1242 | Fine Books from the Dorros Family Collection

FINE BOOKS FROM THE DORROS FAMILY COLLECTION 9 NOVEMBER 2023

FINE BOOKS FROM THE DORROS FAMILY COLLECTION SALE 1242 9 November 2023 10:00am CT | Chicago | Live + Online Lots 1–165 HIGHLIGHTS PREVIEW Auction Room and Galleries 222 North Maplewood, Chicago, IL booksmanuscripts@hindmanauctions.com PREVIEW BY APPOINTMENT 10:00–5:00pm Monday–Friday PROPERTY PICK UP HOURS Monday–Friday | 9:00am–4:00pm By appointment 312.280.1212 All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale.

CONTENTS Introduction Fine Books from the Dorros Family Collection | Lots 1–165 Hindman Team Inquiries Buyers Guide Conditions of Sale Upcoming Auction Schedule

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All lots in this catalogue with a lower estimate value of $5,000 and above are searched against the Art Loss Register database.

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FRONT COVER Lot 23 OPPOSITE Lot 18

DEN 0001957 FL AB3688 GA AU-C003121 IL 444.000521 OH 2019000131 MO STL 110363

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FINE BOOKS FROM THE DORROS FAMILY COLLECTION The Dorros Family Collection has been the opera of Dr. Gerald Dorros, a pioneering internationally renowned interventional cardiologist, and a rodeo Cutting Horse World Champion. Dr. Dorros was among the initial doctors to perform a coronary angioplasty, and has taught interventional cardiology, expanded the field to include peripheral vascular interventions, has taught and written about interventional cardiology, and has operated all over the world. And while he never had rode a horse until he was 60 years of age, he diligently trained and learned, and in 2021 he won the yearlong worldwide competition of the National Cutting Horse Association’s (NCHA) Senior World Tour’s $25,000 Novice Non-Pro Class. The Dorros Family Collection reflects Dr. Dorros’ diverse interests, with strengths in the history of the American West, travel and exploration, ornithology, medicine, music, and literature.

The Dorros family’s love for the American West and Wyoming is well-represented in the collection, which includes a rare early directory of Laramie City Wyoming, published in 1875 (lot 164), and the Thomas W. Streeter copies of logbooks from the Wyoming Stock Grower’s Association (lot 165).

The collection also includes a very fine copy of the very rare 31-plate hand-colored issue George Catlin’s North American Indian Portfolio, which was first issued in 1844 (lot 18), as well as the crown jewel of the collection: a complete copy of Edward Sheriff Curtis’ North American Indian (lot 23). Curtis’ monumental work was published some 60 years after Catlin’s publication on the same subject; Curtis captured photographically what Catlin could only depict in lithograph.

Influenced by their photographic safaris to Africa and Asia, the Dorros Family Collection includes several fine ornithological and natural history works, highlighted by copies of the Bien edition of Audubon’s Birds of America (lot 3), and Gould’s Monograph of the Trochilidae, or Family of Hummingbirds (lot 46). The family’s travels are also reflected in the fine illustrated books about India, China and Japan. Not surprisingly, the collection includes a handful of books about cardiology, medicine, and anatomy.

While an undergraduate at Dartmouth College, Dr. Dorros pursued studies in comparative world literature, in addition to his Chemistry major. His literary pursuits are represented in the collection, which includes fine copies of works by James Joyce, Herman Melville, Ernest Hemingway, 00William Faulkner, and Stephen King. The family’s collection also has a focus in children’s literature, which includes numerous work and is perhaps best represented by the extensive collection of superlative copies of works illustrated by Arthur Rackham (lots 108-141).

Speaking about his collection and family in 2011, Dr. Dorros remarked: “My books are open and available to my children and my grandchildren. Nothing is hidden. My library has no locked doors. But the importance and value of these books is that their ownership is not real, because we are a custodian of these valuable entities for future generations. As such, when I introduce my grandchildren to one of my illustrated books on birds, everyone must have clean hands, and be respectful. For example, when we sit down at a table with an ornithology book, I ask, ‘tell me what you see. What is the setting of the birds? Real or fictitious? How were the birds painted? And how did the artist, so long ago, get to see the birds so long that the drawings and paintings were accurate?’” The Dorros Family Collection has been central to the family since the first acquisition was made in 2000. While the collection is diverse in subject, nevertheless, it reflects the Dorros’ diverse interests and passions in learning about the history of where they lives, about birds of places they have visited, and the ideas of many of the great writers from the past.

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Fine Books from the Dorros Family Collection Lots 1-165

1 ADAIR, James (1709-1783). The History of the American Indians; Particularly Those Nations Adjoining to the Mississippi, East and West Florida, Georgia, South and North Carolina, and Virginia. London: Edward & Charles Dilly, 1775.

4to (267 x 210 mm). Half-title, engraved map. (Minor offsetting, marginal paper repair to map.) Early 20th-century navy crushed levant gilt, red morocco lettering-pieces, top edge gilt, the rest untrimmed, stamp-signed by Zaehnsdorf. Provenance: “A.R.” (morocco bookplate gilt).

FIRST EDITION of the “best 18th-century English source on the Southern tribes, written by one who traded forty years with them” (Howes). Adair lived and traded among several tribes, including the Cherokee, Catawba, and Chickasaw. He was one of the first settlers to explore the Alleghenies, and because he lived among the Native Americans “for so long a period as forty years, [his depiction] of the peculiarities of the Southern Indians...is of great value” (Field 3).

Adair “is usually considered by modern writers to be the leading authority of his day on the Indians of the Southeast” (Clark I, 28). De Renne I, 208; Howes A38; Sabin 155; Turnbull I, 194; Thornton 28. $2,000 - 3,000 2 AGEE, James (1909-1955). A Death in the Family. New York: McDowell, Obolensky, 1957.

8vo. Original blue cloth (light fading to spine); dust jacket (small closed tear).

FIRST EDITION, FIRST ISSUE, with title page printed in blue and first word on page 80 misprinted “walking.” Death in the Family won Agee a posthumous Pulitzer Prize for Fiction in 1958. $200 - 300

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3 AUDUBON, John James (1785-1851). The Birds of America, from Original Drawings by John James Audubon...Reissued by J[ohn] W[oodhouse] Audubon. New York: Roe Lockwood & Son, 1860.

Double elephant broadsheets (1000 x 675 mm). Lithographed title, 150 CHROMOLITHOGRAPHIC PLATES ON 105 SHEETS, some finished by hand, by Julius Bien after J. J. Audubon. (Title with vertical crease crossing text, approximately 8 plates with soft vertical crease, a few plates slightly browned, some minor mostly marginal soiling, plate I with a few minor surface abrasions and tiny portions provided in facsimile, neat repairs verso to a few corners and sheet edges occasionally just touching imprint or image, some occasional minor offsetting and spotting.) Contemporary half calf, marbled boards, spine in 7 compartments with 6 wide raised bands, gilt-lettered in 2, the rest gilt-ruled (rebacked preserving original spine, a few other repairs, some light rubbing and wear). Provenance: Small label on title-page (“E126”).

THE SECOND FOLIO EDITION OF AUDUBON’S MASTERPIECE John Woodhouse Audubon set out to reproduce his father’s Birds of America in 1858 or 1859 at half the original cost by producing full-size chromolithographic reproductions of the original hand-colored aquatint plates. He intended to issue his work in 45 numbers, 44 of plates, and one of text, at a cost of $500 per subscriber. He enlisted the services of Julius Bien, a German who came to the United States following the Revolution of 1848, and whose engravings and lithographs were of the highest quality.

Only the first 15 parts would be published, however; the printing was interrupted by the outbreak of the Civil War, and the project collapsed in 1861. The failure of the venture, followed shortly by the deaths of both her sons, obliged Audubon’s widow Lucy to sell her husband’s original drawings and copper plates. The New York Historical Society purchased the drawings in 1863, but after no buyer was found for the copper plates, most were melted down. The chromolithographic stones for the Bien edition were also lost when the warehouse where they were stored in New Orleans was shelled. “Although only onethird completed when the project collapsed in 1861, the Bien Audubon is the largest and most ambitious color plate book undertaken in 19th-century America, rivaled only by the folio Quadrupeds” (Reese 40).

A full-size reprint of the folio Birds of America would not be completed until the Johnson Reprint Corporation’s facsimile edition was published in 1971-1973.

Nevertheless, the 150 plates produced by Bien and J. W. Audubon include many of John James Audubon’s most celebrated images, including the wild turkey, the flamingo, the barn owl, and the white-headed eagle. No prospectus has been found, and the exact number of copies published is unknown: Fries located 49, but Clark and Bannon estimate the number of sets produced between 50 and 100. The present copy has a variant imprint dated 1860 but with no mention of Julius Bien; the plates are dated from 1858-1860 as usual, with most numbered with the part and series number at the upper left and the final number, corresponding with the author’s 1839 synopsis, at upper right. Ayer 24-25; Fries, Appendix B, pp.355-359; Nissen IVB 50; Reese Stamped with a National Character 40. ​$250,000 - 350,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

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4 AUDUBON, John James (1785-1851). The Birds of America, from Drawings Made in the United States and their Territories. New York and Philadelphia: J.J. Audubon and J.B. Chevalier, [1839-] 1840-1844.

7 volumes, royal 8vo (258 x 161 mm). Half-titles, 500 HAND-COLORED LITHOGRAPHED PLATES after Audubon

by W.E. Hitchcock, R. Trembly and others, printed and colored by J.T. Bowen, numerous wood-engraved anatomical diagrams in text. (Some minor spotting primarily to text leaves, light toning and offsetting, slight marginal staining to a few leaves, a few plates trimmed close occasionally affecting image and a few short mostly marginal tears.) Early 20th-century half brown crushed levant gilt, top edges gilt (light wear to extremities, a few minor stains to sides, a few hinges very slightly separating).

FIRST OCTAVO EDITION. Audubon’s double-elephant folio edition of The Birds of America (1827-1838) established his reputation as the greatest ornithological artist of his time. Though that edition was published in London to ensure the quality of the plates, he employed the Philadelphia firm of J.T. Bowen to produce this more commercially viable edition under the close supervision of his sons whereby the folio plates were reduced by camera lucida and lithographed. This octavo edition is considered the «first and most desirable edition in this form published during the author’s lifetime, in one hundred parts» (Sabin). The original subscription price was $100, and its commercial success granted Audubon financial security. In addition to the original plate count included in the double-elephant folio edition, the octavo edition has 65 new images for a total of 500 plates, making it «the most extensive color plate book produced in America up to that time» (Reese). Ayer/Zimmer, p.22; Bennett, p.5; McGill/Wood, p.208; Nissen IVB 51; Reese 34; Sabin 2364. $30,000 - 40,000

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5 AUDUBON, John James (1785-1851) and John BACHMAN (1790-1874). The Quadrupeds of North America.. New York: V.G. Audubon, 1849, 1851, 1854.

3 volumes, 8vo (253 x 172 mm). Half-titles, 155 hand-colored lithographed plates by W.E. Hitchcock and R. Trembly after original drawings by John James Audubon and John Wodehouse Audubon. (Some minor toning and spotting, slight soiling, staining and pencil marks.) Contemporary dark green morocco gilt, spines in 6 compartments with 5 raised bands, gilt-lettered in 2 and gilt-ruled in all, edges gilt (a few joints starting, hinges reinforced, some wear). Provenance: sold Hindman Auctions, Sale 1097, Lot 542, 9 November 2022.

FIRST OCTAVO EDITION. The Quadrupeds was first published between 1845 and 1848 in three folio volumes with 150 colored plates; a supplement, published in 1854, provided an additional volume of text and 6 plates. This first octavo edition, issued in response to the success of the octavo edition of The Birds of America, contains all of the original 150 plates and 5 of the 6 supplemental plates, reduced by means of the camera lucida. Bennett, p. 5; Nissen ZBI 163. $2,500 - 3,500

6 AUDUBON, John James (1785-1851). Audubon’s Fifty Best from the Original Havell Engravings of the Birds of America...the Field Museum. Chicago: Oppenheimer Editions, 1999.

5 volumes, double-elephant folio. 43 (of 50) color prints, on archival cotton sheets, blind-stamped and signed. Publisher’s cloth portfolios, morocco labels gilt to upper covers and spines.

LIMITED EDITION, number 42 of 150 copies, each print numbered and signed by Field Museum librarian Ben Williams.

The Oppenheimer edition of Audubon’s prints, created as a joint venture between the Joel Oppenheimer Gallery and the Field Museum of Chicago, is noted for having produced the highest quality prints of Audubon’s illustrations since the original edition of Birds of America. $2,000 - 3,000

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7 [BIOGRAPHY]. University Library of Autobiography. [N.p.]: National Alumni, [1918].

15 volumes, 8vo. Contemporary half blue morocco gilt, uncut and partially unopened (spines evenly toned). Provenance: Evelyn and Warren Winkelstein (ownership bookplate).

LIMITED EDITION, number 698 of 1050 copies of the “President’s edition.” A collection of autobiographical texts of political figures and authors through the ages, beginning with King Sargon of Babylon and ending with such figures as Leo Tolstoy and Oscar Wilde. $800 - 1,200

8 [BEARDSLEY, Aubrey (1872-1898), illustrator]. MALORY, Thomas (fl.

1470). [Le Morte d’Arthur]. The Birth, Life and Acts of King Arthur, Of His Noble Knights of the Round Table. [New York: E. P. Dutton and Company], 1927.

4to. 20 full-page plates, numerous illustrations, decorations and initials

by Beardsley. (Some offsetting and light toning.) Original navy cloth gilt, top edge gilt, others uncut and most unopened (slight wear to extremities, hinges starting, some adhesive remnants to endpapers); custom black morocco-tipped slipcase.

Third edition with Beardsley’s illustrations, LIMITED ISSUE, one of 1600 unnumbered copies. “Published in Beardsley’s twenty-first year, the Morte d’Arthur brought him instant recognition and the artistic leadership of a decade often known as the ‹Beardsley Period.›... The Malory drawings are his strongest illustrations,» (The Artist and the Book, 16). This edition is the first to include 11 designs by Beardsley that were omitted from the 1893 edition. $500 - 700

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9 [BIBLE, Polyglot]. [WALTON, Brian (1600-1661), editor]. Biblia Sacra Polyglotta. London: Thomas Roycroft, 1655-1657.

6 volumes, folio (443 x 280 mm). Half-titles, engraved frontispiece portrait of Walton by P. Lombart, additional pictorial engraved title, double-page map of the Holy Land, double-page plan of Jerusalem, 3 double-page plates (2 showing plans and elevations of the Temple, one depicting ritual artifacts), and fullpage plan of the Temple, all by Wenceslaus Hollar; printed cancel slip to omit “vel summorum Pontificum” mounted to p.48 prefatory matter bound into vol.

VI. (Lacking leaf 5T2 in vol. I, and D1-2 and K2 in vol. VI, all presumably blank; a few mostly marginal tears or holes occasionally repaired and occasionally touching letters, some minor dampstaining to a few leaves, some minor toning and light soiling.) Contemporary calf gilt, spines in 7 compartments with 6 raised bands, edges stained red (rebacked to style, preserving all but 2 old red and green morocco lettering-pieces gilt, some wear with a few repairs).

Provenance: Albert M. Grier (bookplate in vol. VI).

FIRST EDITION, FIRST ISSUE, the “Republican” issue, OF THE WALTON POLYGLOT BIBLE. The fourth, last, and most accurate of the large-scale Polyglots of the 16th and 17th centuries, the London Polyglot was a tour-de-force of typography and layout employing Ethiopic and Persian in addition to the usual Arabic, Chaldaean, Greek, Hebrew, Latin, Samaritan, and Syriac fonts. Made Bishop of Chester by Charles II in 1660, the editor, Brian Walton, called upon for assistance the considerable talents of Edmund Castell, John Greaves, Henry Hammond, and James Ussher, among others. Republican issue with Walton’s thanks in the Preface to Oliver Cromwell for having waived customs duties on the imported paper. The preliminaries in this copy, approximately 210 pages, are bound at the beginning of vol. VI and include all the engraved plates, Walton’s Preface, as well as the treatises on Biblical chronology, coins, weights and measures, idioms, as well as Walton’s description of the Holy Land, Jerusalem, the Temple, and the Prolegomena. Darlow and Moule 1446; ESTC R36567; Wing B2797.

[With:] CASTELL, Edmund (1606-1686). Lexicon Heptaglotton, Hebraicum, Chaldaicum, Syriacum, Samaritanum, Aethiopicum, Arabicum, Conjunctim; Et Persicum, Separatim. London: Thomas Roycroft, 1669. 2 volumes, folio (436 x 273 mm). Title-page printed in red and black, engraved portrait frontispiece to vol. I. (Water damage both volumes, a few minor mostly marginal holes or tears, some soiling and staining primarily to preliminary leaves). Later half brown morocco, spines in 6 compartments with 5 raised based, gilt-lettered in 2 (slight wear, hinges starting, soiling to edges). The Lexicon Heptaglotton is “often bound uniformly with, and as a supplement to, this Polyglot Bible” (Darlow and Moule 1446). ESTC R218940; Wing B2797. $8,000 - 12,000

10 [BIBLE, in English] -- [THE MACKLIN BIBLE]. The Old [and New] Testament, embellished with Engravings, from Pictures and Designs by the Most Eminent English Artists. London: Thomas Bensley for Thomas Macklin, 1800.

6 volumes, folio (459 x 367 mm). Half-titles, 8pp. printed list of subscribers, 70 copper-engraved plates after Henry Fuseli, Joshua Reynolds, Benjamin West and others (including 2 engraved frontispieces and engraved dedication), approximately 115 engraved vignette head- or tailpieces. (Slight toning, spotting and offsetting, some minor staining and soiling, a few short marginal tears with a few leaves in vol. VI detaching.) 19th-century red pebbled morocco gilt, spines in 7 compartments with 6 raised bands, gilt-lettered in 3, the rest gilt-decorated, edges gilt, red silk bookmarks (spines sunned, a few covers detaching, some minor wear and soiling).

FIRST EDITION of the “Macklin Bible,” printed for subscribers, which included the British Royal Family and including the Old and New Testaments of the King James Bible. The font was specially designed for this edition, and words printed in italics are distinguished by a dot under the first vowel of the emphasized word. The plates, dated between 1791 and 1800, were finished 5 days before Macklin’s death. The engraved illustrations were principally designed by Philip James de Loutherbourg, with contributions from other British painters, and were produced by 19 engravers, most notably Francesco Bartolozzi, John Landseer, and William Sharp. The largest letterpress printed Bible in English of its time, “the Macklin Bible endures as the most ambitious edition produced in Britain, often pirated but never rivaled” (DNB). Darlow & Moule 982; ESTC T123175; Herbert 1442. $3,000 - 4,000

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11 [BONAPARTE, Napoleon (1769-1821)]. [The Napoleon Series]. HAZLITT, William (1778-1830). Life of Napoleon Bonaparte. 6 volumes. -- BOURRIENNE, Louis Antoine Fauvelet de (1769-1834). Memoirs of Napoleon Bonaparte. 4 volumes. -- JUNOT, Laure, Duchesse D’Abrantes (1784-1838). Memoirs of Madame Junot.

6 volumes. -- TALLEYRAND, Charles-Maurice, prince de (1754-1838). Memoirs of the Prince de Talleyrand. 5 vols. London: The Grolier Society, [ca 1905].

Together, 21 volumes, 8vo. EXTRA ILLUSTRATED BY THE ADDITION OF 17 ORIGINAL DOCUMENTS (see below), numerous photo-etched frontispieces and plates in 2 states with one state hand-colored. (A touch of soiling, some minor offsetting and toning, a few pencil annotations.) Contemporary green morocco gilt, covers with foliate and fleur-de-lis motif with red morocco onlays gilt, spines in 5 compartments with 4 raised bands, gilt-lettered and ruled in 3, the rest gilt-decorated and one with a central oval onlay gilt with an “N” surmounted by a crown, top edges gilt, others uncut and partially unopened, green and red morocco doublures gilt with blue morocco shield onlay gilt with an eagle and surrounded by an armorial centerpiece gilt (spines slightly darkened, except spines of the 5 Talleyrand volumes which are slightly sunned, occasional minor scuffing, a few joints slightly rubbed, a few corners bumped, vol. XV upper hinge broken and 2-inch separation along head of upper joint, a few leaves in Talleyrand set chipped).

