wall.Kollek telegraphed Shemer, who was in the Sinai with her IDF band, asking her to add a new verse to celebrate. Inspired by what had just taken place, she promptly did so: "The wells are filled again with water, The square with joyous crowd, On the Temple Mount within the City, The shofar calls out loud."1. NAOMI SHEMER, Autograph Manuscript Signed, "Jerusalem of Gold" lyrics, including the added fourth verse. [June, 1967]. In Hebrew, in four columns separated by vertical lines, with refrain at bottom. 19.5 x 13.5 cm. Folds & minor foxing, fine. Her official manuscript, now in the Naomi Shemer Archive at the National Library of Israel, was first reproduced in print by June 28, 1967. She apparently penned our nearly identical copy at the same time.2. NAOMI SHEMER, Autograph Musical Manuscript Signed, "Jerusalem of Gold," in pencil on both sides of the leaf. Titled and signed by Shemer, with handwritten notes on the margins (in Hebrew): play one octave higher; change at the end of the song; or mezzo; the same chord. 24.5 x 17 cm. Slight tears & creases, stains, still fine.3. NAOMI SHEMER, Printed booklet Signed on the front cover, 13 July 1967, "Jerusalem of Gold." Self-published: "All rights reserved by Naomi Shemer," Arieli Press, Tel Aviv, [prior to June 28] 1967. Printed bristol sheet, folded in half, reproducing Shemer's manuscript lyrics (as noted, nearly identical to our copy). With brief notes and transcription of the lyrics in Latin letters, though not including the added verse. 17 x 12.5 cm. Good condition despite some stains.The copy in the Naomi Shemer Archive at the National Library of Israel has her signed dedication to her mother, dated June 28, 1967.In three days of fighting, Israel had captured the Sinai, the West Bank, the Gaza strip and the Old City of Jerusalem. The UN Security Council's call for a cease-fire was immediately accepted by Israel and Jordan, and a day later by Egypt. On June 9, in response to continuing Syrian shelling, Israel captured the Golan Heights. The war ended the next day, once Syria accepted a cease-fire. It is estimated that 15,000 Egyptian, 2,500 Syrian, and 800 Jordanian troops died in the war. Israel's losses were a fraction of what they would have been she allowed the combined Arab armies to strike first, but still severe: 777 dead and 2,586 wounded. In proportion to population, this was about twice the total of American losses in all eight years of the Vietnam War.Jerusalem of GoldBased on the translation by Chayah Galai (with our edits in brackets)The mountain air is clear as water.The scent of pines aroundIs carried on the breeze of twilight,And [ringing] bells resound.The trees and stones there softly slumber,A dream enfolds them all.So solitary lies the city,And at its heart a wall.Oh, Jerusalem of gold, and of light and of bronze,[To all your songs, I am a lyre]The wells ran dry of all their water,Forlorn the market square,The Temple Mount dark and deserted,In the Old City there.And in the caverns in the mountain,The winds howl to and fro,And no-one takes the Dead Sea highway,That leads through Jericho.Oh, Jerusalem of gold, and of light and of bronze,[To all your songs, I am a lyre]But as I sing to you, my city,And you with crownsadorn,I am the least of all your children,Of all the poets born.Your name will scorch my lips forever,Like a seraph's kiss, I'm told,If I forget thee, golden city,Jerusalem of gold.Oh, Jerusalem of gold, and of light and of bronze,[To all your songs, I am a lyre]The wells are filled again with water,The square with joyous crowd,On the Temple Mount within the City,The shofar [calls] out loud.Oh, Jerusalem of gold, and of light and of bronze,[To all your songs, I am a lyre]Within the caverns in the mountains,A thousand suns will glow,We'll take the Dead Sea road together,That runs through Jericho.Oh, Jerusalem of gold, and of light and of bronze,[To all your songs, I am a lyre]About the translationArthur Schopenhauer noted, "A major difficulty in translation is that a word in one language seldom has a precise equivalent in another one." A Russian proverb, despite being sexist, is still telling: "Translation is like a woman: if she is faithful, she is not beautiful; if she is beautiful, she is not faithful." We chose the translation by Chayah Galai, published by the Israel Ministry of Foreign Affairs in "50 Years of Hebrew Song." However, having seen several other translations, we took the liberty of "correcting" two words, replacing "And tinkling bells resound" with "And ringing bells resound," and "The shofar rings out loud" with "The shofar calls out loud." Galai wrote "I am a lute for all your songs," but now that strikes us as too much like the later "I am the wind beneath your wings," So we use a different translation based on the translation of the source of that verse, Rabbi Yehuda Halevi's "Songs to Zion.""The city that sits alone" is from the first verse of the Book of Lamentations, and "If I forget thee Jerusalem" is from Psalm 137. The most interesting source for "a City of Gold" or "a crown of gold" (with an engraved city mural, a bridal gift for the very wealthy) is the story of a jealousy-inducing gift that Talmudic legend Rabbi Akiva gave to his wife Rachel.ProvenanceEx-Yermiyahu [Jeremiah] 'Yerri' Rimon. According to David Glassman, Yerri "combined encyclopedic knowledge with an especially good eye for quality and in-depth understanding. His collection was immensely broad but he nonetheless could talk passionately about every single item it contained, in detail." The two manuscript documents were purchased at a local Israeli auction house in the 1980s, and the printed copy of the song was purchased at another auction, around the same time.Concerned that if anything happened to him, his family would not know which items were important, in 1993 Yerri started penciling in notes and values. On the verso of the lyrics, he wrote [in Hebrew]: "In the handwriting of the poet and composer Naomi Shemer!/ Estimate $2,000 7.94" On the musical Manuscript, he wrote, "Estimate $2,000 7.94"We know of only one other Shemer handwritten copy having been sold. Penned around 1987, and donated by her to benefit the Friends of the Israel Air Force, the lyrics helped inspire an American philanthropist to make a $1,000,000 gift at the "Israel Air Force at 50" gala in 1998.A Supposed Controversy Over a Basque InfluenceShemer was often asked about the similarity of her tune to an old Basque lullaby, "Pello Joxepe," composed by Juan Francisco Petriarena 'Xenpelar' (1835â??1869). For many years, she denied knowing that song, but subsequently learned that she had in fact heard it sung by Spanish singer Paco Ibáñez, who visited Israel in 1962. Also, her friend Nehama Hendel heard Ibáñez perform it at the same time, and sometime in the mid-1960s, Shemer likely heard Hendel perform it. A May 5, 2005 article by Tom Segev in Haaretz reported on a letter that Shemer wrote just days before she died, telling friend and composer Gil Aldema of the tremendous guilt she felt after the unconscious influence was brought to her attention. (Translated)"I consider the entire affair a regrettable work accident - so regrettable that it may be the reason for me taking illâ?¦ I also didn't know that an invisible hand dictated changes in the original to me.... It turns out that someone protected me and provided me with my eight notes that grant me the rights to my version of the folk song. But all this was done, as I said, unwittingly.... My only comfort is that I tell myself that perhaps it is a tune of the Anusim [Spanish or Portuguese Jews who were forced to convert but secretly practiced Judaism] and all I did was restore past glory."In a follow-up article the next day, Ibáñez, asked how he felt about the issue, replied that Shemer had no reason to feel bad, and that he was "glad it helped in some way."Jerusalem of Gold was used in the sound track of the 1991 film "Pour Sacha," about the Six-Day War, and again in 1993 at the end of "Schindler's List" (though, responding to Israeli criticism about the appropriation of a beloved song that had nothing to do with the Holocaust, a more relevant track replaced it for showings in Israel). It was chosen as the "Song of the Jubilee" for Israel's 50th Independence Day in 1998, and is widely considered the unofficial national anthem.