LIMITED EDITION, lettered X of 26 copies for sale in Great Britain and America of the “Edition des Amateurs.” WITH A ROYAL DECREE SIGNED BY NAPOLEON AS EMPEROR. 17 ORIGINAL DOCUMENTS TIPPED-IN, INCLUDING NAPOLEONIC PERIOD DOCUMENTS (ca 1790-1830) AND EARLIER, including: [BONAPARTE, Napoleon (1769-1821)]. Partially printed document accomplished in manuscripts signed (“Napol”), as Emperor. [Palace of Fontainebleau, France], 5 October 1807. 1 page, 4to, on paper, in Italian. Royal decree regarding raising the annual fund of the Civil List to 6 million Lire and noting who is charged with executing this decree.

-- LOUIS XIV (1638-1715), King of France. Manuscript document signed (“Louis”), as King of France. 27 November 1668. 2 pages on one leaf, folio, on paper.

Regarding various appointments and resignations at the Abbey. -- LOUIS XVI (1754-1793). Partially printed document accomplished in manuscript by another hand signed (“Louis”), as the King of France, to Abbé Chaussart. Paris, 15 December 1791. 1 page, folio, on paper, docketed verso. Regarding a loan from the General Treasurer for Abbé Chaussart’s for 750 livres in 1791. -- MARIE LOUISE, Empress of France and Duchess of Parma (1791-1847). Autograph letter signed (“Maria Louise”), as Empress of France, to Elisa Bonaparte (“Madame the Countess of Compignano”) (1777-1820), Imperial French Princess and sister to Napoleon Bonaparte. Lucca, Italy, June 1819. 1 page, folio folded twice, on paper.

Empress Marie Louise writes to Napoleon’s sister, Elisa, guaranteeing that the latter will be able to use certain properties and credits as assured by Austria. -- And 13 others. Complete list available upon request. $15,000 - 25,000 12

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12 BORGHESI, Giovanni Battista (1790-1846). Le Principali Vedute di Venezia. Venice: Giuseppe Kier, [ca 1843].

Oblong 4to (284 x 403 mm). Lithographed vignette with hand coloring on title-page; 14 lithographed plates with hand coloring heightened in gum arabic. (Some mostly marginal spotting.) Original blue watered silk gilt (rebacked preserving original spine); quarter morocco slipcase. Provenance: Angelo Toffoli (18061877), Minister of the Republic of Venice (inscription on flyleaf, Paris, 23 November 1850, autograph letter signed tipped in, see below); Marie-DominiqueAuguste Sibour (1792-1857), French Catholic Archbishop of Paris (autograph letter draft tipped in, see below).

A fine edition of illustrated views of Venice by Borghesi, who taught at the Academy of Parma and painted frescoes there. [Tipped in:] TOFFOLI, Angelo. Letter signed (“Angelo Toffoli”), Paris, 21 January 1851. To the Archbishop of Paris. -- SIBOUR, Marie-Dominique-Auguste, Archbishop of Paris. Autograph letter, Paris, 29 January 1851. To Angelo Toffoli. A draft of a response unsigned. See below.

A FINE ASSOCIATION COPY. Angelo Toffoli was a member of the Venetian resistance against Austrian forces during the Revolution of 1848. The citizens of Venice fought back against Austrian occupation, all giving what they could afford to the state treasury to bolster the defense. Early in 1849, Daniele Manin was chosen president of the Republic of Venice, and Angelo Toffoli was named Minister in the new government.

The defense held until 24 August 1849, when provisions and ammunition were exhausted, and Manin and his men (including Toffoli) negotiated an honorable capitulation and were granted exile and left Venice for France.

Toffoli presents this token of his beloved homeland to the Archbishop of France, Marie-Dominique-Auguste Sibour, who rose to his position largely because of his prompt adhesion to the new government after the Revolution of 1848. In his letter to the Archbishop, Toffoli is grateful for the hospitable nature of the French people, and thanks the Archbishop for his sympathy. In his draft response, the Archbishop thanks Toffoli for his gift, and honors the men who honored Venice with their courage and patriotism: “Je n’avais certainement pas besoin de cela pour queue ma pensee see reporter souvenir sure l’infortunee Venise en sure less hommes qui l’our dans honoree par leur Courage, leur patriotism en leurs malheurs.” $4,000 - 6,000

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13 BRADBURY, Ray (1920-2012). The Martian Chronicles. Garden City: Doubleday & Company, Inc., 1950.

8vo. (Very light spotting to title page.) Original light green cloth (light toning to spine); dust jacket (light spotting, spine sunned, light chipping and creases).

FIRST EDITION. SIGNED BY BRADBURY. The Martian Chronicles brought «the romantic image of Mars to a kind of impressionistic perfection» (Clute & Nicholls, 778). Bradbury himself once remarked that «...even the most deeply rooted physicists at Cal-Tech accept the fraudulent oxygen atmosphere I have loosed on Mars... Myth, seen in mirrors, incapable of being touched, stays on.» Currey 56; Nolan p. 107. $1,500 - 2,500

14 BRINKLEY, Captain Francis (1841-1912), editor. Japan Described and Illustrated by the Japanese Written by Eminent Japanese Authorities and Scholars. Boston: J.B. Millet Company, [1897-1898].

10 volumes, folio (398 x 295 mm). 10 color collotype frontispieces of flowers by Kazumasa Ogawa, 30 hand-colored albumen photographs by Tamamura Kozaburo mounted with printed tissue guards, numerous halftone photographic illustrations. (Slight toning and soiling, some occasional spotting, short tears to a few leaves.) Original silk printed in color and gilt over beveled boards in varying Japanese-inspired motifs, paper labels printed in gold to upper covers, original stab-sewing, uncut and unopened (sunning to spines and extremities, some slight fraying, minor soiling).

LIMITED EDITION, number 32 of 1000 sets of the “Yedo edition,” describing Japanese history with chapters regarding architecture, cities, festivals, religion, and Japan’s relationship with the rest of the world. Tamamura Kozaburo’s photographic efforts were monumental. He exported “40,000 photographs of various sizes to the Boston publishing house J. B. Millet. These were required for insertion in the work Japan.... But this was only the first instalment [sic] of what turned out to be an enormous order for more than one million(!) hand-colored albumen photographs. Tamamura used over 350 assistants over several months to help with the printing and coloring” (Bennett, Photography in Japan 1853-1912, p. 202). $1,200 - 1,800

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15 BRINKLEY, Captain Frank. Oriental Series. Japan and China. Boston and Tokyo: J. B. Millet Company, [1901-1902].

12 volumes, 8vo. Printed on Japan vellum. 12 ORIGINAL WATERCOLORS ON SILK bound in as frontispieces; over 200 plates, some printed in color, and including photogravures tinted or finished by hand; folding maps in Vols. VI and XII. Original green morocco gilt, covers with an Art Nouveau composition of pink and red morocco onlay lotus flowers and brown onlay plants gilt, spines in 4 compartments with 3 raised bands, gilt-lettered in one, the rest with pink and red morocco onlay lotus motif gilt, wide turn-ins gilt, blue morocco doublures gilt, cream watered silk endpapers (spines very slightly sunned, a few tiny scuffs, otherwise bright).

LIMITED EDITION, letter “K” of 26 copies of the “Lotus edition.” The maps depict Japan (Vol. VI) and China (Vol. XII). Illustrations include early photographs of Japan and China. $3,000 - 4,000

16 BROINOWSKI, Gracius Joseph (1837-1913). The Birds of Australia. Melbourne, Sydney, Adelaide, Brisbane, New Zealand and Tasmania: S.T. Leigh & Co. for Charles Stuart & Co., 18901891.

6 volumes, imperial 4to (366 x 271 mm).

303 chromolithographed plates by Broinowski. (Lacking titles in vols. I and IV, a few short tears with repairs to a few leaves, some minor spotting and offsetting, light marginal toning.)

Later half green straight-grained morocco gilt by Jarrold & Sons, Ltd., Booksellers, Norwich (labels to front pastedowns) (spines sunned, slight wear to extremities); original upper pictorial printed wrappers bound neatly in at the end of each volume (light marginal toning or slight soiling, a few with some tears repaired verso). Provenance: unidentified armorial bookplate with motto “Mediocria Firma;” Henry Rogers Broughton, 2nd Baron Fairhaven (armorial bookplates, sold his sale, Sotheby’s London, Part I, Lot 30, 18 May 2022).

FIRST EDITION of Broinowski’s exhaustive monograph on over 700 species of birds found in Australia. Ferguson 7458 (303 plates); Fine Bird Books p. 82 (300 plates); Nissen IVB 148 (302 plates); McGill/Wood p. 262 (305 plates). $3,000 - 4,000

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17 CATESBY, Mark (ca 1679-1749). The Natural History of Carolina, Florida, and the Bahama Islands: containing the figures of Birds, Beasts, Fishes, Serpents, Insects, and Plants: Particularly, those not hitherto described, or incorrectly figured by former Authors, with their Descriptions in English and French. To which is prefixed, a new and correct Map of the Countries; with Observations to their Natural State, Inhabitants, and Productions... Revised by Mr. [George] Edwards. London: Printed for Benjamin White, 1771 [map and plates watermarked 1815-16].

2 volumes, folio (530 x 350 mm). Title-pages and text in English and French, text printed in two columns. 2pp. catalogue of Linnean names at the beginning of each volume, vol. II with 6pp. index at end. Double-page engraved map with hand coloring in volume I; 220 etched plates with hand-coloring by and after Catesby and signed with his monogram, except for plates 61 and 96 in vol. II by Georg Dionysis Ehret; etched head-pieces. Contemporary diced russia, wide foliate gilt border surrounding central gilt lozenge, board edges gilt, uncut (neatly rebacked to style, endpapers renewed).

Third edition, later issue with all the plates on wove paper, and without the two dedication leaves and leaf of subscribers (not required for this issue). Where visible, plates are watermarked “J. Whatman 1815[-16].”

“Catesby’s Natural History is the most famous colour-plate book of American plant and animal life...a fundamental and original work for the study of American species» (Hunt). Catesby studied natural sciences in London, and traveled to Virginia, returning in 1719 with an extensive collection of plants. With the encouragement of Sir Hans Sloane, Catesby returned to America, traveling to Carolina, Georgia, Florida and the Bahamas from 1722-1729. He returned to London to prepare his Natural History, which was first published in parts in 1747. Its popularity was such that a second edition was published in 1754, 5 years after Catesby’s death, under the supervision of George Edwards. The third edition of 1771, which follows Edwards revisions of the second edition, appeared in at least two issues: the first produced in 1771 with text and plates on laid paper, and the second produced later, with the text on laid paper but with the plates on Whatman wove paper (such as the present copy). Catesby was “the first to observe and depict North American birds in their natural settings, combining ornithological details with botanical ones” (Edwin Wolf 2nd, A Flock of Beautiful Birds, Philadelphia, 1977, pp.5-7). Anker 95; Fine Bird Books, p.65; McGill/ Wood, p.282; Nissen IVB 177. ​$60,000 - 80,000

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18 CATLIN, George (1796-1872). Catlin’s North American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America. London: Geo. Catlin/Piccadilly Place, 1844 [but Chatto & Windus, 1875].

Folio (560 x 433 mm). Letterpress title-page, “To the Reader” leaf, and 8 leaves of letterpress descriptions of the first 25 plates. 31 lithographed plates with hand-coloring heightened in gum arabic, mounted on card within ink-ruled border and without numbering or captions as issued. (7 mounts with marginal tears or chips, all but 2 chips present, some minor spotting or staining to a few plate mounts, plates bright.) Text: Contemporary cloth-backed wrappers (some minor spotting or staining). Text and plates laid in to original publisher’s half morocco portfolio gilt, morocco label gilt on upper cover (spine and corners expertly renewed, minor loss of cloth to upper cover); cloth folding case.

THE VERY RARE 31-PLATE HAND COLORED ISSUE of the North American Indian Portfolio including SIX NEW PLATES The 6 new plates comprise: “Joc-O-Sot, the Walking Bear;” “Mah-To-Toh-Pah, the Mandan Chief;” “O-Jib-Be-Ways;” “Buffaloe Hunting;” “The War Dance;” and “The Scalp Dance”.

Catlin first issued his portfolio of 25 plates in the fall of 1844. He had originally intended a larger work of four portfolios comprising 100 total plates, but financial mismanagement stalled the project and only one portfolio was issued. Shortly after its publication in 1844, Catlin sold the copyright to London publisher Henry Bohn, who kept the book in print through several reissues until the 1860s. Bohn then sold the copyright, along with his entire publishing operation, to Chatto & Windus, who discovered that Catlin had prepared 6 additional lithographic stones in 1844 which were never published.

“Catlin’s North American Indian Portfolio is one of the most impressive books of Western Americana, ranking behind only the Bodmer atlas to Maximilian’s travels and the Edward Curtis portfolios in major illustrated works on the West” (Best of the West 81). Bennett 22; Field 258 (earlier issue: «These beautiful views of scenes in Indian life are probably the most truthful ever presented to the public»); Howes C-243 («b» with no reference to card issue); Wagner-Camp 105a:2. ​$40,000 - 60,000

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20 19 CATLIN, George (1796-1872). Letters and Notes on the Manners, Customs, and Condition of the North American Indians. London: Published by the Author, 1841.

2 volumes, 8vo. 3 maps (one folding), and over 300 plates on approximately 176 leaves by Tosswill and Myers after Catlin and variously numbered as usual.

(Lacking errata slip, some light mostly marginal spotting.) Original green cloth with printed paper spine labels (a few small losses to labels, otherwise bright); half green morocco folding case.

FIRST EDITION, FIRST ISSUE, with “Frederick” on p.104 in vol. I. Catlin’s “Indian Gallery” was exhibited in the United States, England, and France, from 1837 to 1852, when he won the esteem and friendship of numerous scientists, explorers and cultural luminaries, including Mayne Reid, Joseph Henry, Henry Clay, Benjamin Silliman, Alexander von Humboldt, F. N. Bunsen, William M. Hunt, Daniel Webster, William H. Seward, John A. Dix, Michael Faraday, and John Murray.

He gave numerous speaking engagements when his exhibition opened at the Egyptian Hall in London. The first of these was given at the Royal Institution of Great Britain on February 14, 1840 to an audience of over one thousand. When Letters and Notes was published in October 1841 it was met with further acclaim and was one of the first detailed illustrated descriptions of the American West. Howes C-241; Sabin 11536; Wagner-Camp 84:1. $1,000 - 1,500

20 CHURCHILL, Awnsham (d. 1728), John CHURCHILL (fl. 1695) and Thomas OSBORNE (c. 1767). A Collection of Voyages and Travels, Some now First Printed from Original Manuscripts, others now first published in English. In Eight volumes. London: Printed by Assignment from Messieurs Churchill, for Thomas Osborne, 1752.

Together 8 volumes, folio (345 x 214 mm). Over ## engraved maps, plates and illustrations, several double-page. (Some spotting or browning to a few quires, a few short tears to plates, a few plates trimmed close). Contemporary mottled calf gilt, morocco lettering-pieces gilt (some neat repairs to joints and edges).

Fourth edition. Churchill’s work was originally published in 4 volumes in 1704, and two additional volumes were added in the second edition of 1733. Two further volumes by Osborne adapted from materials in the library of the Earl of Oxford, known as the Harleian Voyages (comprising the 7th and 8th volumes in the present set) were added to the third edition, published in 1745. According to Sabin, Churchill’s collection “is very valuable; its place cannot be supplied by recurring to the original works, as a great part of them are first published in it from the manuscript.” The work includes the narratives of the following: Brawern and Herckemann’s voyage to Chili in 1642 and 1643; Captain John Monck’s voyage in 1619 and 1620 to Hudson’s Straits to discover a passage between Greenland and America; Nieuhoff’s voyages to Brazil and the East Indies; John Smith’s travels in Europe, Asia, Africa, and America from 1592-1629; the life of Christopher Columbus by his son; Barbot’s description of North and South Guinea; and the account of the discovery of America from Herrera’s History of the West Indies. The introduction of Churchill’s work is attributed to John Locke. ESTC T97844; see Hill 296 (third edition); see Sabin 13017 (third edition) and 57765 (first edition of Osborne’s work). $8,000 - 12,000

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21 CLEMENS, Samuel Langhorne (“Mark Twain”) (1835-1910). The Writings. New York and London: Harper & Brothers, 1929.

37 volumes. 8vo. Numerous engravings. Contemporary half navy morocco gilt, top edges gilt, others uncut (light rubbing).

LIMITED EDITION, number 23 of 90 copies of the “Memorial edition,” SIGNED BY THE PUBLISHER. [Tipped in to volume I:] CLEMENS. Autograph manuscript. 2 pages, 8vo, (222 x 142 mm) in ink with a few ink and pencil corrections. On recto, approximately 25 lines comprising text from The Secret History of Eddypus, the World Empire (1901-02). On verso, approximately 42 lines in two columns comprising Twain›s preliminary notes for the work, including the names of scientists, inventors, authors, industrialists and other influential historic figures alongside Twain›s initial notes for the work. In part: «Write a history? Do you mean it? A History of Holy Eddypus, the World-Empire? With all my heart! What larks! You mean a real history, of course, not the rack of pious lies which the Church calls history...» Twain›s The Secret History of Eddypus, the World Empire remained unpublished until 1972, when it was included in Tales of Man. $6,000 - 8,000

22 CONRAD, Joseph (1857-1924). The Works of Joseph Conrad. Garden City, New York: Doubleday, Page & Company, 1920-1926.

22 volumes, 8vo. Contemporary half blue morocco gilt, top edges gilt, others uncut (spines slightly sunned).

LIMITED EDITION, number 197 of 735 sets of the “Sun-Dial Edition.” SIGNED BY CONRAD. [With:] CONRAD. Life and Letters. Garden City, NY, 1928. 2 volumes, 8vo. Contemporary half blue morocco gilt, top edges gilt, others uncut (sunning to spines).

Together, 24 volumes. $2,000 - 3,000

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23 CURTIS, Edward S. (1868-1952). The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska.

Edited by Frederick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass.], 1907-1930.

Together, 40 volumes, comprising: TEXT: 20 volumes, 4to (316 x 240 mm). 1,511 illustrations, comprising 1,505 photogravures, 4 maps and 2 diagrams. Original publisher’s brown half morocco gilt, top edges gilt, others uncut, stamp-signed by H. Blackwell and Whitman Bennett.

SUPPLEMENTARY LARGE PLATES: 20 volumes, large folio (570 x 450 mm). 723 photogravures in sepia on full sheets with deckle edges preserved (numbered 1-722, with two plates numbered 400); letterpress index leaves in each volume. Original publisher’s half morocco, gilt-numbered in lower left corner of upper cover, original cloth ties.

LIMITED EDITION, number 88 of 500 proposed sets (but probably only 272 sets produced), the text on Japan vellum, the supplementary large plates on Van Gelder Holland, volume one signed by Edward S. Curtis and dated 1907.

PROVENANCE: The Free Public Library New Bedford, Massachusetts, original subscriber -- Sold to Louise G. Harper, later gifted to -- Reed College, Portland, Oregon -- Sold to a private individual -- Acquired by the present owner.

CONDITION: Text volumes: Internally virtually free from characteristic offsetting and tissue burn. Small stamps or markings on title-pages and content leaves, and a few blank preliminary leaves and lists of plates; vol. XII with small stamps on versos of plates; a few hinges just starting. Bindings with light rubbing to corners and some joints; library markings to foot of one spine.

Plate portfolios: Internally very fresh; archival restoration to plates by Joel Oppenheimer Galleries, removing browning and offsetting from tissue guards and removing marginal collection stamps from the plates (conservation report available on request). Bindings with some light rubbing or wear to a few of the spines, a few volumes with tiny separations or slight cracking to spines, a few volumes with flap folds starting with occasional discreet repairs to small portions of hinges, cloth to flaps renewed in vol. XI; 4 portfolios with small library markings on upper covers; portfolio vol. XII lacking spine, one flap detached.

With extra portfolio volume for vol. VIII. A COMPLETE SUBSCRIBER’S SET OF CURTIS’S MONUMENTAL WORK, one of the most compendious ethnographic records of native peoples in North American, and one of the most expensive undertakings in this history of book production. It stands as “AN ABSOLUTELY UNMATCHED MASTERPIECE OF VISUAL ANTHROPOLOGY, AND ONE OF THE MOST THOROUGH, EXTENSIVE AND PROFOUND PHOTOGRAPH WORKS OF ALL TIME” (Cardozo, Sacred Legacy: Edward S. Curtis and the North American Indian).

Continued....