Evanston, Illinois:The Schori Private Press. 1960. 49pp. Hardcover. A hand crafted, limited edition of 120 copies, signed by Schori on the copyright page and by Barzun on the copyright page, of which this is number 20. In full marbled cream leather with a red leather label on the spine and marbled end-papers. In very good, clean  condition, sans slipcase.

Upton Sinclair, 1953. First Edition. Unbound. Very Good. 4to - over 9¾" - 12" tall. Believed to be the last of Upton Sinclair's unpublished book-length manuscripts in private hands, AMERICAN FABLES is a uniquely important piece of American literary history. Sinclair's body of work dealt with numerous issues and trends in American, life, society and politics during this era, but often as part of a larger, character-driven narrative. AMERICAN FABLES was his signal attempt to synthesize these key threads by combining sections of his work with that of other authors. The work takes the form of 30 "Fables", seventeen of which are Sinclair, thirteen by others including such prominent American authors (and friends) Jack London, Sinclair Lewis, Lincoln Steffens, and John Reed. Also included are contributions by Cornelius Vanderbilt, Jr, the noted anarchist Prince Kropotkin, E. W. Scripps, Harry Price, Prynce Hopkins, and others. Sinclair's own seventeen "Fables" are taken from or based on previously published works authored 1923-48, with new unpublished material composed in 1952. The thirteen "Fables" of the other authors (Jack London, Sinclair Lewis, et al.), are mostly from between the wars, but range from 1899 (Kropotkin - a bit of an outlier) to 1951. This work has been much discussed for decades among Sinclair scholars. It has been described as Sinclair's attempt to create a politically-layered, fictionalized history of America between the wars told through key stories taken from his own work and that of others. From what Sinclair told Ron Gottesman, it was intended as a domestic "prequel" of sorts to the Lanny Budd series. It was an outgrowth of several earlier drafts conceived of, it is said, as an American equivalent to the "Arabian Nights" or "One Thousand and One Nights". Gottesman indicated that, after Sinclair worked through a number of drafts for the better part of a decade under a different title (see below), finishing and sending this "final" draft to Sinclair's literary agent Bertha Klausner right around the time of the publication of THE RETURN OF LANNY BUDD in 1953, which was the culmination of the enormous series of eleven volumes begun with WORLD'S END in 1940. Sinclair had expected Viking to publish the work, or to easily find another publisher. But this was not to be, as Senator Joseph McCarthy's incendiary attacks against the Left created such a hostile environment, that it intimidated all potential publishers of this new work by the avowed Socialist and one-time Democratic nominee to be Governor of California. After that first flurry of submissions and what Sinclair described to Gottesman as somewhat panicked rejections, the work sat forgotten for years in the files of Sinclair's literary agent, Bertha Klausner, until it was returned to Sinclair in the 1960's. FORMAT: The work is 400 pages, typed on white watermarked paper (8.5 x 11 inches), with 350 of the 400 leaves bearing holograph additions, corrections, and excisions, mainly by Upton Sinclair, but some in the hand of his wife, author Mary Craig Sinclair, 1 page entirely in holograph. The vast majority of typed leaves are ribbon copies. Pagination is almost entirely supplied by hand (correcting the prior typed pagination). The COLLATION is [1-2], 17-54, [54a], 55-189, 190-1, 192, 193a-193b, 194-215, 261-17, 218-263, 263a, 264-267, 267a, 268-284, 285-99, 300-425. PROVENANCE: The estate of Upton Sinclair; by inheritance to his son David, by inheritance to David's wife Jean Sinclair. Ink stamp of Sinclair's literary agent Bertha Klausner on title/index leaf. Upton Beall Sinclair, Jr. (1878-1968), pioneering muckraker, American novelist, winner of the Pulitzer Prize, author of the influential novel THE JUNGLE, which created such public controversy about the meat packing industry that it is in large part credited with the passing of the Pure Food and Drug Act, and ultimately to the creation of the Food and Drug Administration (FDA). Outside his literary work, Sinclair was notable in many fields. He was in some ways a precursor to Bernie Sanders, an avowed Socialist who was the Democratic nominee for Governor of California in 1934, running on the EPIC platform (End Poverty in California). He and Mary Craig produced Sergei Eisenstein's landmark "Que Viva Mexico" in 1930-32. He was a pioneer in such diverse fields as nutrition and health, cooperative living, investigative journalism, self-publishing, free speech and civil liberties, etc., etc. Sinclair's relationships with the authors of the other work included here were often of long-standing. As examples: Jack London had been President of the Intercollegiate Socialist Society, with Upton Sinclair as his Vice President, and he and Sinclair were lifelong friends. In fact London's futuristic novel THE IRON HEEL (1908) was written in response to Sinclair's THE INDUSTRIAL REPUBLIC (1906), and provided the introduction to Sinclair's pioneering anthology of literature on social protest THE CRY FOR JUSTICE (1915). London also was one of the subjects of Sinclair's anti-alcohol book THE CUP OF FURY (1956). Sinclair Lewis served for two months as janitor of Upton Sinclair's abortive co-operative colony, Helicon Hall, in Englewood Cliffs, NJ, which Sinclair established win 1906 with profits from THE JUNGLE (it burned down in 1907). BIBLIOGRAPHIC REFERENCES: For discussion of this item and its earlier unfinished incarnations from the prior decade, see Gottesman and Silet, "The Literary Manuscripts of Upton Sinclair" #A26. See also G&S A26a-f, describing six earlier drafts (dating from the 1940's) of what became this work, under the working titles "American Nights' Entertainments

Lincoln, Nebraska: Black Oak Press, 1979. Softcover. Near Fine. First edition. Oblong octavo. Wrappers. Drawings by Adam Laceky. Light wear, very near fine. Inscribed by the author to another poet, as well as signed by Laceky. Exceptionally uncommon volume of poetry. *OCLC* locates three copies.

2016-09-09. New. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May be re-issue. Buy with confidence, excellent customer service!

Letchworth: Arden Press für London, New York, Bombay, Calcutta: Longman Green and Company, 1910. hardcover. Gut. Portraitfrontispiz, xxxvij, [3], 373, [1], [2 weiße] Seiten. Handgefertigter Pappeinband, bezogen mit hellblauem, faserigen Büttenpapier, gedrucktes Rückenschild, unbeschnitten. Octavo. ca. 231 x 157 mm (Rücken minimal fleckig nachgedunkelt, sonst gut.). Die Auflage umfaßte nur 1050 Exemplaren, von denen 1000 für den Verkauf bestimmt waren. Das Portraitfrontispiz in Heliogravüre durch Emery Walker nach einem frühen, gezeichneten Selbstportrait von William Morris. Ein aus den Korrekturbögen zusammengesetztes Exemplar mit zahlreichen handschriftlichen Korrekturen in Blei-, Rot- u. Blaustift, wiederholten Stempeln der Presse mit den Bezeichnungen "2nd revise" bzw. vorn "6th revise" sowie mehrfachem Datumsstempel vom Juli bis Oktober 1910. - Proof copy with numerous corrections. The proof sheets bound in light blue boards with printed title label on spine, matching the original canvas-backed boards. Scarce and unique. - Latham 66 - Walsdorf 113 - Fredeman 43.21. - RFM. - Weitere Bilder auf Anfrage oder auf unserer Homepage.