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ORIGINS Edward Sheriff Curtis was born on a farm near Whitewater Wisconsin in 1868, and moved with his family to Minnesota in 1874. His life there, living near the Chippewa, Menominee and Winnebago tribes, piqued his interest in American Indians. While in Minnesota, he also developed an interest in photography, and at the age of 12, he built a rudimentary camera consisting of two boxes, one inside the other, based on instructions he found in Wilson’s Photographics; he became an apprentice photographer in St. Paul at age 17. Curtis’s father’s ailing health prompted the family to move to Washington Territory in 1887. In Seattle, he partnered with Rasmus Rothi in a photographic studio, acquiring a 50% share for $150. Less than a year later, he partnered with Thomas Guptill to establish a new studio, Curtis and Guptill, Photographers and Photoengravers, on Second Avenue where he was known for producing the finest photographic work in the city.

While in the Pacific Northwest, Curtis became acquainted with the Native American tribes in the area. In particular, he learned about a Lushootseed woman, Kikisoblu, also known as Princess Angeline, who was the last living daughter of Chief Seattle. “When Curtis saw Angeline moving along the shore, the visible nearly dead…she looked at once like the perfect subject. There against the deep waters of Puget Sound, there with the snow-mantled Olympic Mountains framed behind her…with all of that, Curtis saw a moment from a time before any white man had looked upon these shores. He saw a person and nature, one and the same in his mind, as they belonged. A frozen image of a lost time: he must take that picture before she passed” (Timothy Egan, Short Nights of the Shadow Catcher, p.6).

While photographing Mount Rainier in 1895, Curtis had a chance encounter with a lost party and guided them to refuge at Camp Muir. The party included George Bird Grinnell, then the editor of Field & Stream and an acknowledged expert on the Plains Indians, C. Hart Merriam, Chief of the U. S. Division of Biological Survey.

At Merriam’s suggestion in 1899, Curtis was appointed the official photographer of the Harriman Alaska Expedition, and the following year, he accompanied Grinnell to Montana to photograph the people of the Blackfeet and Piegan tribes. Near the end of that summer, Curtis told Grinnell that his mind was set that he would embark on a plan to photograph all intact Indian communities left in North America, to “capture the essence of their lives before that essence disappeared” (Egan p.50). Curtis believed that “the record, to be of value to future generations must be ethnologically accurate” (qtd. by Egan, p.50).

PUBLICATION AND SUPPORT: THE RISE AND FALL OF THE NORTH AMERICAN INDIAN One of the early supporters of Curtis’s work was President Theodore Roosevelt, who Curtis had met through a series of encounters in 1904. Curtis and Roosevelt bonded “over their mutual interests in the outdoors and the changing American West. The two also shared the then widely accepted but mistaken belief that the Indian Nations of the U. S. were a ‘vanishing race’” (Tim Greyhavens, “Duty Bound to Finish,” 2018, p.5). “The years 1904-05 were watershed times in the development of what would become Curtis’s life-long project” (Greyhavens, p.5). Curtis gained support for his work after mounting several successful exhibitions in Seattle and New York, and by the end of 1905, Roosevelt provided Curtis with a letter of introduction to help him find financial support for the project.

Curtis’s introduction to J. P. Morgan, who would become the largest financial supporter of his work, came through Morgan’s daughter Louise Satterlee, who had seen his exhibition at the Waldorf-Astoria hotel in New York in 1905. Curtis wrote a letter to J. P. Morgan outlining plan to “make a complete publication, showing picture and including text of every phase of Indian life of all tribes yet in a primitive condition, taking up the type, male and female, child and adult, their home structure, their environment, their handicraft, games, ceremonies, etc.; dividing the whole into twenty volumes containing fifteen hundred full page plates, the text to treat the subject much as the pictures do, going fully into their history, life and manners, ceremony, legends and mythology, treating it in rather a broad way so that it will be scientifically

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accurate, yet if possible, interesting reading” (qtd. in Greyhavens, p.9). Morgan offered $75,000 for a series on the North American Indian, to contain 1,500 photographs in 20 volumes, and in return, he was to receive 25 complete sets of the work and 300 original photographs.

The first two volumes appeared in 1907 and 1908, and immediately “the acclaim was seismic. In appearance and texture, the books were among the most luxurious ever printed” (Egan p.154). The images, printed in sepia tones from acid-etched copper plates produced by John Andrew & Son in Boston and printed by the Cambridge University Press, “were better than fine oil paintings” (Egan p.154). The New York Times acclaimed “nothing just like it has ever before been attempted for any people. He has made text and pictures interpret each other, and both together present a more vivid, faithful and comprehensive view of the North American Indian as he is to-day than has ever been made or can possibly made again…In artistic value the photogravures are worthy of very great praise. They are beautiful reproductions of photographs that in themselves are works of art” (qtd. in Egan, p.154).

In late 1909, noticing the financial deficits of Curtis’s project, Morgan directed that a new enterprise be formed. The newly-formed organization, North American Indian Company, would manage the finances and business side of Curtis’s work. After J. P. Morgan’s death in 1913, his son continued the family’s financial support of the project, ultimately providing at least half of the $1.5 million it took to complete the work. Though Curtis had received funding from other sources, the cost of the project, in part due to his failure to sell subscriptions, as well as debt from his divorce, crippled his business. By 1928, desperate for cash, Curtis sold the rights to his project to Morgan. In 1930, shortly following the publication of the final volume of The North American Indian, the North American Indian Company went bankrupt. In 1935, the Morgan family sold nearly everything related to The North American Indian to Charles Lauriat Books in Boston for $1,000 plus a percentage of future royalties.

LEGACY: “A BROAD AND LUMINOUS PICTURE” Of the 500 planned sets, an estimated 272 were finished. “Only in recent years has the scope and depth of Curtis’s scholarship come to be appreciated. The North American Indian, the monumental work of a self-educated man, ‘almost certainly constitutes the largest anthropological enterprise ever undertaken’” according to Mick Gidley (Egan p.322). In all, Curtis took more than 40,000 photographs, recorded over 10,000 songs, wrote down vocabularies and pronunciation guides for 75 languages, and transcribed an untold number of myths, rituals, and religious stories from oral histories. Edward Curtis never profited from the production of his expansive and comprehensive publication, and lost his friends and marriage to his obsession, but “he always believed his words and pictures would come to life long after he’d passed – the artist’s lasting reward of immortality. A young man with an unlived-in face found his calling in the faces of a continent’s forgotten people, and in so doing, he not only saw history, but made it” (Egan p.325).

“Many Native Americans Curtis photographed called him Shadow Catcher. But the images he captured were far more powerful than mere shadows. The men, women, and children in The North American Indian seem as alive to us today as they did when Curtis took their pictures in the early part of the twentieth century. Curtis respected the Native Americans he encountered and was willing to learn about their culture, religion and way of life. In return the Native Americans respected and trusted him. When judged by the standards of his time, Curtis was far ahead of his contemporaries in sensitivity, tolerance, and openness to Native American cultures and ways of thinking” (Laurie Lawlor, Shadow Catcher: The Life and Work of Edward S. Curtis, p.6). His life-work, The Native American Indian, stands as a monument of American photography and illustrated-book production.

References: Howes C-965; Truthful Lens 40. See Timothy Egan, Short Nights of the Shadow Catcher, 2012. See Tim Greyhavens, “Duty-Bound to Finish: Edward S. Curtis and His Quest for Money to Complete The North American Indian,” December 2019. See Laurie Lawlor, Shadow Catcher: The Life and Work of Edward S. Curtis, 2005 $700,000 - 1,000,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

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24 DANIELL, Thomas (1749-1840) and William DANIELL (1769-1837). Oriental Scenery. One Hundred and Fifty Views of the Architecture, Antiquities and Landscape Scenery of Hindoostan. London: for the authors, 1816.

6 parts in one volume, 4to (356 x 263 mm). Letterpress title-page, 40pp. letterpress descriptive text; 6 aquatint section titles, 144 aquatint plates; all bound in on stubs. (A few leaves lightly spotted or soiled.) 20th-century quarter red morocco, marbled boards (lightly rubbed). Provenance: Library stamp on p.1 (“Para[?]zetti Folskola?); small stamp (“1984”) on rear blank leaf.

Later quarto edition. “[Thomas] Daniell, assisted by his nephew [William], produced his best-known work Oriental Scenery (issued in six series) of Indian views making a total of 144 hand-coloured aquatint views of India. These represent Mughal and Dravidian monuments, cityscapes and sublime views of mountains and waterfalls and formed the most extensive work of its kind, finding subscribers throughout Britain as well as in Calcutta and Madras” (DNB).

“So lavish a production could necessarily only be purchased by the wealthy. Yet it was clear that a wider demand existed. Between 1812 and 1816, therefore, Thomas and Willam published a small quarto edition with plates reduced from their folio edition” (Archer 223). The plates in the present copy are arranged with corresponding text in six sections corresponding to the original sex series of the folio edition. Abbey Travel 432; Sutton 13(A). $3,000 - 5,000

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25 25 DOYLE, Arthur Conan, Sir (1859-1930). [Works]. London: Smith, Elder & Co., 1903.

12 volumes, 8vo. Photogravure frontispieces, titles printed in red and black, numerous illustrations. (Slight toning.) 20th-century half black morocco, marbled boards, spines in 6 compartments with 5 raised bands, gilt-lettered in 2, giltdecorated in the rest, top edges gilt, others uncut (slight wear to extremities and joints).

LIMITED EDITION, ENGLISH ISSUE, number 103 of 1,000 copies of the “Author’s Edition,” SIGNED BY DOYLE on the limitation page in volume I. “The author considered this edition of his works to be of great importance: he revised parts, and added notes and a number of special introductions. He remarks in the preface that it had for some time been his ambition to have such a collection”(Green & Gibson, A Bibliography of Arthur Conan Doyle, A60).

[Uniformly bound with:] DOYLE, Arthur Conan. Sir Nigel. New York: McClure, Phillips & Co., 1906. -- The Return of Sherlock Holmes. Garden City, NY: Doubleday, Page & Company, 1923. -- The Case of Sherlock Holmes. New York: George H. Doran Co., [1927]. 3 volumes, 8vo. Half-titles. (Slight toning.) Later editions. $3,000 - 5,000

26 DREISER, Theodore (1871-1945). An American Tragedy. New York: Boni & Liveright, 1925.

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2 volumes, 8vo. Original black cloth (light rubbing to spines); dust jackets (some chipping and a few loses to edges); original slipcase (light rubbing, toning).

FIRST EDITION, FIRST ISSUE, with Boni & Liveright imprint. IN SCARCE DUST JACKETS AND WITH ORIGINAL SLIPCASE. An American Tragedy was banned in Boston and in Nazi Germany over sexual content, abortion, and murder; in the 1930 Massachusetts obscenity trial Clarence Darrow argued in the book’s defense that “You can’t make all the literature in this world for the benefit of three year-old children...We cannot print all our literature for the weak-minded and very immature.”

Blanck 152. $800 - 1,200

27 DRYDEN, John (1631-1700). The Fables of John Dryden, Ornamented with Engravings from the Pencil of… Lady Diana Beauclerc. London: T. Bensley, 1797.

Folio. (Some minor offsetting of plates to text.) 19th century half calf gilt, edges gilt (some slight rubbing).

FIRST EDITION, including plates and vignettes drawn by Lady Diana Beauclerc and engraved by Bartolozzi and others.

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$300 - 400 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

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28 DU HALDE, Jean-Baptiste (1674-1743). A Description of the Empire of China and Chinese-Tartary, together with the Kingdoms of Korea and Tibet. Translated from the French by Richard Brookes. London: T. Gardner for Edward Cave, 1738-1741.

2 volumes, folio (395 x 241 mm). 64 engraved plates, plans and maps after J. B. B-d’Anville and others, by E. Bowen, J Basire, G. Child, R. W. Seale and others (42 folding, including the large general map in vol. I). (Small hole in the Map of Yun-Nan, p.122 of vol. I, affecting one line of latitude, some light spotting, a few quires slightly browned). Contemporary sprinkled calf (rebacked possibly preserving old morocco lettering-pieces gilt, hinges starting, some light rubbing); morocco-tipped slipcases.

Second edition in English, considered the best English edition, expanding on the first English edition of 1736 which only contained 20 maps and plates. Du Halde’s encyclopedic survey is considered the first definitive book on the Chinese Empire, and it became a prime source of the new fashion of chinoiserie.

The engravings comprise 42 general and regional maps and 22 plates depicting costume, scenes from court life, and smaller town plans. Though Du Halde never visited China himself, he “has drawn his materials from a variety of sources, especially from the printed and manuscript accounts of the missionaries” (Lowndes 693).

The maps are based on Jesuit surveys conducted between 1708 and 1718. In addition to its information on China, this edition of Du Halde’s work is notable for its information on Alaska. “An Account of the Travels of Capt. Beerings, into Siberia” (volume II, pp.382-384), details Bering’s 1728 voyage through the eponymous straits; the double-page “A Map of Capt. Beering’s Travels from Tobolsk to Kamtschatka” (volume II, pp.382-383) is based on Bering’s manuscript map, which was given to the King of Poland and which is reproduced here. The “General Map of Tibet” called for in the “Directions” on the last page of vol.

II was intended to serve as the template for the nine separate sheets of maps of Tibet, but was apparently never published. Cordier Sinica I, 50; Cox I:355; Lada-Mocarski 2. ​$8,000 - 12,000

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29 [DULAC, Edmund (1882-1953), illustrator].

SHAKESPEARE, William (1564-1616).

Shakespeare’s Comedy of The Tempest. London: Hodder & Stoughton, 1908.

4to. 40 color-printed plates by Dulac tipped to mounts. (Light spotting throughout.) Original vellum gilt, top edge gilt, others uncut, yellow silk ties (light rubbing to spine); custom slipcase.

FIRST EDITION, LIMITED ISSUE, one of 500 copies, SIGNED BY DULAC. This edition of The Tempest is one of Dulac›s most lavishly illustrated works. Conolly Hughey 19a. $300 - 500

30 [DULAC, Edmund (1882-1953)]. POE, Edgar Allan (1809-1849). The Bells and Other Poems. New York and London: Hodder and Stoughton, [ca 1912].

4to. 28 color-printed plates by Dulac tipped to mounts with numerous in-text illustrations.

Original vellum gilt, edges uncut, yellow silk ties (browning to endpapers); custom slipcase.

FIRST EDITION, LIMITED ISSUE, number 610 of 750 copies of the “Deluxe Edition,” SIGNED BY DULAC. The illustrations of Edmund Dulac provide haunting accompaniment to some of Poe’s bestknown poems, among them “The Raven,” “Annabel Lee,” and “The Haunted Palace.” Conolly Hughey 29. $600 - 800

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31 DUMAS, Alexandre (1802-1870). [The Works]. Boston: Dana Estes & Company, n.d. [ca 1885].

46 volumes, 8vo. Half-titles, photogravure frontispieces in 2 states, one hand-colored and the other on Japan vellum; title-pages printed in red and black on Japan vellum; numerous photogravures. (A touch of marginal toning.) Contemporary half red morocco, marbled boards, spines in 4 compartments with 3 raised bands gilt, gilt-lettered in 2, gilt-decorated in floral motif in 3, top edges gilt, others uncut and partially unopened (spines slightly darkened, slight wear to extremities, a few joints just starting with some minor restoration to joints and spine ends).

LIMITED EDITION, number 9 of 100 copies of the “Artists’ edition,” which includes 21 works written by Dumas, including The Three Musketeers and The Count of Monte Cristo. $6,000 - 8,000

32 EMERSON, Ralph Waldo (1803-1882). The Complete Works of Ralph Waldo Emerson. Cambridge: Riverside Press for Houghton Mifflin and Company, [19031904].

12 volumes, 8vo. Half-titles, titles printed in red and black, numerous photogravures. (Some toning, minor dampstaining in the lower margin of 3 volumes, a few occasional spots and pencil annotations.) Contemporary green crushed levant gilt-decorated in a floral motif with red morocco onlays, spines in 6 compartments with 5 raised bands gilt, gilt-lettered in 2, the rest gilt-decorated with red morocco onlays, top edges gilt, the rest uncut and partially unopened, green and tan crushed levant doublures gilt with red morocco onlays in a floral design, STAMP-SIGNED BY MACDONALD (some minor scuffing to gilt on top edges, a touch of wear to extremities and joints).

LIMITED EDITION, number 580 of 600 sets of the “Autograph Centenary Edition,” signed by the publisher.

WITH AN ORIGINAL MANUSCRIPT MENTIONING KEY FIGURES OF THE FRENCH ENLIGHTENMENT. [Bound in to Volume I:] EMERSON, Ralph Waldo. Autograph manuscript leaf, presumably from part of a draft for his essay “France, or Urbanity.” N.p., ca 18541856. 2 pages on one leaf, folio, (248 x 188 mm) window-mounted, in brown ink on light blue paper with a few ink corrections comprising 26 lines. “France, or Urbanity” was first delivered on 17 January 1854 as the 5th of 6 lectures in a series on “Topics of Modern Times” in Philadelphia, and was delivered 4 more times. Unpublished until 2001 in The Later Lectures of Ralph Waldo Emerson 1843-1871 (volume I, pp. 308-332), this draft includes mention of French politics and revolution, in part: “Levity levity a confusion of truth and falsehood in every man’s mind Louis XV had reason when he took counsel of M. Bertin as to the best means of saving his light-heeled and light-headed lieges, and learned that Paris the place where there is nothing that is not apropos what the French wanted was, to be inoculated with the Chinck mind.”

The corresponding published portion reads: “Louis XV had reason, when he took M. Bertin to counsel as to the best means of saving his light-headed and light-heeled lieges, and learned that, “what the French wanted was to be inoculated with the Chinese mind” (The Later Lectures of Ralph Waldo Emerson 18431871, vol. I, pp. 328-329). $4,000 - 6,000 30

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33 FALDA, Giovanni Battista (1648-1678), Giovanni Giacomo ROSSI (fl. 1650-1691), and Alessandro SPECCHI. Il Nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna. Rome: Giovanni Giacomo de Rossi?, ca 1665? - 1739?.

3 parts in one volume, oblong folio, comprising parts III-V (of 5, lacking parts I and II) (257 x 415 mm). 3 engraved titles, 3 engraved dedication leaves, and 114 engraved plates, on laid paper with fleur-de-lys watermark, comprising: part III, 36 engraved plates; part IV, 50 engraved plates; part V, 28 engraved plates.

(A few margins shaved just touching plate border or imprint.) Early 18th-century Italian half roan, marbled boards, spine gilt, morocco lettering-piece gilt.

Later edition, with plate numbers, of Falda’s work, significant because “in Italy, up to this time, there had been no extensive and systematic attempt to record contemporary Renaissance architecture... Falda was an uneven artist [...] Nevertheless his work, aside from its historic value, is of special interest in showing the development in Italy of the realistic approach to architectural representation” (Fowler). According to Fowler, the “date of publication of the various books is difficult to establish...The plates were reissued time and again with little or no change except for the addition of plates numbers. All the copies examined vary slightly in the number and arrangement of the plates.”

[Uniformly bound with:] FALDA, Giovanni Battista (1648-1678). Le fontane di Roma nelle piazze e luoghi pubblici della citta. Rome: Giacomo de Rossi, [ca.1691].

4 parts in one volume, oblong folio (268 x 426 mm). 4 engraved frontispieces, 4 engraved dedication leaves, 99 engraved plates, on laid paper either with “Camera Apostolica” or fleur-de-lys watermark, comprising: part I, 33 engraved plates ; part II, 18 engraved plates; part III, 28 engraved plates (one folding); part IV, 28 engraved plates (one folding). (Captions to a few plates just shaved.)

Later edition, with plate numbers, of Falda’s work, first published ca 1675-1685. “This collection of plates is the most charming that has ever appeared on the fountains of Rome and its environs...all copies examined vary in numbering and arrangement of plates” (Fowler). “The most sophisticated and elaborate collection of plates ever engraved on this subject” (Millard IV, p.132). Bruni and Evans, 4361; Cicognara 3863 (part I-III only); Fowler, pp. 97-99; RIBA 1014 (first edition); Berlin Kat. 3603-4. $5,000 - 7,000

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34 FAULKNER, William (1897-1962). These 13. New York: Johnathan Cape & Harrison Smith, 1931.

8vo. Original half red cloth, top edge silver, uncut and partially unopened (light sunning to spine); folding case.

FIRST EDITION, LIMITED ISSUE, number 173 of 299 copies, SIGNED

BY FAULKNER. The first published collection of Faulkner’s short stories; These 13 was dedicated to Faulkner›s first daughter Alabama who died nine days after her birth on 11 January 1931, and contains the first appearance of his story «A Rose for Emily.» Petersen A9.1. $800 - 1,200

35 FAULKNER, William (1897-1962). The Unvanquished. New York: Random House, 1938.

8vo. Original burgundy cloth-backed decorated boards (toning to pastedowns), boards, top edge gilt; folding case.