TITLE: POEMS By TENNYSON-1903 HENRY VAN DYKE PERSONAL COPY AUTHOR: HENRY VAN DYKE (EDITOR) PUBLISHER - (LOCATION) /COPYRIGHT: Ginn and Co., Boston - 1903 EDITION: First Edition, The Athenaeum Press Series CATEGORY: Poetry, Signed, SIGNED: Yes, the book is signed with notes on many pages by the editor, Henry Van Dyke. On the copyright page, Van Dyke lists in red ink four thing a man must learn. I will not reveal the four things due to the fact that they may never have been published before. THIS MAY BE VAN DYKES PERSONAL REVISION OF THE BOOK. BINDING/COVER: Hardback without dust jacket CONDITION: (All defects if any are formulated into pricing by ViewFair Books Books. If ViewFair Books miss any defects or highlights on any book/printings, our policy is to make immediate amends to any customer): The outside is still in good condition. Book is with marks or writings on many of the pages, pages are clean, and book is tight and sturdy. There is an article about Van Dyke as a teacher taped to the inside board. There are nice notations or poems on the front and back of the endpaper written in Van Dykes same style of writing on the copyright page. There is an article about 'Tennyson Romanticism' pinned to the title page. There is more writings or poetry written on the half title page. There is a typed note pasted to the top of the introduction page. There are additional writings and notations in the introduction on about four or five pages at the top and the side. There is a picture of Tennyson that is half torn and laid into the book. There are some pages from 'The Lotus Eaters' in the back of the book. There is some penciled underling on a few pages. There are one or two additional paper inserts. There are additional outlines in pencil on the back endpaper. SIZE: 5 ½ x 8 ½ (approximately) PAGES: 490 pages Extra pictures located at the following: ViewFair Books/store/catalog/004093-2.jpg ViewFair Books/store/catalog/004093-3.jpg ViewFair Books/store/catalog/004093-4.jpg ViewFair Books/store/catalog/004093-5.jpg BACKGROUND/DESCRIPTION: First Edition, The Athenaeum Press Series. Ginn and Co., Boston - 1903. Good(minus)/None dust jacket condition. THIS BOOK APPEARS TO BE HENRY VAN DYKE PERSONAL COPY WITH NOTES ALL OVER THE BOOK. VAN DYKE HAS SIGNED THE COPYRIGHT PAGE IN RED INK(SEE PHOTO). THERE ARE NOTES AND CLIPPINGS EVERYWHERE IN THE BOOK! THIS BOOK COULD VERY WELL BE A RIVISION THAT WAS NEVER PUBLISHED OR IT COULD BE VAN DYKE'S TEACHER'S COPY THAT WAS USED BY HIM FOR INSTRUCTION!!! COMPETITIVE PRICING! InvCode 004093 ViewFair Books : E 19 H 21 V18 Size: 8 x 5

292 pgs. b/w photo illustrs. Endpaper maps. Ink name to front endpaper.T.e.g. Light edge and corner wear. Cloth a little darkened. Documents five summer journeys to Northern Labrador (1903-1906) and 1910 to study the Naskapi and Montagnais Indians. Size: 8vo

First edition. 8vo. Original blue-green cloth with gilt vignettes and titles to the spine and upper cover. Top edge gilt. Author's presentation copy, inscribed by Grahame on the half title, "To Ruth Ward, from her friend Kenneth Grahame / Oct. 1908" A little wear to the spine ends and corners, but generally bright and clean and notably fresh internally. Woodcut frontispiece by Graham Robertson. A rare presentation copy of one of the classics of children's literature. Ruth Ward was the daughter of family friends of the Grahame's, Sidney and Katherine Ward. Sidney Ward was a colleague of Grahame's at the Bank of England who became a close friend and "companions for hearty country weekends". (ODNB) Ruth was the same age as Grahame's son, Alastair, (known to his parents as Mouse) and became a close childhood friend. Wind in the Willows had its genesis in a series of impromptu bedtime stories which Grahame told Alastair. Katherine Ward was one of the first to hear about these stories, as Grahame refers to them in a letter to her of May 1904, "[Mouse] had a bad crying fit on the night of his birthday, and I had to tell him stories about moles, giraffes & water-rats (he selected these subjects) till after 12." This copy was sent by Grahame to Ward as a birthday present. In a letter to her, Grahame's wife Elspeth writes, "I thought you might like perhaps better than anything else a new book that Mouse's Daddy has just written, so I asked him for one for your birthday present. I want to know how you like it." The two families remained in contact throughout Grahame's life, Elspeth writing to Ruth Ward on Grahame's death in 1932 to tell him that he had been buried next to Mouse (who had committed suicide in 1920), "Kenneth so loved the Boy & so loved Oxford itself that we are glad to think he rests there. I felt you knew Mouse so well & Kenneth also that I would like you to know they were together." Presentation copies of the first edition of Wind in the Willows are of the utmost rarity in commerce. We know of but six copies, 1. Inscribed to Helen Grahame (Oct. 1908). Private American Collection. 2. Inscribed to Ruth Ward (Oct. 1908). Present copy. 3. Inscribed to Foy Quiller-Couch (Oct. 1908). Private American Collection. 4. Inscribed to Thomas Anstey Guthrie ("F. Anstey") (Oct. 1908). Private British collection. 5. Inscribed to Constance Smedley (Oct. 1908). Sold Sotheby Oct. 1981. 6. Inscribed to Mary E. Richardson. Sold Sotheby July 1965. Osborne p. 349

Letchworth: Arden Press für London, New York, Bombay, Calcutta: Longman Green and Company, 1910. hardcover. Gut. Portraitfrontispiz, xxxvij, [3], 373, [1], [2 weiße] Seiten. Handgefertigter Pappeinband, bezogen mit hellblauem, faserigen Büttenpapier, gedrucktes Rückenschild, unbeschnitten. Octavo. ca. 231 x 157 mm (Rücken minimal fleckig nachgedunkelt, sonst gut.). Die Auflage umfaßte nur 1050 Exemplaren, von denen 1000 für den Verkauf bestimmt waren. Das Portraitfrontispiz in Heliogravüre durch Emery Walker nach einem frühen, gezeichneten Selbstportrait von William Morris. Ein aus den Korrekturbögen zusammengesetztes Exemplar mit zahlreichen handschriftlichen Korrekturen in Blei-, Rot- u. Blaustift, wiederholten Stempeln der Presse mit den Bezeichnungen "2nd revise" bzw. vorn "6th revise" sowie mehrfachem Datumsstempel vom Juli bis Oktober 1910. - Proof copy with numerous corrections. The proof sheets bound in light blue boards with printed title label on spine, matching the original canvas-backed boards. Scarce and unique. - Latham 66 - Walsdorf 113 - Fredeman 43.21. - RFM. - Weitere Bilder auf Anfrage oder auf unserer Homepage.

Scarce. First edition thus, with photographic frontispiece, editor's note, and a poem written for Whitman's funeral. Name of prior owner, in pencil, on back free endpaper. A little shelf-cocked, with a small stain on front board and some discoloration of front and rear pastedown. One page carelessly opened, not affecting text.

Point Loma, California: Aryan Theosophical Press, 1914. Large octavo, pp. [1-4] [i-v] vi-xiv [xv-xvi] [1-3] 4-365 [366: blank] [note: first leaf is a blank], illustrations by R. Machell, original pictorial dark blue cloth, front and spine panels stamped in gold, pictorial endpapers. First edition. The Welsh writer Morris lived in California for about twenty years, employed by a theosophical group there and doing most of his creative writing during this period. "He is best-remembered for the Pwyll sequence of Celtic fantasies: THE FATES OF THE PRINCES OF DYFED (1914) ... and BOOK OF THREE DRAGONS (1930), only the first two-thirds of the latter tale being so far published ... Morris's style is "bardic", but without any descents into sentimentality or bathos; his control of long prose rhythms is perhaps unmatched in twentieth-century fantasy literature." - EF (online). Tymn, Fantasy Literature, pp. 142-3. Reginald 10397. Not in Bleiler (1948; 1978). Private owner's bookplate affixed to front paste-down. Mild scuff to fore-edge of front cover, else a fine copy. (#151062)

First American edition. xvi, 328pp. Illustrated with fold-out map at rear. Bound in publisher's original green cloth with blind stamped front, gilt lettered spine. Near Fine with light rubbing to corners and spine ends, snag to cloth at head, pages toned. In a Near Fine price-clipped dust jacket with toning, light soiling, edge wear with chipping to corners and spine ends and several short closed tears. Afro-Trinidadian historian and activist C.L.R. James' people's history of the Haitian Revolution of 1791-1804, a well-written Marxist reimagining of an often-ignored and denigrated revolt that inspired many later Black Power, Caribbean Studies, and anti-colonial thinkers and writers. Scarce.