FIRST EDITION, LIMITED ISSUE, number 167 of 250 copies, SIGNED BY FAULKNER. The Unvanquished comprises seven short stories, five of which were originally published in The Saturday Evening Post. Petersen A19.1. $1,000 - 1,500

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36 FAULKNER, William (1897-1962). The Wild Palms. New York: Random House, 1939.

8vo. Original half red cloth, tan boards (light sunning to spine); folding case.

FIRST EDITION, LIMITED ISSUE, number 40 of 250 copies, SIGNED BY FAULKNER. Faulkner’s Random House publishers selected the title over Faulkner’s objections, with subsequent editions printed under the title If I Forget Thee, Jerusalem. Petersen A20.2b. $1,000 - 1,500

37 FAULKNER, William (1897-1962). The Hamlet. New York: Random House, 1940.

8vo. Original half green cloth, top edge gilt (lacking publisher’s board slipcase, rubbing); folding case.

FIRST EDITION, LIMITED ISSUE, number 193 of 250 copies, SIGNED BY FAULKNER. The first work in Faulkner’s Snopes trilogy. Petersen A20c. $1,000 - 1,500

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38 FAULKNER, William (1897-1962). Requiem for a Nun. New York: Random House, 1951.

8vo. (Slight offsetting from title page). Original half black cloth, marbled boards; folding case FIRST EDITION, LIMITED ISSUE, number 530 of 750 copies, SIGNED BY FAULKNER. Requiem for a Nun is perhaps best-known for its inclusion of one of Faulkner›s most famous lines: «The past is never dead. It›s not even past.»

Massey 219; Petersen A32.1a. $600 - 800

39 FAULKNER, William (1899-1962). The Mansion. New York: Random House, 1959.

8vo. Original black cloth; folding case. Provenance: Dwain E. Manske (bookplate).

FIRST EDITION, LIMITED ISSUE, number 376 of 500 copies, SIGNED BY FAULKNER. The concluding volume of Faulkner’s Snopes trilogy. Petersen A36c. $600 - 800

40 FAULKNER, William (1897-1962). The Reivers: A Reminiscence. New York: Random House, 1962.

8vo. Original burgundy cloth; folding case.

FIRST EDITION, LIMITED ISSUE, number 17 of 500 copies, SIGNED BY FAULKNER. PRE-PUBLICATION COPY PRESENTATION COPY with printed compliment card from editor Albert Erskine tipped to rear pastedown: “With the compliments of Albert Erskine.” Notations in an unknown hand on card record date of receipt as April 20, 1962; the work was not published until June 4. The Reivers would be the last limited edition work by Faulkner to bear his signature, as he would die on July 6, 1962. Petersen A54.2a. $1,500 - 2,500

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41 FISKE, John (1842-1901). Works. Cambridge: Printed at the Riverside Press, 1892-1904.

13 volumes, 8vo. Contemporary half morocco gilt, top edges gilt, others uncut (light rubbing). Provenance: Florence Ridenbaugh Cowles (bookplates).

LIMITED EDITION, number 27 of 250 copies of the “Large Paper Edition.” $500 - 700

42 FLATHE, Theodor, John FISKE, Charles M. ANDREWS et al. A History of All Nations. John Henry Wright, translator. Philadelphia: Lea Brothers & Company, 1902.

24 volumes, 4to. Title-pages with engraved armorial bookplate with motto “Quae prosunt omnibus”; numerous plates and in-text illustrations throughout.

Original marbled calf gilt, spines in 6 compartments with 5 raised bands gilt-lettered in two, the rest with central gilt devices, upper covers with embossed hand-painted coat-of-arms, wide turn-ins gilt, tan morocco doublures, white morocco armorial bookplates set on inner front covers, tan silk endleaves, top edges gilt, others untouched (tiny scuffs to a few corners, otherwise bright); original publisher’s cloth silk-lined cloth folding cases.

LIMITED EDITION, number 5 of 52 sets of the “Genealogical edition.” This comprehensive survey of human history comprises 5 volumes on Antiquity, 5 volumes on the Middle Ages, 10 volumes on the modern history of the Old World, and 3 volumes on the Americas, including Fiske’s history of the founding of the United States. $3,000 - 4,000

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43 FREMONT, John Charles (1813-1890). Report of The Exploring Expedition to The Rocky Mountains in the year 1842, and to Oregon and North California in the years 1843-’44. Washington, D. C.: Printed by Order of the Senate, by Gales and Seaton, 1845.

8vo (229 x 139 mm). Large map folding in pocket at rear (a few tiny tears along folds); 4 lithographed maps (2 folding); 22 lithographed plates. (Dampstaining in lower gutter margin, spotting and browning throughout.) Original brown blind-stamped cloth gilt-lettered on spine (some rubbing and staining, minor losses to spine ends). Provenance: Captain John Farnshaw (signatures title and flyleaf); sold Hindman Auctions, 9 November 2022, lot 608.

FIRST EDITION, the Senate issue, with the astronomical and meteorological observations omitted from the House issue and subsequent editions. The two reports, written with the help of Fremont’s wife Jessie Benton, “caught the public imagination: images of Fremont’s guide, the then little-known Christopher ‘Kit’ Carson, riding bareback across the prairie, and Fremont himself, raising a flag on a Rocky Mountain peak, entered the national mythology” (Pamela Herr, ANB).

Graff 1436; Howes F-370; Sabin 25845; Streeter VI:3131; Wagner-Camp 115:1. $600 - 800

44 [FRENCH LITERATURE]. The Bibliophilist’s Library. [First Series]. Volumes I-X. -- [Second Series]. Volumes I-X. Philadelphia: George Barrie for Subscribers only, n.d. [ca 1900].

Together, 20 volumes, 8vo. Half-titles, title-pages printed in red and black, etched frontispieces in 2 states, numerous etched plates, some with remarques,

by Edmond Hedouin, Emile Boilvin, Leopold Flameng, Adolphe Lalauze and others after Emile Boilvin and Edouard de Beaumont. (Slight offsetting from a few plates.) 20th-century turquoise morocco, elaborate foliate cornerpieces with black morocco onlays surrounding central gilt lozenge gilt with black morocco onlays, spines in 5 compartments with 4 raised bands, gilt-lettered in 2, the rest gilt-decorated, top edges gilt, others uncut, wide turn-ins gilt, light gray calf doublures with central gilt lozenge with turquoise and blue morocco onlays (spines sunned, hinges reinforced, a few minor stains). Provenance: Walter T. Austin (original subscriber); gift inscriptions in blue ink on a few pages of vol. V. LIMITED EDITIONS: first series: number 225 of 1,000 copies on Holland handmade paper, printed for Walter T. Austin; second series: number 209 of 1,000 copies on Japanese vellum paper, printed for Walter T. Austin. This edition of The Bibliophilist’s Library contains 8 translated works by Giovanni Boccaccio, Miguel de Cervantes Saavedra, Charles de Secondat Montesquieu, Francois-Marie Arouet de Voltaire, and others, each accompanied by numerous etchings done by prominent French artists. $1,000 - 1,500

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45 GIBBON, Edward (1737-1794). The History of the Decline and Fall of the Roman Empire. London: W. Strahan and T. Cadell, 1776-1788.

6 volumes, 4to (272 x 215 mm). Vol. I: Half-title; 3pp. contents, errata leaf; Vol. II: Half-title; 3 pp. contents, engraved portrait frontispiece by Hall after Joshua Reynolds dated 18 February 1780 [usually bound in vol.I]; full-sheet folding map of the Eastern Roman Empire by Thomas Kitchin dated 1 January 1781 bound before p.1 (light spotting), half-sheet map of Constantinople and environs by Thomas Kitchin dated 1 January 1781 bound before p.23, G1 and Ll1 are cancels, errata leaf ; Vol. III: Half-title; 7 pp. contents, full-sheet folding map of the Western Roman Empire by Thomas Kitchin dated 1 January 1781 before p.1, p.177 correctly numbered, p.179 line 18 reading “Honorious,” errata leaf; (rubbing to boards, light spotting); Vol. IV: Half-title; 7 pp. contents, H3 and L2 are cancels; Vol. V: Half-title; 8 pp. contents, Vol. VI: Half-title; 9 pp. contents, errata for volumes IV-VI on 4Uv. (Marginal browning to endpapers, light spotting throughout.) Early 20th century tan half calf with marbled boards (some rubbing).

FIRST EDITIONS. Anticipating high demand for the work, publisher William Strahan decided to increase the initial print run of the first volume from 500 to 1000 copies while it was being pressed. Strahan’s instincts proved to be correct, as all 1,000 copies of the first edition were sold within two weeks of publication.

“The Decline and Fall of the Roman Empire is the only historical narrative prior to Macauley which continues to be reprinted and actually read» (PMM). Grolier English 58; Norton 20, 23, 29; PMM 222. $8,000 - 12,000

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46 GOULD, John (1804-1881). A Monograph of the Trochilidae, or Family of Humming-Birds. London: Taylor and Francis for the Author, [1849]-1861.

5 volumes, large folio (545 x 362 mm). 360 fine hand-colored lithographic plates, many highlighted in gold leaf overpainted with transparent varnish and oil colors, by Gould, Henry Constantine Richter and William Hart, printed by Hullmandel and Walton, Walter and the Mintern Brothers mounted on guards. (Some isolated spots, heavier spotting to just a few leaves of plates and text.) Contemporary hard-grained green morocco, ruled in gilt, spine in 6 compartments with 5 raised bands, gilt-lettered in 2, ruled in gilt in the rest, edges gilt. Provenance: John Straker, Stagshaw House (armorial bookplate).

GOULD’S MASTERPIECE. “An incomparable catalogue and compendium of beauties” (Fine Bird Books p. 29). Most of the subjects came from Gould›s own collection of Humming-bird specimens, a number of which he exhibited at the Regent›s Park Zoological Gardens during the Great Exhibition of 1851. The plates gave Gould the chance to display the new technique of imitating the birds› iridescent plumage by the use of brilliant metallic coloring. This is an attractively-bound copy of good size.

The work was issued in twenty-five parts, followed much later, between 188 and 1887, by a mostly posthumous five-part supplement by Richard Bowdler-Sharpe, not present here. Ayer/Zimmer pp. 258 & 263-64; Anker 177; Fine Bird Books p. 78; Nissen IVB 380; Sauer 16 and 29; Wood p.

365. $100,000 - 150,000

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47 GOULD, John (1804-1881). Handbook to the Birds of Australia. London: Published by the author, 1865.

2 volumes, 8vo. 2pp. publisher’s advertisements tipped-in to vol. I. Publisher’s pictorial gilt- and blind-stamped green cloth (corners bumped, tiny bump to foreedge of front board each volume, some light wear, short vertical separation at foot of spine vol. I, a few hinges starting).

FIRST EDITION, published some twenty years after Gould’s folio work on the birds of Australia was completed. “During that period many new species have been discovered, and much additional information acquired respecting those comprised therein; consequently it appeared to me that a careful resume of the entire subject would be acceptable to the possessors of the former edition” (Preface, p.vii). $800 - 1,200

48 [GOULD, John, his copy]. GRAY, George Robert (1808-1872). A Fasciculus of the Birds of China. [London: privately printed, 1871.]

4to (337 x 246). 6 lithographed plates with hand-coloring (of 12) by or after Swainson, all mounted on stubs. (Some spotting and mostly marginal staining.)

Later half morocco, marbled boards (covers slightly bowed, some minor rubbing); original front card wrapper bound in. Provenance: John Gould (1804-1881), English ornithologist (presentation inscription, see below); William Herbert Mullens (1866-1946), English ornithologist (armorial bookplate).

FIRST EDITION. PRESENTATION COPY, INSCRIBED BY GEORGE ROBERT GRAY TO JOHN GOULD: “J. Gould, Esqr., F.R.S. with G.R. Gray’s kind regards.”

George Robert Gray originally drew his series of plates for a series on Chinese birds he was planning with his brother, zoologist John Edward Gray. George Gray was contributed entomological material for Cuvier’s Animal Kingdom. Gray assisted Gould with the writing of the section on birds in The Zoology of the Voyage of the H. M. S. Beagle which included lithographic plates by Elizabeth Gould after John Gould. W. H. Mullens, also an ornithologist, was one of the authors of A Bibliography of British Ornithology from the Earliest Times to the End of 1912. A SUPERB ASSOCIATION COPY. $1,500 - 2,500

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49 GRAY, George Robert (1808-1872). A Fasciculus of the Birds of China. [London: privately printed, 1871.]

4to (314 x 240 mm). 12 lithographed plates with hand-coloring. Original cloth-backed paper-covered boards, letterpress label to upper cover (some light soiling and wear). Provenance: “Professor Owen,” presumably Richard Owen (1804-1892), English biologist, comparative anatomist and paleontologist (presentation inscription from the author’s widow).

FIRST EDITION, PRESENTATION COPY, inscribed by Gray’s widow: “Professor Owen F.R.S. from the Author’s Widow 1872.” Owen was appointed Hunterian professor at the Royal College in 1836, and became superintendent of the natural history department of the British Museum in 1856. He notably coined the word “Dinosauria,” meaning “terrible reptile” or “fearfully great reptile.” Known for his remarkable gift for interpreting fossils, Owen wrote Part I of the Zoology of the Voyage of the H. M. S. Beagle, to which George Robert Gray also contributed (see lot ###). A FINE ASSOCIATION COPY. $600 - 800

50 HAKLUYT, Richard (1553-1616). Hakluyt’s Collection of the Early Voyages, Travels and Discoveries of the English Nation. A new edition, with additions. London: G.Woodfall for R.H.Evans [and others], 1809-1812.

5 volumes, large 4to (359 x 245 mm). (Some pale spotting to a few quires). Contemporary calf decorated in gilt and blind, marbled edges, by the Philanthropic Society’s Manufactory St. George’s Fields with their ticket (neatly rebacked to style). Provenance: Sir William Curtis, 1st Baronet (1752-1829), Member of Parliament for the City of London and Lord Mayor London (armorial bookplates).

LIMITED EDITION, one of 75 large-paper copies on “Imperial Paper” from a total edition of 325. THE BEST AND MOST COMPLETE EDITION (Hill).

“An accurate reprint of the best folio [edition of 1599-1600] with the addition of those voyages which were published in the first edition, and omitted in the second. It likewise has a supplement containing all the voyages and travels printed by Hakluyt, or at his suggestion, which forms the latter part of the fourth, and the whole of the fifth volume” (Lowndes II, p.92). Although Hakluyt never traveled further than France, “he inspired some of the great overseas explorations of this time and was once of the leading spirits in the Elizabethan maritime expansion. He met many of the great navigators: Drawk, Raleigh, Gilbert, Frobisher...corresponded with Ortelius and Mercator, and collected all the material on voyages he could find...[his] Principal Navigations [were] called by Froude ‹the prose epic of the modern Engish Nation» (PMM). Hill 744 (“this edition is very scarce”); Sabin 29599. $6,000 - 8,000

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51 HALL, Basil, Captain (1788-1844). Account of a Voyage of Discovery to the West Coast of Corea, and the Great Loo-Choo Island...London: John Murray, 1818.

4to (284 x 220 mm). Half-title; 8 aquatint plates with hand coloring by William Havell, one uncolored aquatint, 5 engraved maps (2 folding), one engraved plate. (Some minor offsetting, a few scant spots). Original drab boards uncut (rebacked to style, some light wear to corners and extremities); quarter morocco slipcase. Provenance: John Hiley Addington (1759-1818), British Member of Parliament (armorial bookplate); Chetham’s Library (stamps to title and most plates).

FIRST EDITION IN ORIGINAL BOARDS. Basil Hall entered the British navy in 1801, and in 1815 “was appointed to the Lyra and ordered to China where, in consort with the Alceste, he accompanied Lord Amherst’s embassy to China” (Howgego). The expedition “explored the relatively little-known East China Sea and the Yellow Sea. Visits were made to Korea and the Ryukyu Archipelago. Korea had been sketchily explored by the Europeans, but it was not until the Alceste and Lyra expedition in 1816-17, under Captains Murray Maxwell and Basil Hall, that detailed information was obtained about the Ryukyus” (Hill). According to Abbey, Hall’s work was met with enthusiasm by the Edinburgh Review: “We do not know when we have met with a more pleasing work than this delightful account of the people of Loo-Choo... [It] makes us proud of our country, and puts us in good humour with our species.”

Abbey Travel, 558; Cordier Sinica, 3009. $1,000 - 1,500

52 HARDY, Thomas (1840-1928). The Writings of Thomas Hardy in Prose and Verse, With Prefaces and Notes. New York and London: Harper & Brothers, 18931904.

20 volumes, 8vo. Contemporary half green crushed levant gilt, top edges gilt, others uncut, stamp-signed by Brentano’s (sunning to spines).

LIMITED EDITION, number 78 of 153 sets of the “Autograph Edition,” SIGNED BY HARDY. $3,000 - 5,000

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54 53 HARRIS, Thomas (b. 1940). The Silence of the Lambs. New York: St. Martin’s Press, 1988.

8vo. Original half maroon cloth, gray boards; dust jacket.

FIRST EDITION. The Silence of the Lambs was adapted into a 1991 Academy Award-winning motion picture starring Jodie Foster and Anthony Hopkins. $400 - 600 54 HEINE, Wilhelm (1817-1855). Graphic Scenes in the Japan Expedition. New York: G. P. Putnam, 1856.

Folio (523 x 380 mm). Tinted lithographic portrait of Commodore Perry after a daguerreotype by Philip Haas with facsimile signature, 9 chromolithographic plates printed by Sarony & Co. on India paper and mounted to bristol board; with 12pp. letterpress text. (Some minor spotting, heavier to text leaves.)

Plates loose as issued in half morocco portfolio (lacking ties); text in original blue cloth-backed printed wrappers; cloth folding case.

FIRST EDITION OF HEINE’S RARE WORK ,THE DELUXE ISSUE, printed on India paper, mounted on bristol board, and finished by hand, documenting Commodore Perry’s expedition to Japan.

“The plates are of very beautiful Japanese s scenes and places of special interest, many times finer than the plates in the three-volume regular account of the Perry Expedition” (Bennett). The numbered plates depict: 1. Portrait of Perry; 2. Macao from Penha Hill; 3. Whampoa Pagoda; 4. Old China Street, Canton; 5. Kung-kwa at On-na, Lew-Chew; 6. Mia or road side chapel at Yokuhama; 7. Temple of Benteng in the harbor of Simoda; 8. Street and bridge at Simoda; 9. Temple of the Ha-tshu Man-ya-tshu-ro at Simoda; 10. Grave yard at Simoda Dio Zenge.

William Heine served as the official artist on Commodore Matthew C. Perry’s 1853-1854 expedition to Japan. On his return to the United States, he produced several series of prints: a group of 6 elephant folio prints in 1855, and the present work in 1856. For his works, he employed Sarony, probably the best lithography firm in the United States at the time. Copies were produced on regular paper and in the deluxe form, as the present copy. Bennett, American Nineteenth-Century Color Plate Books, 53 (“Obviously several copies must have been preserved, but the one described seems to be the only one yet offered for public sale”).

53

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55 HEMINGWAY, Ernest (1899-1961). Death in the Afternoon. New York & London: Charles Scribner’s Sons, 1932.

8vo. Original black cloth (hinges separated); dust jacket (tape repairs). Provenance: Bob McIntyre (1928-1962), Scottish motorcycle racer (inscription from Sidney Franklin, see below); Michael Franklin (bookplate).

FIRST EDITION, FIRST ISSUE with Scribner’s “A” and seal on copyright page. Hanneman 10.

A SUPERB ASSOCIATION COPY WITH INSCRIPTION FROM AMERICAN BULLFIGHTER SIDNEY FRANKLIN on pg. 388 opposite his photograph: “To Bob McIntyre, with sincerest wishes, y para que no se olvide de su amigo [and so he doesn’t forget about his friend].” Franklin was extensively profiled by Hemingway in this work. McIntyre was the first professional motorcyclist to achieve an average speed of 100 miles per hour.

ALSO WITH AUTOGRAPH NOTE SIGNED BY MATADOR LORENZO GARZA: “Un recuerdo para el Sr McYntire [sic], con afecto [Regards to Bob McIntyre, with affection].”