First American edition. xvi, 328pp. Illustrated with fold-out map at rear. Bound in publisher's original green cloth with blind stamped front, gilt lettered spine. Near Fine with light rubbing to corners and spine ends, snag to cloth at head, pages toned. In a Near Fine price-clipped dust jacket with toning, light soiling, edge wear with chipping to corners and spine ends and several short closed tears. Afro-Trinidadian historian and activist C.L.R. James' people's history of the Haitian Revolution of 1791-1804, a well-written Marxist reimagining of an often-ignored and denigrated revolt that inspired many later Black Power, Caribbean Studies, and anti-colonial thinkers and writers. Scarce.

2005-06-05. New. Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May be re-issue. Buy with confidence, excellent customer service!

London: Elkin Mathews, 1919. Third Edition [stated] . Cloth/Boards. Very Good + Book/Very Good + DJ. S. H. Sime Plates. 94 Pp.Beige Cloth Over Tan Boards, Lettered In Brown. Stated Third Edition, Actually A Third Printing In Modern Terminology. A Near Fine Book, Trace Of Rubbing At Tips, Pages Partly Unopened [Still Attached Along Top Edge.] Full Page Inscription " For --- Since First I Brought To Birth These Dreams Of A Strange God Have We Not Seen Our Earth Grow Near As Odd? Dunsany May 17, 1948." . Foxing To Front And Rear Free Endpapers, From Chemical Reaction With Binder's Glue1" Crack Near Center Of Gutter Between Endpapers. Pink Dj With Light Wear At Corners, 1/8" Loss At Lower Right Corner Of Spine, 1/2" Almost Closed Tear At Lower Left Corner Of Spine With Minute Loss, Spine And Edges Slightly Browned To Pinkish-Beige, Black Lettering All Strong, No Creases.

***** This is the true first edition, first printing (with "First published 1957" stated on the copyright page, and with no later printings listed). ***** This book is SIGNED on the title page by the author, using his real name ("Nevil Shute Norway"). Signed examples are rare. ***** Nice hardcover with the original dust jacket. There is NO writing, NO bookplates, and NO remainder marks. It is NOT a book club edition and NOT a former library book. The dust jacket is the true first printing dust jacket (with the "15s. net" price). ***** CONDITION: The book and dust jacket are in NEAR FINE condition. ***** We include new mylar (clear) dust jacket protectors with all books at no charge. ***** OUR GUARANTEE TO YOU: All books are guaranteed to be as described. We believe that no sale is complete until you are happy. Any book is returnable for a full refund (including postage) if you're not 100% satisfied. All books are packaged very carefully and shipped via USPS Mail with Delivery Confirmation. Thank you! Richard Vick, Modern First Editions (Buying and Selling Modern First Editions since 1982).

London: Hodder and Stoughton, [no date]. Later Edition. Hardcover. Very good +/fine. A Near Fine copy of this later [in Fine condition but for a defect to the front joint], with the closed page block's top edge in gilt,and being a tight and unread copy wearing its RARE original Glassine dust jacket and being richly illustrated within. A Very Good or better copy in the RARE ORIGINAL GLASSINE dust jacket.

London: Done for George G. Harrap, 1936. Working proof of this line engraving, which appears on page 170 of the Harrap edition. 1 vols. 6 7/16 x 4 3/4 inches, plus margins. Fine condition. Gooden, Stephen. Working proof of this line engraving, which appears on page 170 of the Harrap edition. 1 vols. 6 7/16 x 4 3/4 inches, plus margins. Campbell Dodgson 110