[Laid in:] Two 1930s-era bullfighting tickets. A FINE ASSOCIATION COPY. $1,800 - 2,500

56 HEMINGWAY, Ernest (1899-1961). Winner Take Nothing. New York: Charles Scribner’s Sons, 1933.

8vo. Original black cloth (light rubbing); dust jacket (closed tear, light chipping along extremities); folding case.

FIRST EDITION, FIRST ISSUE, with the capital “A” on the copyright leaf, and with the dropped “t” in “two hundred twenty-five pounds” on p. 159. In the FIRST STATE dust jacket with Stallings’ review on the rear panel. Hanneman A12a. $600 - 800

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57 HEMINGWAY, Ernest (1899-1961). The Old Man and The Sea. New York: Charles Scribner’s Sons, 1952.

8vo. Original blue cloth; dust jacket (light rubbing at edges); slipcase.

FIRST EDITION, FIRST ISSUE with Scribner’s “A” and publisher’s seal on copyright page. IN THE FIRST ISSUE DUST JACKET with no mention of the Nobel Prize. The Old Man and the Sea was the last of Hemingway’s major works to be published in his lifetime; in 1953 it won the Pulitzer Prize for Fiction. Hanneman A24a. $1,000 - 1,500

58 [JAPAN]. TAMAMURA, Kozaburo (1856-1923), photographer. Japanese photograph album of 50 hand-tined photographs attributed to the studio of Kozaburo Tamamura. Japan, ca 1890.

Oblong folio (305 x 388 mm). 50 hand-tinted albumen prints, each measuring approximately 10 x 8-in., all mounted on thick card with tissue guards, most with captions in lower margins. Original brown morocco gilt spine, beveled lacquered boards gilt surrounding central inlay of cranes, edges gilt; original silk-padded cloth-lined box with Kozaburo Tamamura attribution (slightly rubbed, one joint broken, a few neat repairs). Provenance: Charles Pratt (1830-1891), American businessman and partner of John D. Rockefeller, founder of the Pratt Institute (monogram on upper cover).

A fine 19th-century album with photographs depicting most of the major tourist sites of Japan including Mt. Fuji, the shrine at Nikko, shrines in Tokyo Hakkone, the Tokaido road, flowers and tea houses. From the studio of Kozaburo Tamamura, who was called “the best photographer in Yokohama: (Bennett 52). $2,000 - 3,000

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59 JOYCE, James (1882-1941). A Portrait of the Artist as a Young Man. New York: B.W. Huebsch, 1916.

8vo. Original blind-stamped blue cloth, spine lettered in gilt (spine ends and joints slightly rubbed, spine slightly soiled).

FIRST EDITION OF JOYCE’S FIRST PUBLISHED NOVEL, which appeared in serial form in The Egoist from February 1914 to September 1915. Joyce began the work in 1904, and it went through a series of radical changes before publication in 1916. “The prose moves forward in complexity from the child’s sensations at the beginning to the adolescent subtleties at the end,” and the novel’s modernism is apparent in its episodic format and concern with the consciousness of the protagonist (Connolly, The Modern Movement 26). New York publisher B. W. («Ben») Huebsch was the only publisher daring enough to publish Joyce›s novel unexpurgated in 1916. In England, it was rejected by twelve publishers, and the English edition was not published until 1917. Slocum and Cahoon A11. $2,000 - 3,000

60 JOYCE, James (1882-1941). Anna Livia Plurabelle. New York: Crosby Gaige, 1928.

8vo. Half-title. Original brown cloth gilt, top edge gilt (slight rubbing); morocco-backed folding case.

FIRST EDITION, LIMITED ISSUE, an unnumbered copy of an edition of 800 copies SIGNED BY JOYCE. Anna Livia Plurabelle, Chapter I of Finnegans Wake, was published in translation in November 1927 prior to the present separate publication. The chapter, named after its heroine Anna Livia Plurabelle, includes some of the Wake’s most lyrical passages and was considered by Joyce to be the most beautiful section of Finnegans Wake. He incorporated nearly 350 river names into the text, and was “prepared, he said, ‘to stake everything’ on this section of his book” (Ellman 598). Slocum and Cahoon A32. $1,500 - 2,500

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61 JOYCE, James (1882-1941). Finnegans Wake. London: Faber, 1939.

8vo. Original publisher’s orange-red buckram, spine gilt, top edge gilt, others uncut (upper hinge just starting); publisher’s yellow cloth slipcase (some minor soiling, a few small repairs to edges).

FIRST EDITION, LIMITED ISSUE, number 407 of 425 copies SIGNED BY JOYCE in green ink. “In his earlier books Joyce forced modern literature to accept new styles, new subject matter, new kinds of plot and characterization. In his last book he forced it to accept a new area of being and a new language” (Ellmann James Joyce, p.717). “Joyce insisted that each word, each sentence had several meanings and that the ‘ideal lecteur’ should devote his lifetime to it, like the Koran” (Connolly The Modern Movement 87). Slocum & Cahoon A49. $6,000 - 8,000

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62 KAEMPFER, Engelbert (1651-1716). The History of Japan, giving an Account of the Ancient and Present State and Government of that Empire...translated from his original manuscript, never before printed, by J.G. Scheuchzer...With the life of the author. London: Printed for the translator [Volume II: for the Publisher], 1727, 1728.

2 volumes, folio (347 x 209 mm). Engraved allegorical titles, letterpress titles printed in red and black; 45 engraved plates with neat manuscript numbering on verso, most double-page or folding and including folding map of Japan. (Engraved title with a few marginal repairs affecting image, D2 in vol. 1 with tear crossing text repaired, repaired tears to some plates and maps, some minor dampstaining and soiling.) Modern calf-backed boards. Provenance: “Lent April 11 1785” (inscription on engraved title vol. I); a few early marginal annotations; Mercantile Library Philadelphia (stamps on engraved and letterpress titles and a few other leaves).

FIRST EDITION IN ENGLISH of volume I, second edition of volume II. Kaempfer’s work was translated by Scheuchzer, librarian of Sir Hans Sloane, who acquired Kaempfer’s botanical specimens after his death. “After Kaempfer’s death, his manuscripts passed into the hands of Sir Hanse Sloane, who had the German manuscript on Japan translated and published. The resulting History of Japan (1727) was for more than a century the chief source of Western knowledge of the country» (DSB VII:205). The work includes a biography of Kaempfer, a history and description of Japan and its fauna, descriptions of Nagasaki and Deshima, reports on embassies to Edo, and 6 appendices on tea, Japanese paper, acupuncture, moxa, ambergris, and Japan›s seclusion policy. Volume II was expanded in the second edition to include additional voyages. Cordier, Japonica p.414-15; Cox I:332 («the most authoritative account of that country published at that time»); Wellcome III:376. $4,000 - 6,000

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63 KING, Stephen (b. 1947). Carrie. Garden City, New York: Doubleday and Co., Inc., 1974.

8vo. Original purple cloth (light rubbing); dust jacket (light rubbing); folding case. Provenance: L. Jack Powell (presentation inscription, see below).

FIRST EDITION, FIRST PRINTING with P6 gutter code on p.

199. PRESENTATION COPY, INSCRIBED BY KING: “With best wishes...11/7/80.” Famously rescued from the garbage can by King’s wife, Tabitha, Carrie was a massive success upon its initial publication and served as the basis of Brian De Palma’s classic 1976 film of the same name. $1,500 - 2,500

64 KING, Stephen (b. 1947). ‘Salem’s Lot. Garden City, New York: Doubleday & Co., Inc., 1975.

8vo. Original half black cloth, red boards; dust jacket (very slight rubbing, some light creasing along extremities).

FIRST EDITION, FIRST PRINTING with Q37 gutter code on p. 439. In second issue dust jacket with corners clipped by the publisher with $7.95 price. ‘Salem’s Lot was conceived by its author as a “Peyton Place meets Dracula” tale set in a small town in Maine, and served as the basis for a 1979 miniseries of the same name directed by Tobe Hooper. $800 - 1,200

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65 KING, Stephen (b. 1947). The Stand. Garden City, New York: Doubleday and Company, 1978.

8vo. Original black cloth-backed tan boards (corners slightly bumped); unclipped dust jacket (light rubbing) FIRST EDITION, FIRST PRINTING with T36 gutter code on pg. 823 IN FIRST ISSUE DUST JACKET with $12.95 price and 35-line quote from the book on back cover. The Stand was written as an epic fantasy in the vein of The Lord of the Rings. King’s first submitted draft was so long that Doubleday forced him to cut nearly 800 pages of text; this missing text was restored in the 1990 “Complete and Uncut” edition. It was later adapted into a 1994 miniseries of the same name directed by Mick Garris. $400 - 600

66 KING, Stephen (b. 1947). The Dead Zone. New York: The Viking Press, [1979].

8vo. Original half black cloth, paper boards; dust jacket (very slight rubbing).

FIRST EDITION. PRESENTATION COPY, INSCRIBED BY KING: “Hope all your zones will be live ones!” The Dead Zone was the first of King’s novels to be ranked among the ten bestselling novels of the year, and was listed as the 82nd most banned and challenged book in the United States during the 1990s. It was adapted into a motion picture of the same name starring Christopher Walken and directed by David Cronenberg. $600 - 800

67 KING, Stephen (b. 1947). Firestarter. New York: The Viking Press, 1980.

8vo. Original half cloth; dust jacket (creasing to front flap).

FIRST TRADE EDITION. In the year following its publication Firestarter was nominated for numerous awards including the British Fantasy Award and the Balrog Award. It was adapted into a major motion picture of the same name and starring Drew Barrymore as Charlie McGee in 1984. $800 - 1,200

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68 KING, Stephen (b. 1947). Cujo. New York: The Viking Press, 1981.

8vo. Original half black cloth, tan boards; dust jacket (very slight chipping).

FIRST EDITION. Cujo was a massive success upon its initial publication.

Its ending was heavily criticized, however, resulting in the book being listed as the 49th most banned and challenged book of the 1990s according to the American Library Association. $500 - 700

69 KING, Stephen (b. 1947). Pet Sematary. Garden City, New York: Viking, Doubleday & Company, 1983.

8vo. Original black cloth; dust jacket (light creasing at edges, closed tear at foot of spine).

FIRST EDITION, FIRST ISSUE with gutter code Y38 on pg. 374. Pet Sematary was nominated for Best Novel at the World Fantasy Awards in 1984 and was later adapted into a 1989 motion picture with a screenplay by King and directed by Mary Lambert. $300 - 400

70 KING, Stephen (b. 1947). It. New York: Viking, 1986.

8vo. Original half black cloth, gray boards; dust jacket.

FIRST EDITION, FIRST ISSUE with no additional printing information below “Garamond No. 3” line. It was later adapted into a miniseries of the same name starring Tim Curry as well as a 2017 motion picture and its 2019 sequel. $400 - 600

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71 KIRCHER, Athanasius (1602-1680). China Monumentis, qua Sacris qua Profanis. Amsterdam: Johannes Janssonius van Waesberge & Elizeus Weyerstraet, 1667.

Folio (375 x 243 mm). Engraved portrait frontispiece, engraved title, engraved vignette on title-page, 22 engraved plates (of 23, lacking ZZZ “Pons Volans”), 60 engraved illustrations in text. (First and last few leaves remargined, a few plates with repairs, some light spotting.) Modern calf. Provenance: Thomas Smith (early signature on title-page); Thomas Aylwin (library stamp on title-page).

FIRST EDITION of Kircher’s detailed and finely illustrated treatise on Chinese art, culture, costume, history, government, geography, religion, architecture, language, flora and fauna. Kircher based his work on correspondence with fellow Jesuits in China, and it is one of only a few comprehensive scholarly accounts of China published in the 17th century. His work was incredibly popular, and was translated into Dutch in 1668, English in 1669, and French in 1670. Brunet III:666; Caillet 5773; Honeyman V:1824; Lust 37 (an “influential general description of China”); Merrill Kircher 20. $3,500 - 4,500

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72 LANGFORD, Nathaniel Pitt (1832-1911). Vigilante Days and Ways. The Pioneers of the Rockies. The Makers and Making of Montana, Idahow, Oregon, Washington, and Wyoming. Boston: J. G. Cupples, 1890.

2 volumes, 8vo. Illustrated. (Paperclip marks on a few leaves vol. I.) Original blue pictorial cloth stamped in red and gilt, beveled boards, top edges gilt, others uncut (hinges tightened, some light rubbing); cloth slipcase. Provenance: Ella T. Wright (presentation inscription, see below); Jay T. Snider (sold his sale, Christie’s, 21 June 2005, Lot 332.

FIRST EDITION, PRESENTATION COPY, INSCRIBED BY LANGFORD: “Ella T. Wright, With Compliments of Author N. P. Langford of St. Paul. Apr. 12th 1890.”

“One of the best works on the Montana vigilantes and the Plummer gang of road agents” (Adams Six Guns 606). Langford traveled from the Midwest to the Western territories as third in command of Fisk’s Northern Overland Expedition of 1862, and was one of the early explorers and founders of Yellowstone National Park, serving as its first Superintendent. “Much and valuable frontier history is to be found in this work, in which the author presents with clear view the strange scenes and singular characters of that strongly colored period” (Cowan).

Cowan pp. 134-5; Graff 2390; Howes L-78. THE JAY T. SNIDER COPY. $800 - 1,200

73 LEE, Guy Carleton (1862-1936) and Francis Newton THORPE (1857-1926). The History of North America. Philadelphia: George Barrie & Sons, 1903-1907.

20 volumes, 8vo. Contemporary full navy morocco gilt, edges gilt (light rubbing). Provenance: Raphaelita Semmes Simpson Gordon (bookplate).

LIMITED EDITION, number 244 of 1,000 copies printed on Japan vellum. $1,500 - 2,500

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74 LEWIS, Sinclair (1885-1951). Elmer Gantry. New York: Harcourt, Brace and Company, 1927.

8vo. Original blue and orange cloth; dust jacket (light rubbing).

FIRST EDITION, FIRST STATE of the binding with the “G” resembling a “C”. Lewis’s satirical treatment of evangelism in America created a public outcry, prompting evangelist Billy Sunday to call Lewis “Satan’s cohort.”

Pastore 13. $500 - 700

75 LONDON, Jack (1876-1916). The Call of the Wild. New York & London: The Macmillan Company, 1903.

8vo. 18 color-printed plates by Philip R. Goodwin and Charles Livingston Bull; pictorial title-page printed in black and blue; 2pp. publisher’s advertisements at end. (Slight toning, a few tiny stains.) Original pictorial green cloth, top edge gilt, others uncut (some slight wear to extremities, spine slightly leaned); quarter morocco folding case. Provenance: Paul Elder & Company San Francisco (small bookseller’s ticket on rear flyleaf).

FIRST EDITION, FIRST ISSUE of London’s enduring adventure novel set in the Yukon during the 1890s Klondike Gold Rush. In the FIRST ISSUE BINDING with vertically ribbed cloth. “Call of the Wild was one of the first American novels to examine the quest of the pioneering individual who breaks away from the sheltered environment of civilization and is romantically compelled to find freedom in nature. In the early part of the century this was considered the American dream” (Parker, 16). BAL 11876; Peter Parley to Penrod, p. 119. $800 - 1,200

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76 LONDON, Jack (1876-1916). White Fang. New York: The Macmillan Company, 1906.

8vo. Half-title; 8 color-printed plates by Charles Livingston Bull. Original grey pictorial cloth stamped in white and black, spine gilt-lettered (some very slight rubbing to corners, tiny bump on bottom edge of upper cover); quarter morocco folding case. Provenance: A. M. S. (signature, 1907).

FIRST EDITION, with the title-page a cancel on laid paper. Woodbridge and BAL identify copies with the cancel title-page as the second issue, though Merle Johnson states he knows of no copies with an integral title-page. Intended as a companion piece to The Call of the Wild, White Fang is the story of a savage part-wolf dog who is domesticated through the kindness of his owner. BAL 11896 [calling for cancel title-page on either laid or wove paper, no priority]; Woodbridge 46. $800 - 12,200

77 LOVECRAFT, Howard Phillips (1890-1937). The Outsider and Others. Sauk City, WI: Arkham House, 1939.

8vo. Original cloth; dust jacket (some light chipping, a few creases to extremities).

FIRST EDITION OF THE FIRST BOOK PRINTED BY ARKHAM HOUSE. The Outsider and Others was published in an original print run of 1,268 copies and featured original cover art by Virgil Finlay. Currey 234; Bleiler, The Guide to Supernatural Fiction 1040; Derleth, Thirty Years at Arkham House 1939-1969 No. 1. $2,000 - 3,000

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78 MAYER, Luigi (d. 1803). [General title:] Views in Egypt, Palestine and Other Parts of the Ottoman Empire. Comprising: Views in Egypt. --Views in the Ottoman Empire, chiefly in Caramania. --Views in Palestine. London: T. Bensley for R. Bowyer, 1801-1803-1804 [plates watermarked 1801 or earlier.]

3 works in 3 volumes, folio (465 x 325 mm). Together, 96 aquatint plates with hand coloring comprising: Egypt, 48 plates, title-page in English only; Ottoman Empire: 24 plates, text in English and French with two title-pages, one in each language; Palestine, 24 plates, text in English and French with two titlepages, one in each language. (Some light mostly marginal staining, light dampstaining to extreme outer margin of a few leaves, a few neat marginal repairs.)

Modern sprinkled calf gilt. Provenance: Nottingham Public Library (small stamp on a few plates, small blind stamp in margin of several plates); N. C. L. and Bureau (small stamp on verso of title vol. I).

FIRST EDITIONS OF MAYER’S OTTOMAN AND EGYPTIAN VIEWS. Luigi Mayer, who studied with Piranesi, made views of Sicily for the King of Naples. He later joined the entourage of Sir Robert Ainslie, who was serving as ambassador to the Ottoman Porte in 1776. Mayer remained with Ainslie until 1794. Ainslie amassed a collection of original drawings by Mayer which were reproduced for the present work; Atabey argues that some of the drawings reproduced herein were actually made by Mayer during an earlier tour of the Levant before he was in service to Ainslie. Abbey Travel 369; Atabey 785, 787, 788; Colas 2018, 2021, 2020. $4,000 - 6,000

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79 BERRETTINI, Pietro, called ‘Pietro da Cortona’ (1596-1669). Tabulae anatomicae... Rome: Venanti Monaldini, 1788.

Folio (457 x 310 mm). Title printed in red and black with engraved vignette, engraved head- and tail-pieces; 27 engraved plates printed in sepia by Luca Ciamberlino after drawings by Berrettini PRINTED ON BLUE PAPER. (Title-page soiled with slight marginal chipping; dustsoiling to a few leaves, some light spotting, small wormtrack to last few leaves affecting two plates.) Later vellum (a few tears to pastedowns).

Second edition, A BLUE PAPER COPY. Berrettini was one of the most influential painters of the Italian Baroque. He began his anatomical drawings in 1618, and they were engraved by Luca Ciamberlano.

The plates remained unpublished for 123 years, and were not first published until 1741. By that point, they had been “improved” with intrusive and distracting figures. Francesco Petraglia removed the figures which had been added, returning them to a state more closely resembling Berrettini’s original drawings. Choulant-Frank, pp. 235239; Norman, The Anatomical Plates of Pietro da Cortona (1986). $3,000 - 4,000

80 COWPER, William (1666-1709). Anatomia Corporum Humanorum Centum et Viginti Tabulis... ad Vivum expressis. Utrecht : Nicolaus Muntendam, 1750.

Folio (514 x 350 mm). Title-page printed in red and black with engraved vignette; engraved title-page; 118 engraved plates [3 folding]. (Marginal wormhole to first few leaves not touching text or plates, a few short tears occasionally crossing into image, small repairs to a few folding plates, some light offsetting.) Contemporary mottled calf (rebacked preserving original spine, some light wear).

Second edition in Latin. The large plates, originally designed for Bidloo’s Anatomia in 1685, were drawn by Gerard de Lairesse, a painter who rivaled Rembrandt in his time. Bidloo’s text was widely criticized, however, and after English surgeon William Cowper obtained the plates to Bidloo’s work, he arranged to supply an entirely new text to accompany a reissue. Cowper first issued his work in English in 1698, and the first edition in Latin was published in 1739. “The most elaborate and beautiful of all 17th century English treatises on anatomy and also one of the most extraordinary plagiarism in the history of medicine” (Garrison-Morton 385.1, describing the 1698 edition). Choulant-Frank, pp.252-3; see Norman 529. $4,000 - 6,000

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81 QUAIN, Jones (1796-1865), and William James Erasmus WILSON (18091884), editors. The Vessels of the Human Body; In a Series of Plates, with References and Physiological Comments. London: Taylor and Walton, 1837.

Folio. 50 lithographed plates with hand-coloring. (Short tears to a few leaves not touching letters nor images, minor soiling and spotting.)

Publisher’s brown cloth (rebacked, some wear and soiling).

FIRST EDITION. Depicting the circulatory system, The Vessels was issued to accompany Quain’s 1828 Elements of Descriptive and Practical Anatomy, considered “among the most important of the English textbooks on anatomy” (Garrison-Morton 410). The Vessels was one of 5 plate books separately issued to accompany Quain’s Anatomy text, including The Muscles (1836), The Nerves (1839), The Viscera (1940), and The Bones and Ligaments (1842). $200 - 300

82 STOKES, William (1804-1878). A Treatise on the Diagnosis and Treatment of Diseases of the Chest. Part I. Diseases of the Lung and Windpipe [all published]. Dublin: Hodges and Smith, 1837.

8vo (225 x 143 mm). Half-title. (Some minor toning and spotting.) Modern black morocco-backed marbled boards gilt, uncut and partially unopened (corners with a touch of rubbing). Provenance: Stewart R. Roberts, M.D. (1878-1941), American Cardiologist (bookplate on front flyleaf).

FIRST EDITION of “one of the most famous contributions of the Irish school of medicine” (Lilly Library, Notable Medical Books, 187). This copy is from the collection of Dr. Roberts, the first cardiologist in Georgia who had a long association with the Emory University School of Medicine and served as President of both the Southern Medical Association (SMA) and the American Heart Association. Roberts’ work garnered praise from contemporaries such as Dr. Seale Harris who was also a President of the SMA and editor of Southern Medical Journal for over a decade: «Dr. Roberts is one of the ablest men in American medicine and is frequently called the ‹Osler of the South›» (Charles S. Roberts, «The Physician Legacy of Stewart R. Roberts,» 2021, p.1). A FINE ASSOCIATION COPY. $300 - 400

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83 STOKES, William (1804-1878). The Diseases of the Heart and the Aorta.

Dublin: Hodges and Smith, 1854.

8vo. Half-title. (Slight toning, some occasional spotting.) Publisher’s brown cloth, gilt-lettered on spine (spine lightly sunned, slight wear, upper hinge just starting). Provenance: Bernard S. Molloy, M.D. (signature, 1890); Dublin Medical Students Club, Limited (stamps to several pages).

FIRST EDITION of Stoke’s cardiological textbook, in Norman’s second variant binding [no priority]. “Stokes’s textbook on cardiology contains his classic description of ‘Cheyne-Stokes respiration,’ a type of periodic breathing described by John Cheyne in 1818, which Stokes was the first to associate with fatty degeneration of the heart. The work also includes the first description of paroxysmal tachycardia, and is remarkable for its accurate depictions of pericarditis, valvular disease, and the weakening of the heart in typhus fever” (Norman 2024). Garrison & Morton 2760. $800 - 1,200

84 WHITE, Paul Dudley (1886-1973). Heart Disease. New York: The Macmillan Company, 1931.

8vo. Numerous diagrams and illustrations. Publisher’s black gilt-lettered cloth (a touch of wear to extremities, endpapers toned). Provenance: Seeley Greenleaf Mudd, M.D. (1895-1968), American Physician (presentation inscription, see below).

FIRST EDITION OF WHITE’S “EPOCH-MAKING” TEXT. PRESENTATION COPY, INSCRIBED BY WHITE to Mudd on the front flyleaf in the month of publication: “To Seeley G. Mudd With warmest regards and appreciation of our association in the study of heart disease from Paul Dudley White April 22, 1931.” White, a leading American cardiologist and pioneer in electrocardiography, inscribed this copy to Dr. Mudd, a fellow cardiologist. In his bibliography on “Murmurs” for this book, White lists an article he co-authored with Mudd titled, “The Auscultatory Gap in Sphygmomanometry” (1928, p.707) and cites two other articles written

by Mudd in the bibliographical section on “The Basal Metabolic Rate Determination. Temperature Records Spirography” (p. 726). “Paul White’s epoch-making book for long remained unrivalled and set a new standard in cardiological text-books” (Bedford 357). A SUPERB ASSOCIATION COPY. $1,500 - 2,500

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85 MELVILLE, Herman (1819-1891). Typee: A Peep at Polynesian Life. During a Four Months’ Residence in a Valley of the Marquesas. New York & London: Wiley and Putnam, John Murray, 1846.

2 volumes in one, 8vo. Half-titles; frontispiece map before part I; 4pp. publisher’s advertisements (of 6) paginated [v]-viii at end [see BAL: “in some copies the leaf (pp. ix-x) is not present”]. (Some spotting and mostly marginal dampstaining.) Publisher’s brown cloth blind-stamped cloth, spine gilt-lettered “Library of American Books” (wear to corners, minor losses to spine ends, some staining); folding case. Provenance: Alfred L. Tyler (signature, Cambridge, September 1852).

FIRST AMERICAN EDITION OF THE AUTHOR’S FIRST BOOK, preceded by a London edition of the same year. Melville based his first work on the month he spent living among the people in the Marquesas, where he found himself after deserting the whaling ship Achsunet in 1841. Typee was Melville’s most popular work during his lifetime. BAL 13653 (Binding Variant A, Cloth [no priority]). $2,000 - 3,000

86 MELVILLE, Herman (1819-1891). Omoo: A Narrative of Adventures in the South Seas. New York & London: Harper & Brothers, John Murray, 1847.

2 volumes, 8vo. Half-title printed in red, title-page printed in red and black, and map frontispiece in vol. I; publisher’s advertisements paginated [xv]-xxiii, [1]-16 at end of vol. II. (Marginal chipping to the first few leaves vol. 1 with repairs, some dampstaining and spotting, M11-12 roughly opened vol. II.) Publisher’s original printed wrappers (rebacked preserving remnants of original spine, a few gatherings reinforced in gutter margin, soiling and staining); cloth folding case. Provenance: J. G. Morrisill (signatures on covers); Osmond Kessler Fraenkel (1888-1983), American Civil Liberties attorney (bookplates).

FIRST AMERICAN EDITION IN THE RARE ORIGINAL WRAPPERS Melville’s two earliest works, Typee and its sequel Omoo Omoo, are the product of the four years he spent as a sailor in the Pacific. Both novels were commercially successful, marking Melville’s early career with fame. The first English edition preceded the first American edition by less than a month. BAL 13656. $3,000 - 5,000

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87 MELVILLE, Herman (1819-1891). Mardi: and a Voyage Thither. New York: Harper and Brothers, 1849.

2 volumes, 8vo. (Some pale spotting). Original publisher’s green blindstamped cloth, gilt-lettered on spine, yellow coated endpapers (a touch of wear to spine ends and corners); half morocco folding case. Provenance: G. J. Ball (early signatures, Erie, Pennsylvania).

FIRST AMERICAN EDITION, published approximately one month after the English edition. “Mardi was originally intended as a factual South Seas adventure story....inspired by the many attacks upon the veracity of Typee and Omoo. As the story progressed, however, he began to slide increasingly into satire and metaphysical speculation... The resulting book revealed the first blossoming of the intellectual growth and spiritual searching that would shape Melville’s later works” (Life and Works of Herman Melville). The present copy has the blind-stamped rule about 1/8” from the tops of spines (no priority established). BAL 13658. A BRIGHT COPY. $1,500 - 2,500

88 MELVILLE, Herman (1819-1891). The Piazza Tales. New York & London: Dix & Edwards, Sampson Low, Son & Co., 1856.

8vo. 7pp. advertisements at end. (Some minor browning and a few pale spots.) Original green blind-stamped cloth (a few ink stains to lower cover and fore-edge, hinges starting, lightly rubbed, spine sunned); slipcase.

FIRST EDITION. With the exception of “The Piazza,” all of the short stories in The Piazza Tales had previously appeared in Putnam’s Monthly between 1853-1855, the most notable among them being “Bartleby the Scrivener,” now a classic of American short fiction. The Piazza Tales did little to rescue Melville from his slide into obscurity. It is unlikely that he earned any royalties from the publication of this book, which likely helped drive its American publisher out of business. The present copy is missing signature mark 14 (no priority established). BAL 13669. $1,000 - 1,500

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89 MILLER, Henry (1891-1980). Quiet Days in Clichy. Photographs by Brassaï.

Paris: The Olympia Press, 1956.

8vo. Later self-wrappers; original dust jacket (rubbing); custom folding box.

FIRST EDITION. Quiet Days in Clichy comprises two stories written by Miller on commission for Roy M. Johnson, a collector of erotica, who deemed them «too poetic.» The manuscript then disappeared only to turn up again in 1956, at which time Miller rewrote the stories and published them. Shifreen and Jackson A100. $600 - 800

90 MULFORD, Clarence Edward (1883-1956). Hopalong Cassidy. Chicago: A.C. McClurg & Co., 1910.

8vo. 5 color plates. Original half tan cloth, pictorial paper-covered boards (rubbing along edges). Provenance: Waldman Brothers (bookseller’s stamp).

FIRST EDITION. Hopalong Cassidy was the third of Mulford’s novels to feature the titular character, and features illustrations by western painter Maynard Dixon. Mulford’s stories would later be adapted into a series of films produced between 1935-1948 and starring William Boyd as Hopalong Cassidy. $300 - 500

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91 [MUSIC]. BUEL, James W. (ed.) (1849-1920). The Great Operas. The Romantic Legends Upon Which the Masters of Song Have Founded Their Famous Lyrical Compositions. London, Paris, Berlin, Philadelphia: The Société Universelle Lyrique, 1899.

10 volumes, folio. Original half morocco, watered silk, edges gilt, embroidered silk doublures (front hinge starting on first volume, spines lightly rubbed).

LIMITED EDITION, number 35 of 50 copies of the “Verdi Edition.” $3,000 - 4,000

92 [MUSIC]. GERSHWIN, George (1898-1937). Porgy and Bess. An Opera in Three Acts. New York: Random House, 1935.

Folio. Original hard-grained red morocco, top edge gilt; cloth folding case.

LIMITED EDITION, number 241 of 250 copies of the Deluxe edition, SIGNED BY GEORGE GERSHWIN, IRA GERSHWIN, DuBOSE HEYWARD, and ROUBEN MAMOULIAN. Porgy and Bess was adapted from DuBose Heyward’s 1925 novel Porgy and was first performed in Boston on September 30, 1935 under the direction of Rouben Mamoulian. The play was controversial upon its debut for its all African-American cast and the clause in Gershwin’s contract stipulating that there would be no performances featuring white performers in blackface; later the play would become controversial for its depictions of early 20th century African-American communities. Fuld 539. $4,000 - 6,000

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93 [MUSIC]. MOZART, Wolfgang Amadeus (1756-1791). Cosi Fan Tutte: Dramma giocoso in due Atti… Partitura. Leipzig: Breitkopf & Hartel, [1810].

Small folio (356 x 263 mm). 2 engraved title-pages; 8pp. letterpress book in German; pp.3-269 engraved music with plate number “1363.” (Some minor mostly marginal dampstaining to first few leaves, some pale spotting to a few leaves, marginal paper flaw to pp.191/192.) Contemporary vellum-backed and cornered paste paper-covered boards, paper lettering-piece gilt on upper cover (lightly rubbed); quarter morocco folding case gilt. Provenance: Léon Muret Debort (lettering-piece on upper cover).

FIRST EDITION of the full orchestral score, one of 50 or fewer copies printed, preceded by the piano-vocal score, published in Vienna 1790 and in Berlin in 1793. Così fan tutte was the last of Mozart›s collaborations with Italian librettist Lorenzo da Ponte, who wrote the libretto for The Marriage of Figaro and Don Giovanni. “Da Ponte’s libretto is a marvel of witty, concise, and symmetrical dramatic construction... In the music, all the conflicting stains of mockery and tenderness, of sincerity and inconstancy, are fully reconciled. Delicious in its parody, ravishing in its lyricism, Così holds laughter and sympathy in a perfect equilibrium that...celebrates ‹the mystery of feeling itself›» (Zaslaw and Cowdery, 64-65). Così fan tutte was largely underappreciated until the 20th century, regarded by contemporary audiences as «a heartless farce clothed in miraculous music» (Grove, Opera, p.967). Haberkamp 333; Kochel 588. $6,000 - 8,000

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94 [MUSIC]. VERDI, Giuseppe (1813-1901). Il Trovatore. Partitura. Milan: G. Ricordi & C., [ca 1888].

4 volumes, small folio (400 x 265). 675pp. engraved score. (Mostly marginal repairs to a few leaves, a few leaves with repairs crossing printed staves and score, a few leaves with some soiling.) Portions of original front wrappers laid onto modern half navy morocco gilt; quarter morocco folding cases. Provenance: red and blue pencil and graphite performance annotations throughout.

FIRST EDITION OF THE FULL ORCHESTRAL SCORE. Il Trovatore, first performed in 1853, has remained one of Verdi’s most popular operas. Verdi and his librettist, Cammarano, originally intended to attempt a setting of Shakespeare’s King Lear as a follow-up to Rigoletto, but never completed the work. Verdi suggested Cammarano look at Spanish playwright García Guttiérrez’s El trovador, which he considered to be “’very beautiful, imaginative and full of strong situations.’ The composer bullied the writer into adapting the play into something that would give him the maximum of creative leeway: ‘the more he provides me with the originality and freedom of form the better I shall be able to do.’ the end product...is packed with crowd-pleasing solo turns, bit chrouses, thrilling climaxes and complex ensemble finales” (Boyden 225-6). Fuld 102-3, 673; Hopkinson 54C. $4,000 - 6,000

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95 [NIELSEN, Kay (1886-1957), illustrator]. ANDERSEN, Hans Christian (18051875). Fairy Tales. London: Hodder & Stoughton Ltd., [1924].

4to. (Light spotting to preliminary pages.) Original vellum gilt, top edge gilt, others uncut (spine lightly soiled).

FIRST EDITION, LIMITED ISSUE, number 327 of 500 copies, SIGNED BY NIELSEN. “Nielsen’s name is invariably invoked as one of the deities of the golden age of illustration, alongside such immortal as Arthur Rackham, Walter Crane, and Edmund Dulac” (Silvey, 488). Dalby, 33, 36. $800 - 1,200

96 [OGILBY, John (1600-1676), translator]. AESOP (ca 620-560 B.C.). The Fables of Aesop Paraphras’d in Verse: Adorn’d with Sculpture, and Illustrated with Annotations. [Bound with:] Aesopic’s: Or a Second Collection of Fables, Paraphras’d in Verse: Adorn’d with Sculpture, and Illustrated with Annotations. London: Printed by Thomas Roycroft for the Author, 1668.

2 volumes in one, Folio (416 x 257 mm). Titles printed in red and black, 151 engraved plates (including engraved frontispieces, one a portrait of Ogilby), numerous engraved vignettes and initials. (Slight soiling, and offsetting, some occasional spotting and soft creasing, plate 53 in vol. I with loss to outer head margin with repair just touching plate border with tiny repair to center outer margin verso; a few short tears with some repairs not affecting text or image, some repairs to inner marginal worming at the tail in Aesopic’s not affecting text.) 19th-century polished calf, spine in 7 compartments with 6 raised bands, black morocco lettering-piece gilt in one, gilt decorated in the rest, board edges gilt-tooled, yellow-dyed edges (spine cover detaching with a short with a 3/4 inch tear in the 3rd compartment, front hinge starting, slight staining and wear with corners bumped).

Third edition, preceded by the first illustrated edition of Ogilby’s translation of 1651. While the title-page states the “Second edition,” this is the third since the stock of the original second edition of 1665 was lost in the Great Fire of 1666. Ogilby “bounced back in 1668, not merely with a reprinted of Aesop Paraphras’d (1665), but with the addition of three fresh works in the same volume” (Hodnett, Five Centuries, p. 60). Aesopic’s includes an additional 50 Aesopian tales as well as a retelling of the tales of Androcleus and The Ephesian Matron. “To call these versions paraphrases is misleading... they are original treatments of familiar themes. Ogilby gives free play to his imagination as he retells the fables with so many amplifications of homely detail and classical allusions” (Hodnett, Francis Barlow: First Master of English Book Illustration, p. 77-79). While engravers Wenceslaus Hollar, Josiah English, and Dirck Stoop contributed to the illustrations of this edition, Ogilby’s neighbor, Francis Barlow assisted him with this republication of the second edition by designing about half the plates. “The great difference between Barlow’s designs and those of his predecessors... is the extraordinary accuracy with which he recorded the appearance and movements of his animals and birds and the immense dignity that he bestowed on them.... in one crucial respect, Barlow is supreme among Aesopian fable illustrators - both animals and humans are always interacting, always expressive, always physically and emotionally involved in the action” (Hodnett, Five Centuries, p. 55). ESTC R19147 and R8782; Wing A-697 and A-698. $4,000 - 6,000 66

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97 OGILBY, John (1600-1676), translator. -- HOMER (?8th century B.C.). Homer his Iliads translated, adorn’d with sculpture, and illustrated with annotations.

--Homer his Odysses Translated, Adorn’d with Sculpture, and Illustrated with Annotations. London: Printed by James Flesher, for the authour, 1669.

2 works in one volume, folio (387 x 245 mm). Engraved frontispieces (trimmed close affecting imprint and mounted); titles printed in red and black; decorative headpieces and initials; 45 engraved plates (of 50) in the Iliad; 21 copper engraved plates (of 24) in the Odyssey. (Several leaves at beginning and end remargined with minor loss to text on a few leaves; some spotting and soiling, three plates with a touch of amateurish coloring.) Modern calf. Provenance: Charles II (presentation inscription, see below); William Young (signature on title-page and a few other leaves) gifted to; Jasper Hulley (inscriptions from previous on upper margins of two plates dated 1 December 1773); Jasper Hulley (great grandson of previous inscription about rebinding in 1813 at a cost of 12 shillings).

PRESENTATION COPY, INSCRIBED TO THE DEDICATEE, CHARLES II, BY JOHN OGILBY: “Carolus a Carolo Magno Major, Jn. Ogilby” (inscription smudged). At the Restoration, “Ogilby made himself acceptable to Charles II and his court. In 1661 he was entrusted with the sole conduct of the ‘poetical part’ of the coronation” (DNB).

Second editions of Ogilby’s beautifully illustrated translations of Homer’s works, considered to be the best illustrated editions ever published. ESTC R30336 (Iliad); ESTC R26806 (Odyssey). A FINE ASSOCIATION COPY. $3,000 - 4,000

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98 OGILBY, John (1600-1676), translator. NIEUHOFF, Jan (1640-1672). An Embassy from the East-India Company of the United Provinces, to the Grand Tartar Cham Emperour of China. London: John Macock, 1669.

China 3 parts in one volume, folio (404 x 263 mm). Engraved allegorical title, letterpress title printed in red and black; double-page engraved map, double-page engraved plan, 18 engraved plates; 121 engraved illustrations in text; with blanks e2 and 2P2 (but lacking final blank). (Tiny worm track in upper gutter margin of a few leaves, a few quires browned, some light staining, a few short marginal tears.) Modern calf antique. Provenance: A few marginal annotations in an early hand.

FIRST EDITION of Ogilby’s translation of Nieuhoff’s work, a first-hand account based on his visit as Dutch ambassador to Emperor Chun Chi in Peking in 1655-1657, an attempt to open Chinese ports to Dutch trade. “Ogilby’s translation [of Nieuhoff], if made from the Dutch original, is somewhere between a translation and paraphrase, cutting out what he may have thought boring to readers” (Lust 535). After publishing this work, Ogilby conceived an ambitious project, a multi-volume description of the world, which would include Asia as the subject of the third volume, following volumes devoted to Africa and America. Cordier (Sinica) 2347; ETSC R9298; Wing N-1152. [[Tipped in:] Manuscript map of China, on a bifolium, 237 x 198 mm. With manuscript annotations about population sizes of important cities in China on integral leaf. With inset plan of “Pekin.” Ca 18th-century? $4,000 - 6,000

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99 OGILBY, John (1600-1676), translator. [MONTANUS, Arnoldus (ca 1625-1683)]. America: being the latest, and most Accurate Description of the New World...

Collected from most Authentick Authors, Augmented with later Observations, and Adorn’d with maps and Sculptures, by John Ogilby. London: Printed by the Author, 1671.

Folio (408 x 255 mm). Engraved allegorical title, letterpress title printed in red and black. 56 engraved plates comprising: 6 portraits, 20 engraved doublepage maps and 30 double-page views; 66 engraved illustrations in text; woodcut initials, head- and tail-pieces. (Without the “Arx Carolina” view [see below], title-page and allegorical title with repaired tears crossing letters and bound in on stubs, a few maps with separations to folds or short tears, some browning and a few light stains, some offsetting from in-text engravings.) Contemporary calf gilt, spine gilt, morocco lettering-pieces gilt (old rebacking, hinges starting, some wear).

FIRST EDITION IN ENGLISH, second issue, without the “Arx Carolina” plate, and with the Lords Proprietor’s map and a map of Barbados. In place of the “Arx Carolina” plate (depicting the castle on the French settlement at present Paris Island) is Moxon’s map of Carolina, A New Discription of Carolina By Order of the Lords Proprietors (known as «The First Lords Proprietors Map»). The map was based on a manuscript map by philosopher John Locke, and is the first largeformat map of the newly-settled Carolina colony. Also in the present copy is a copy of the Virginia pars Australis map found in copies of the first issue.

Ogilby’s text is, in part, a translation of Montanus’s De Nieuwe en Onbekende Weereld, with numerous additions about New England, New France, Maryland and Virginia from more reliable sources. He includes a short section, “New Netherland, now call’d New York,” which recounts the transfer of sovereignty from the Netherlands to England in 1664. Most of the plates were reprinted from the original Dutch atlas plates. One notable exception is the map of Maryland, Nova Terrae-Mariae tabula, also known as the “Lord Baltimore Map,” likely based on John Smith’s 1612 map of Virginia, which was first published in London in 1635 to accompany the fourth tract of the founding of Maryland by Cecil Calvert, the second Lord Baltimore. Ogilby’s version is a close derivative of that map, differentiated by the placement of a coat-of-arms on the right.

Alden & Landis 671/207; Borba de Moraes II:626; JCB (3) III:227-8; Palau 177493; Sabin 50089; Stokes Manhattan VI:262; Wing O-165. A WIDE-MARGINED COPY. $30,000 - 40,000

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100 O’HARA, John (1905-1970). Appointment in Samarra. New York: Harcourt, Brace, 1934.

8vo. Publisher’s illustrated wrappers (very light soiling); folding case FIRST EDITION, ADVANCE READING COPY with publication notice tipped onto front flap reading “Aug 16 1934.” Appointment in Samarra was a massive success upon publication, with an enthusiastic Ernest Hemingway writing of it, “If you want to read a book by a man who knows what he is writing about and has written it marvelously well, read Appointment in Samarra by John O›Hara.» Bruccoli A2.1. $3,000 - 4,000

101 O’HARA, John (1905-1970). BUtterfield 8. New York: Harcourt, Brace and Company, 1935.

8vo. Original black cloth (light rubbing); dust jacket (slight chipping).

FIRST EDITION. BUtterfield 8 is a roman à clef loosely based on the life of Starr Faithfull, a socialite and flapper whose mysterious death in 1931 became a tabloid sensation, and whose diary O’Hara consulted regularly while writing the novel. It was the basis for a 1960 Academy Award-winning movie starring Elizabeth Taylor. Bruccoli A4.1.a. $500 - 700

102 O’NEILL, Eugene (1888-1953). The Iceman Cometh. New York: Random House, 1946.

8vo. Original blue cloth (old cellotape removed with with slight stains, light rubbing along extremities); dust jacket (light sunning to spine, small chip at head of spine). Provenance: Lorraine Brophy (presentation inscription, see below).

FIRST EDITION. PRESENTATION COPY, INSCRIBED BY O’NEILL: “To ‘Sweet Lorraine’ Brophy, with deep gratitude for her kindness!” The Iceman Cometh debuted at the Martin Beck Theatre on October 9, 1946 and ran for 136 performances; this original run was nominated for Best American Play by the New York Drama Critics’ Circle in 1947. Atkinson A35-I-1a. $2,000 - 3,000

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103 [PACIFIC RAILROAD SURVEY]. Reports of Explorations and Surveys, to Ascertain the Most Practicable and Economical Route for a Railroad from the Mississippi River to the Pacific Ocean... Washington: Beverley Tucker, A.O.P. Nicholson, Thomas H. Ford, 1855-1860.

11 volumes bound in 12 (comprising vols. 1-10 and vol. 12 bound in two parts, lacking vol. 11), 4to (286 x 222 mm). Hand-tinted lithographs, numerous maps and charts. (Offsetting, spotting, light soiling, closed tears, without the folding “General Map” in Vol. 1 which is not present in all copies, lacking 3 black and white natural history plates.) Modern black cloth, black morocco lettering-pieces (rubbing to spine labels).

FIRST COLLECTED EDITION, mixed House and Senate issues. This work comprises the largest and most important exploration reports ever published about the Trans-Mississippi West, representing “the combined efforts of the Topographical Engineers and a sizeable contingent of the country’s foremost scientists.

Not since Napoleon had taken his company of savants into Egypt had the world seen such an assemblage of scientists and technicians marshaled under one banner.” (Goetzmann, Army Exploration in the American West 1803-1863, 305). Howes P-3; Sabin 69946; Rittenhouse 442; Wagner-Camp 262-267; Wheat, Mapping the Transmississippi West, 822-824.

Property from the Dorros Family Collection $2,000- 3,000

104 [PARRISH, Maxfield (1870-1966), illustrator]. SAUNDERS, Louise. The Knave of Hearts. New York: Charles Scribner’s Sons, 1925.

Folio. Half-title, illustrated title-page, 14 full-page color plates (including frontispiece) and numerous in-text color illustrations by Parrish.

Publisher’s black cloth, color-printed pictorial plate mounted to upper cover (a few tiny scuffs); slipcase.

FIRST EDITION of “one of the greatest of American illustrated books” (Porter 84) and the last book illustrated by Parrish. “By the turn of the century Parrish was becoming recognized as one of America’s most successful artists, achieving national popularity for his distinctively elegant style, detailed background and glowing colours” (Dalby, The Golden Age of Children’s Book Illustration, p. 42). Silvey, The Essential Guide to Children’s Books and Their Creators, p.339. $1,000 - 1,500

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105 PERRY, Matthew Calbraith (1794-1858). Narrative of the Expedition of an American Squadron to the China Seas and Japan, performed in the years 1852, 1853 and 1854... Washington: Vols. I & II, Beverley Tucker, Vol. III A. O. P. Nicholson, 1856.

3 volumes, 4to (289 x 223 mm). Vol. I: 87 lithographed plates (most tinted) INCLUDING THE RARE SUPPRESSED BATHING PLATE facing p.408, 3 color facsimiles of Japanese woodblock prints (2 folding), 6 maps (2 folding), numerous in-text woodcuts throughout. Vol. II: 27 lithographed plates (18 handcolored), 16 lithographed wind and current diagrams, 16 folding maps (several with tears repaired verso). Vol. III: 352 wood-engraved star charts. (Some browning and staining, dampstaining to Vol. III.) Modern half calf gilt. Provenance: J. L. Natch (signature, title-page vol. III).

FIRST EDITION, Senate issue (Vols. I & II), House issue (Vol. III) WITH THE SUPPRESSED BATHING PLATE in Volume I. Matthew C. Perry, appointed by Congress to a diplomatic relationship with Japan, embarked in 1852 on a three-year mission of discovery. “As one of the chief diplomatic achievements of the 19th century, the opening of Japan (by the treaty negotiated by Perry) will long make the name of Perry memorable.... In June 1855 Perry was ordered to Washington, where his chief duty for more than a year was the preparation of a report of his expedition, which was published by the government in 1856” (DAB). His mission resulted in the signing of the treating opening Japan to the West. Perry’s “visit contributed to the collapse of the feudal regime and to the modernization of Japan” (Hill). Hill 1332; Sabin 30968. $1,000 - 2,000

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106 POE, Edgar Allan (1809-1849). The Works. Chicago: Stone and Kimball, 1894-1895.

10 volumes, 8vo. (Light spotting throughout.) Contemporary vellum gilt, uncut and partially unopened (rubbing, chipping to heads and tails of spines).

LIMITED EDITION, number 213 of 250 large-paper copies. The Works was Stone & Kimball’s most ambitious undertaking to date: Poe’s works were issued in a trade edition bound in cloth, in an edition bound in half morocco, or in this limited issue in vellum with floral Art Nouveau decorations in gilt. BAL 16168. $1,500 - 2,500

107 PORTER, William Sydney (“O. Henry”). The Complete Writings of O. Henry. Gordon Grant, illustrator. Garden City, NY: Doubleday, Page and Company, 1917.

14 volumes, 8vo. Half-titles, title-pages printed in light blue and black; 2 photogravure portrait frontispieces; lithographic frontispieces and numerous illustrations after Grant, numerous facsimile reproductions. (Slight offsetting and marginal toning.) Contemporary red crushed levant, spines gilt-ruled, spines in 6 compartments with 5 raised bands gilt, gilt-lettered in 3, gilt-decorated in 4, top edges gilt, others uncut and partially unopened (some minor staining, some light wear to joints and a few joints just starting, a few endpapers slightly creased). Provenance: Eva Roberts Stotesbury (bookplates).

LIMITED EDITION, number 177 of 1075 sets of the “Memorial Edition,” and “Edition de Luxe,” SIGNED BY GRANT AND THE PUBLISHER in vol. I. A complete set of works by American author O. Henry, known for plot twists and romanticizing American life in short stories, which were often set in New York City. $1,500 - 2,500

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108 [RACKHAM, Arthur (1867-1939)]. IRVING, Washington (1783-1859). Rip Van Winkle. London: William Heinemann, 1905.

8vo. 51 color-printed plates tipped onto mounts by Rackham. Original vellum gilt, top edge gilt, others uncut (silk ribbons and endpapers replaced, light soiling); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 22 of 250 copies of the “Deluxe Edition,” SIGNED BY RACKHAM. Rip Van Winkle proved to be a turning point in Rackham’s career, as it is the first Rackham-illustrated work to be issued in a limited edition and the first of his works to feature illustrations exclusively in color. Latimore & Haskell, 26; Ray 328. $1,500 - 2,500

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109 [RACKHAM, Arthur (1867-1939), illustrator]. BARRIE, James Matthew (1860-1937). Peter Pan in Kensington Gardens. London: Hodder & Stoughton, 1906.

4to. 50 color-printed plates by Rackham tipped to mounts. (Slight toning and some occasional spotting, a few marginal tears with repairs not affecting text, some minor chipping to a few leaves.)

Original vellum decorated and lettered in gilt, top edge gilt, others uncut (lacking yellow silk ties, some minor soiling, hinges starting); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 294 of 500 copies, SIGNED BY RACKHAM. Rackham’s illustrations for Peter Pan in Kensington Gardens established him as one of the premier illustrators in England: «The 50 color plates were unanimously praised by all who saw them. One critic wrote: ‹Mr. Rackham seems to have dropped out of some cloud in Mr. Barrie›s fairyland, sent by special providence to make pictures in tune with his whimsical genius» (Dalby, pp. 76-77). Latimore & Haskell, p. 27; Riall p. 74. $3,000 - 4,000

110 [RACKHAM, Arthur (1867-1939)]. DODGSON, Charles Lutwidge (“Lewis Carroll”) (1832-1898). Alice’s Adventures in Wonderland. London and New York: William Heinemann and Doubleday, Page, & Co., 1907.

4to. 13 color-printed plates tipped to mounts by Rackham. (Some light toning to a few leaves.) Original white buckram gilt, top edges gilt, others uncut (front hinge starting, toning to spine and endpapers); custom white morocco-tipped slipcase. Provenance: “Zoe” (contemporary gift inscription).

LIMITED EDITION, number 479 of 1130 copies of the “Deluxe Edition.” Rackham’s edition of Alice’s Adventures in Wonderland was the only unsigned limited edition printed in his lifetime, as he was not in the UK at the time it went to press. Latimore & Haskell, 2829; Riall, 77. $1,000 - 1,500

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111 [RACKHAM, Arthur (1867-1939), illustrator]. BARHAM, Richard Harris (“Thomas Ingoldsby”) (1788-1845). The Ingoldsby Legends, or Mirth & Marvels. London and New York: J. M. Dent & Co. and E. P. Dutton & Co., 1907.

4to. 24 color-printed plates by Rackham tipped to mounts with numerous additional illustrations. (Light spotting to rear endpaper, half title and title pages, light marginal toning throughout.) Original vellum gilt, top edge gilt, others uncut (slight soiling), brown silk ties; custom white morocco-tipped slipcase.

LIMITED EDITION, number 299 of 560 copies of the large paper edition, SIGNED BY RACKHAM. Latimore & Haskell, 30; Riall, 83. $800 - 1,200

112 [RACKHAM, Arthur (1867-1939), illustrator]. SHAKESPEARE, William (1564-1616). A Midsummer Night’s Dream. London and New York: William Heinemann and Doubleday, Page & Co., 1908.

4to. 40 color-printed plates tipped to mounts and numerous illustrations

by Rackham. (Slight toning and offsetting, some occasional spotting.)

Original vellum gilt, top edge gilt, others uncut (lacking silk ties, some minor soiling); custom white morocco-tipped slipcase. Provenance: contemporary gift inscription; John Holbrook, Jr. (signature to front flyleaf).

FIRST EDITION, LIMITED ISSUE, number 889 of 1000 copies, SIGNED

BY RACKHAM. Rackham’s imagery for this edition of A Midsummer Night’s Dream «became the standard by which subsequent illustrations of Shakespeare›s play have been judged» (Ray, The Illustrator and the Book in England, 204). Latimore & Haskell, p. 32; Riall p. 87. $1,000 - 1,500

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113 [RACKHAM, Arthur (1867-1939), illustrator]. SWIFT, Jonathan (16671745). Gulliver’s Travels into Several Remote Nations of the World. London and New York: J. M. Dent & Co. and E. P. Dutton & Co., 1909.

4to. 13 color-printed plates by Rackham tipped to mounts. (Light spotting to title page.) Original white cloth gilt, top edge gilt, others uncut, rose ribbon ties (toning to spine, slight soiling to endpapers); custom white morocco-tipped slipcase.

LIMITED EDITION, one of 750 copies of the “Deluxe edition,” SIGNED BY RACKHAM. Large paper reprint of the 1900 signed limited edition with one additional plate. Latimore & Haskell, 32-33; Riall, 91. $500 - 700

114 [RACKHAM, Arthur (1867-1939), illustrator]. LAMB, Charles (1775-1834) & Mary LAMB (1764-1847). Tales from Shakespeare. London and New York: J.M. Dent & Co., and E.P. Dutton & Co., 1909.

4to. 13 color-printed plates tipped to mounts, 2 full-page illustrations printed in black, and numerous illustrations by Rackham. (Slight marginal toning, a few occasional spots.) Original white cloth gilt, top edge gilt, others uncut, silk ties (some toning and minor soiling, minor staining to endpapers); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 265 of 750 copies of the “Deluxe edition,” SIGNED BY RACKHAM. This edition includes an extra color plate depicting “Puck” not present in the trade edition. Latimore & Haskell, p.

33; Riall, p 90. $600 - 800

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115 [RACKHAM, Arthur (1867-1939), illustrator]. [GRIMM BROTHERS]. The Fairy Tales of the Brothers Grimm. Mrs. Edgar Lucas, translator. London: Constable & Company Ltd., 1909.

4to. Title printed in red and black, 40 color-printed plates by Rackham tipped to mounts, numerous illustrations. (Some minor soiling.) Original vellum gilt, top edge gilt, others uncut, original yellow silk ties (ties detached and laid in, slight soiling); custom white morocco-tipped slipcase.

LIMITED EDITION, number 679 of 750 copies for sale in Great Britain and Ireland of the “Deluxe edition,” SIGNED BY RACKHAM. One of Rackham’s best-known works, The Fairy Tales of the Brothers Grimm was reprinted from the 1900 edition with additional illustrations and larger pages.

Latimore & Haskell, p. 34; Riall, p. 97. $1,500 - 2,500

116 [RACKHAM, Arthur (1867-1939), illustrator]. FOUQUÉ, Friedrich Heinrich Karl de la Motte (1777-1843). Undine. London and New York: William Heinemann and Doubleday Page & Co., 1909.

4to. 15 color-printed plates by Rackham tipped to mounts. (Light toning throughout.) Original vellum gilt, top edge gilt, others uncut (light soiling, lacking silk ties); custom white morocco-tipped slipcase.

LIMITED EDITION, one of 1000 copies, SIGNED BY RACKHAM. Undine was an immediate success upon its first publication in 1811, with a highly successful operatic adaptation produced five years later; key thematic elements influenced Hans Christian Andersen during his writing of The Little Mermaid. Latimore & Haskell, 34-35; Riall, 93. $300 - 400

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117 [RACKHAM, Arthur (1867-1939), illustrator]. WAGNER, Richard (18131883). [The Ring of the Niblung]. The Rhinegold & the Valkyrie. -- Siegfried & the Twilight of the Gods. Margaret Armour, translator. London and New York: William Heinemann and Doubleday Page & Co., 1910, 1911.

2 volumes, 4to. Titles printed in gold and black, 64 total tipped-in colorprinted plates by Rackham tipped to mounts, numerous illustrations.

(Some offsetting, minor spotting and slight toning.) Original vellum decorated and lettered in gilt, top edge gilt, others uncut, later silk ties (some minor soiling and light wear); custom white morocco-tipped slipcases.

FIRST EDITIONS, LIMITED ISSUE, Rhinegold unnumbered out-of-series and Siegfried number 543 of 1150 copies, BOTH SIGNED BY RACKHAM. These English translations of Wagner’s first two operas in The Ring of the Niblung series contain some of Rackham’s only illustrations for an adult audience. Latimore & Haskell, p. 37-38; Riall pp. 103, 109. $1,500 - 2,500

118 [RACKHAM, Arthur (1867-1939)]. AESOP (ca. 620-564 BCE). Aesop’s Fables. London: William Heinemann, 1912.

4to. 13 color-printed plates by Rackham tipped to mounts with numerous in-text illustrations. (Toning and light spotting to endpapers.) Original white buckram gilt, top edge gilt, others uncut (darkening to spine, light soiling); custom white morocco-tipped slipcase. Provenance: John Holbrook Jr. (inscription).

FIRST EDITION, LIMITED ISSUE, number 878 of 1450 copies, SIGNED BY RACKHAM. Latimore & Haskell, 39. $500 - 700

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119 RACKHAM, Arthur (1867-1939). Mother Goose the Old Nursery Rhymes.

London: William Heinemann, 1913.

4to. 13 color-printed plates by Rackham tipped to mounts, numerous illustrations. (Slight offsetting and spotting.) Original white buckram gilt, top edge gilt, others uncut (slight soiling); custom white morocco-tipped slipcase.

LIMITED EDITION, number 984 of 1100 copies for sale in Great Britain, Ireland and Colonies of a total edition of 1130 copies, SIGNED BY RACKHAM. “There are many more nursery rhymes than are included in this book... I have chosen those I knew and liked best in my own nursery days, and I have kept to the versions that I was familiar with” (Foreword, pp. v-vi). Latimore & Haskell, pp. 49-50; Riall pp. 115.

[Laid in:] A printed notice for “Arthur Rackham Exhibition” containing his original watercolor drawings for Mother Goose and other subjects held by Ernest Brown and Phillips at the Leicester Galleries in London from 11 October 1913 to 15 November 1913. $800 - 1,200

120 [RACKHAM, Arthur (1867-1939), illustrator]. Little Brother & Little Sister and Other Tales by the Brothers Grimm. London: Constable & Co., Ltd., 1917.

4to. 13 color-printed plates by Rackham with numerous in-text illustrations. (Very light spotting throughout.) Original light gray cloth gilt, top edge gilt, others uncut (light rubbing); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 443 of 525 copies, SIGNED BY RACKHAM., WITH SCARCE ADDITIONAL MOUNTED COLOR PLATE SIGNED

BY RACKHAM IN SEPARATE PUBLISHER’S ENVELOPE. Latimore & Haskell, 46-47; Riall, 129. $800 - 1,200

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121 [RACKHAM, Arthur (1867-1939)]. MALORY, Thomas, Sir (ca. 1400-ca.

1470). The Romance of King Arthur and His Knights of the Round Table.

London: MacMillan and Co., 1917.

4to. 26 color-printed plates by Rackham tipped to mounts with numerous in-text illustrations. Original vellum gilt, top edge gilt, others uncut (lightly soiled); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 159 of 500 copies of the “Deluxe Edition,” SIGNED BY RACKHAM. The Romance of King Arthur is an abridged edition of Sir Thomas Malory’s Le Morte d’Arthur. Latimore & Haskell, 47; Riall, 130. $800 - 1,200

122 [RACKHAM, Arthur (1867-1939), illustrator]. STEEL, Flora Annie (18471929). English Fairy Tales. London: Macmillan & Co., 1918.

4to. 16 color-printed plates by Rackham tipped to mounts with additional illustrations in-text. (Isolated stains on front free endpaper.) Original vellum gilt, top edge gilt (rubbing, light soiling, inner paper hinges repaired); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 327 of 500 copies, SIGNED BY RACKHAM. Latimore & Haskell, 48. $800 - 1,200

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123 [RACKHAM, Arthur (1867-1939), illustrator]. EVANS, Charles Seddon (1883-1944). Cinderella. London and Philadelphia: William Heinemann and J.B. Lippincott Co., [1919].

4to. Color-printed frontispiece plate tipped to mount within color-printed pictorial border, numerous illustrations by Rackham. (Slight toning.)

Original vellum-backed white boards gilt, top edge gilt, others uncut (some minor toning and soiling, slight wear); custom white morocco-tipped slipcase.

LIMITED EDITION, number 125 of 325 copies of the “Edition de Luxe” printed on Japanese vellum (300 of which are for sale), out of a total edition of 850, SIGNED BY RACKHAM, with the additional color-printed plate by Rackham not present in the trade editions. Cinderella contains Rackham’s characteristic silhouette images, exemplifying his post-World War I style. Latimore & Haskell, pp. 49-50; Riall, p. 134. $600 - 800

124 [RACKHAM, Arthur (1867-1939), illustrator]. Some British Ballads.

Illustrated by Arthur Rackham. London: Constable & Co., [1919].

4to. 11 color-printed plates by Rackham. (Very light browning to endpapers.) Original vellum-backed cream-colored boards gilt, top edge gilt, others uncut (light soiling, corners lightly bumped, rubbing); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 23 of 575 copies, SIGNED BY RACKHAM. Some British Ballads comprises numerous traditional ballads and verses compiled by Rackham during the First World War; during this time Rackham aided the war effort by donning a uniform and helping to dig trenches in Essex. Latimore & Haskell, 50-51; Riall, 137. $400 - 600

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125 [RACKHAM, Arthur (1867-1939), illustrator]. EVANS, Charles Seddon (1883-1944). The Sleeping Beauty. London and Philadelphia: William Heinemann and J.B. Lippincott Co., [1920].

4to. Color-illustrated title-page, one color-printed plate tipped to page with printed pictorial border, numerous illustrations. (Slight offsetting.) Original vellum-backed cream boards gilt, top edge gilt, others uncut and partially unopened (some minor toning); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 76 of 625 copies of the “Edition de Luxe,” of which 600 were for sale, SIGNED BY RACKHAM. Rackham’s illustrations in Sleeping Beauty exemplify his characteristic silhouette style, which he used more frequently after World War I. This edition includes an extra color-printed plate not present in the trade edition.

Latimore & Haskell, pp. 51-52; Riall, p. 141. $600 - 800

126 [RACKHAM, Arthur (1867-1939), illustrator.]. STEPHENS, James (18801950). Irish Fairy Tales. London: MacMillan & Co. Ltd., 1920.

4to. 16 color-printed plates by Rackham tipped to mounts with numerous in-text illustrations. Original half vellum, vellum-paper-covered boards gilt, top edge gilt, others uncut (one corner bumped, light toning to spine); custom white morocco-tipped slipcase. Provenance: bookplates.

FIRST EDITION, LIMITED ISSUE, one of 520 copies of the “Deluxe Edition,” SIGNED BY RACKHAM. Irish Fairy Tales comprises ten classic Irish tales, including «The Birth of Bran,» as retold by Irish author James Stephens. Latimore & Haskell, 52; Riall, 138. $800 - 1,200

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127 [RACKHAM, Arthur (1867-1939), illustrator]. MILTON, John (16081674). Comus. London and New York: William Heinemann and Doubleday, Page & Co., 1921.

4to. 24 color-printed plates by Rackham tipped to mounts with numerous in-text illustrations. (Light marginal toning, offsetting to introductory and concluding pages not affecting text.) Contemporary half polished calf gilt, red and black morocco lettering-pieces, top edge gilt, others uncut, stamp-signed by Bayntun (light rubbing); custom white morocco-tipped chemise and slipcase.

FIRST EDITION, LIMITED ISSUE, number 509 of 550 copies, SIGNED BY RACKHAM. Latimore & Haskell, 54; Riall, 143. $400 - 600

128 [RACKHAM, Arthur (1867-1939), illustrator.]. PHILLPOTTS, Eden (18621960). A Dish of Apples. London and New York: Hodder & Stoughton, 1921.

4to. 3 color-printed plates by Rackham tipped to mounts with numerous in-text illustrations. (Faint offsetting to endpapers.) Original cream buckram gilt, top edge gilt, others uncut; custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 304 of 500 copies of the “Deluxe edition,” SIGNED BY RACKHAM AND PHILLPOTTS. Latimore & Haskell, 54; Riall, 144. $400 - 600

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129 [RACKHAM, Arthur (1867-1939), illustrator]. HAWTHORNE, Nathaniel (1804-1864). A Wonder-Book. London, New York, Toronto: Hodder & Stoughton Ltd., [1922].

4to. 16 color-printed plates by Rackham tipped to mounts with 8 additional color illustrations. Original cream buckram gilt, top edge gilt, others uncut (light soiling); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 484 of 600 copies, SIGNED BY RACKHAM. A Wonder-Book comprises numerous Greek myths as retold by Hawthorne for young children. Latimore & Haskell, 55; Riall, 146. $500 - 700

130 [RACKHAM, Arthur (1867-1939), illustrator]. BIANCO, Margery Williams (1881-1944). Poor Cecco. New York: George H. Doran Company, 1925.

4to. 7 color-printed plates tipped to mounts by Rackham. (1 3/4” closed tear at bottom of pp. 77-78 not affecting text.) Original cream and blue paper boards, top edge gilt, uncut (light soiling at foot of spine); original slipcase (residue from tape repairs, rubbing along edges, light soiling); custom folding box.

LIMITED EDITION, number 23 of 105 copies SIGNED BY BIANCO. Poor Cecco, the rarest of all limited editions of Rackham›s works, was originally published in serial form in Good Housekeeping beginning in May 1925. Latimore & Haskell, 59; Riall, 155. $2,000 - 3,000

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131 [RACKHAM, Arthur (1867-1939), illustrator]. SHAKESPEARE, William (1564-1616). The Tempest. London and New York: William Heinemann and Doubleday, Page & Company, [1926].

4to. 21 color-printed plates by Rackham tipped to mounts, numerous illustrations. (Some minor soiling to a few leaves.) Original vellum-backed boards gilt-stamped, top edge gilt, others uncut (some minor spotting and soiling, slight wear to extremities); printed dust jacket (tears to spine panel and flap folds, some chipping and losses with one 1 1/2-in. chip preserved, some soiling and creasing); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 107 of 260 copies for sale in Great Britain and Ireland of a total edition of 520 copies, SIGNED BY RACKHAM. IN THE RARE PUBLISHER’S DUST JACKET. This edition, which includes an additional color plate not included in the trade edition, was proclaimed the “most exquisitely illustrated by Arthur Rackham, and some of the colour plates were the loveliest things of their kind that I have seen” (The Bystander, 8 December 1926). Latimore & Haskell, p.

61; Riall p. 161. $1,500 - 2,500

132 [RACKHAM, Arthur (1867-1939)]. IRVING, Washington (1783-1859). The Legend of Sleepy Hollow. London: George G. Harrap, 1928.

4to. 8 color-printed plates by Rackham tipped to mounts with numerous in-text illustrations. Original vellum, top edges gilt, others uncut (light spotting); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 203 of 375 copies of the “Deluxe edition,” one of 250 for sale in England. Latimore & Haskell, 63-64; Riall, 164. $800 - 1,200

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133 [RACKHAM, Arthur (1867-1939), illustrator]. GOLDSMITH, Oliver (17281774). The Vicar of Wakefield. London: George G. Harrap & Company, 1929.

4to. 12 color-printed plates by Rackham tipped to mounts with numerous in-text illustrations. (Minor dampstaining and toning on first and last few leaves not affecting text.) Original vellum, top edge gilt, others uncut (light soiling); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 92 of 575 copies for sale in England of a total edition of 775 copies, SIGNED BY RACKHAM. “Seldom have we seen such a beautiful edition of The Vicar as this latest production...» (The Bookman, Dec. 1929). Latimore & Haskell, 65; Riall, 170. $500 - 700

134 [RACKHAM, Arthur (1867-1939), illustrator]. MOORE, Clement C. (17791863). The Night Before Christmas. London: George C. Harrap & Co. Ltd., [1931].

8vo. Title printed in red and black, 4 color-printed plates and numerous illustrations by Rackham. (A few tiny spots.) Original limp vellum gilt, top edge gilt, others uncut (a touch of soiling); original board slipcase (some wear with repairs). Provenance: Meredith Wood Eugene (gift inscription from John Barry Ryan, 1934).

LIMITED EDITION, ENGLISH ISSUE, number 81 of 275 copies for sale in England of a total edition of 550 copies, SIGNED BY RACKHAM, IN THE RARE ORIGINAL SLIPCASE. Moore’s descriptions in this Yuletide poem shifted American views of Santa Claus, turning away from describing the previous lanky disciplinarian and towards a rosy-cheeked cheerful character; Rackham’s illustrations for this edition further emphasized Santa’s good-natured gift-giving to children. Latimore & Haskell, p. 66; Riall, p. 174. $1,000 - 1,500

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135 [RACKHAM, Arthur (1867-1939), illustrator]. WALTON, Izaak (15931683). The Compleat Angler. London: George C. Harrap & Co. Ltd., [1931].

4to. Title printed in green and black, 12 color-printed plates by Rackham tipped to mounts, numerous illustrations. (Some occasional spotting and light marginal toning.) Original vellum gilt, top edge gilt, others uncut (slight soiling and minor wear); custom white morocco-tipped slipcase. Provenance: Gift inscription, 1933.

LIMITED EDITION, number 190 of 775 copies of the “Deluxe edition,” SIGNED BY RACKHAM. Walton’s definitive book on the sport of angling was illustrated by Rackham at a time when his publishers recognized how profitable his illustrated books were as gifts and “threw a presentation party, for the publication of The Compleat Angler, on 24th September 1931” (Riall). Latimore & Haskell, p. 66-67; Riall, p. 175. $600 - 800

136 [RACKHAM, Arthur (1867-1939), illustrator]. RUSKIN, John (18191900). The King of the Golden River. London: George Harrap & Co. Ltd., [1932].

8vo. Title printed in red and black, 4 color-printed plates and numerous illustrations by Rackham. (Slight toning to a few leaves.) Original limp vellum gilt, top edge gilt, others uncut (a touch of light soiling); original board slipcase.

LIMITED EDITION, number 151 of 575 copies of which 550 are for sale, SIGNED BY RACKHAM. Rackham’s fanciful illustrations accompany this English fairy story, described by the author as “a fairly good imitation of Grimm and Dickens, mixed with some true Alpine feeling of my own” (The Oxford Companion to Fairy Tales, p. 522). Latimore & Haskell, pp. 67-68; Riall p. 176. $500 - 700

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137 [RACKHAM, Arthur (1867-1939), illustrator]. ANDERSEN, Hans Christian (1805-1875). Fairy Tales. London: George G. Harrap & Co. Ltd., 1932.

4to. Title printed in brown and black, 12 color-printed plates by Rackham tipped to mounts, 59 illustrations. (A few tiny light spots.) Original vellum gilt, top edge gilt, others uncut and unopened (a touch of spotting and soiling); original board slipcase.

FIRST EDITION, LIMITED ISSUE, number 130 of 525 copies, SIGNED BY RACKHAM. Rackham’s illustrations adorn Andersen’s 24 fairy tales, and were based on the illustrator’s travel to Denmark: “I should like to add that I have made no attempt in my illustrations to look through Danish eyes. But I think that my visit to Denmark... did give me just that nearer view of the author’s country that I needed--a view that helped me to realize again the sensation I felt as a child when I first read Andersen” (“Note by the Illustrator,” pp.7-8). Latimore & Haskell, p. 68; Riall p. 177. $1,000 - 1,500

138 [RACKHAM, Arthur (1867-1939), illustrator]. ROSSETTI, Christina (18301894). Goblin Market. London: George G. Harrap & Co. Ltd., [1933].

8vo. Title printed in green and black, 4 color-printed plates and numerous illustrations by Rackham. (A touch of marginal toning.) Original limp vellum gilt, top edge gilt, others uncut (slight toning to extreme edges); original board slipcase.

LIMITED EDITION, number 209 of 410 copies of which 400 are for sale, SIGNED BY RACKHAM. Rackham’s dark and fantastical images match the tone of temptation and salvation in Rossetti’s narrative poem. Latimore & Haskell, p. 69; Riall, p. 179. $400 - 600

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139 RACKHAM, Arthur (1867-1939). The Arthur Rackham Fairy Book, A Book of Old Favorites with New Illustrations. London: George G. Harrap & Co. Ltd., 1933.

8vo. 8 color-printed plates by Rackham tipped to mounts with numerous in-text illustrations. (Light spotting throughout.) Original vellum gilt, top edge gilt, others uncut and some partially unopened, silk bookmark (rubbing, light toning); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 186 of 460 copies, SIGNED BY RACKHAM. A collection of fairy tales retold by Arthur Rackham and one of the last of his projects published in his lifetime. Riall, 183. $600 - 800

140 [RACKHAM, Arthur (1867-1939), illustrator]. BROWNING, Robert (18121889). The Pied Piper of Hamelin. London: George G. Harrap & Co., 1934.

8vo. 4 color-printed plates by Rackham with numerous in-text illustrations.

Original limp vellum gilt, top edges gilt; original slipcase (cracked along lower edge, light browning).

LIMITED EDITION, number 75 of 410 copies of the “Deluxe edition,” SIGNED BY RACKHAM. The Pied Piper of Hamelin was adapted by Browning from a 1605 English translation of a 14th-century German folktale. Latimore & Haskell, 71; Riall, 186. $400 - 600

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141 [RACKHAM, Arthur (1867-1939)]. POE, Edgar Allan (1809-1849). Tales of Mystery & Imagination by Edgar Allan Poe. London: George G. Harrap & Co. Ltd., 1935.

4to. 12 color-printed plates by Rackham tipped to mounts with numerous in-text illustrations. Original vellum gilt, top edge gilt, others uncut (light rubbing); custom white morocco-tipped slipcase.

FIRST EDITION, LIMITED ISSUE, number 276 of 460 copies, SIGNED BY RACKHAM. Rackham delved so deeply into the more horrific contexts of Poe’s tales that he would write to a friend, “[These illustrations were] so horrible I was beginning to frighten myself.” (Carpenter and Pritchard, 439). Latimore and Haskel, 72. $1,000 - 1,500

142 ROTH, Henry (1906-1995). Call It Sleep. New York: Robert O. Ballou, 1934.

8vo. Publisher’s grey cloth, top edge stained blue (very slightly toned at spine ends); in unrestored original pictorial dust jacket designed by Stuyvesant van Veen (a few small chips and tears, tiny loss to front spine fold); quarter morocco folding case.

FIRST EDITION OF ROTH’S FIRST NOVEL. IN THE FIRST STATE JACKET with “Underlying the splendid surface...” on the front flap and without the blurb from the Minneapolis Star. Upon its publication, critics hailed the novel as a Modernist masterpiece. Despite earning critical acclaim, the book sold poorly and was out of print for nearly 30 years before a review by Irving Howe for The New York Times Book Review in October 1964 renewed interest in the work, describing it as a brilliant dream-like work. In 1964, it was published in a paperback edition which sold over one million copies. Call It Sleep “evokes with relentless accuracy the gigantic fears, extreme attachments and dreadful misconceptions of childhood… [and]… has been described as one of the ‘greatest achievements of American writing this century” (Parker & Kermode, 181). A BRIGHT COPY. $6,000 - 8,000

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143 [SHAKESPEARE, William]. BOYDELL, John (1720-1804). A Collection of Prints From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakespeare By the Artists of Great Britain. London: John and Josiah Boydell, 1803 [but 1805].

2 volumes in one, large folio (plates: 824 x 557 mm; text: 716 x 505 mm). 100 stipple-engravings, comprising: 2 frontispiece portraits depicting George III and Queen Charlotte, 2 title-page vignettes, and 96 plates ALL IN AN EARLY OPEN-LETTER STATE, after works by Reynolds, Fuseli, Romney, Westall, Northcote, Hamilton, Threw, Opie, Porter, Smirke and others [“Shakespeare Nursed by Tragedy and Comedy” in a smaller format measuring 420 x 572 mm and tipped to a larger sheet.] (Some light spotting to a few plates, otherwise fresh.) 19th-century calf gilt, marbled edges (portions of joints just starting, some very light rubbing). Provenance: A.W.F. (morocco gilt bookplate).

LARGE-PAPER OPEN-LETTER PROOF ISSUE of Boydell’s illustrations for Shakespeare’s works, first published in smaller format to accompany George Steevens’s edition of Shakespeare’s works from 1791-1802 in 18 parts forming 9 volumes. Upon its completion, the plates were published again in 1802, and were published in a large-format edition for the first time in 1803. In 1805, the large-format plates were issued yet again with a new preface and dedication.

“There can be no doubt that Boydell’s Shakespeare...was the most splendid of bibliophile editions undertaken in the 18th-century or at any other time...No printing press, which has hitherto existed, ever produced a work...so uniformly beautiful” (Franklin).

EXTRA-ILLUSTRATED by the addition of four mezzotint portraits tipped to larger sheets: a proof before letters of George the Third by Dickinson after Reynolds; a proof before letters of Queen Charlotte by Houston after Zoffany; an open-letter proof of “Mr. Kemble in the Character of Coriolanus” by Meadows after Lawrence; and an open-letter proof of “Mrs. Siddons in the Character of the Tragic Muse” by Howard after Reynolds. $10,000 - 15,000

144 SHELLEY, Percy Bysshe (1792-1822). The Complete Poetical Works of Shelley. Thomas Hutchinson, editor. Oxford: The Clarendon Press, 1904.

8vo. Portrait frontispiece. (Light marginal toning.) 20th-century brown crushed levant gilt, spine in 6 compartments with 5 raised bands, gilt-lettered in 2, the rest gilt-decorated, edges gilt (spine slightly sunned, a few minor scuffs, a touch of wear to extremities).

Collected edition of Shelley’s complete poetical works, including materials not included in previous editions of his poems. $300 - 400

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145 SOLVYNS, Frans Balthazar (1760-1824). The Costume of Hindostan. London: W. Bulmer for Edward Orme, 1804 [-1805].

Folio (384 x 270 mm). Text in English and French; 60 hand-colored engraved plates by Scott or Vivares after Solvyns watermarked 1800, 1802, or 1804, occasionally with tissue guards. Contemporary red morocco-backed boards, red morocco corners, sides with central gilt “E A” cypher, smooth spine gilt, uncut (short vertical tear on spine panel, a few neat repairs to spine ends). Provenance: Eugène Rose de Beauharnais (1781-1824), French general in the Napoleonic Wars, and Viceroy of Italy (cypher on binding); Princess Augusta Amalia Ludovika Georgia of Bavaria (1788-1851), wife of Eugène Rose de Beauharnais and daughter of Napoleon’s ally Maximilian I of Bavaria (cypher on binding); Eugene de Savitsch (bookplate dated 1948).

FIRST EDITION IN BOOK FORM of Solvyns’ record of the people of Bengal, based on drawings he made while living in Calcutta from 1791 to 1803. His work was first published in 1803 in parts, followed by editions in 1804 (as here), and 1807.

Eugène Rose de Beauharnais and Princess Augusta Amalia Ludovika Georgia of Bavaria’s copy, with their gilt cypher on the covers. Through the second marriage of his mother, Joséphine de Beauharnais, Eugène Rose de Beauharnais was the stepson of Napoleon Bonaparte. He joined the 1st Hussar Regiment in 1797, serving as an aide-de-camp to his Napoleon Bonaparte in the Italian campaign.

Abbey Travel 429; Brunet V:433; Colas 2765. $2,000 - 3,000

146 SOLVYNS, Frans Balthazar (1760-1824). Les Hindous ou Description de Leurs Moeurs, Coutumes et Ceremonies. Paris: Chez l’Auteur & H. Nicolle, 1808-1812.

48 parts in 4 volumes, folio (552 x 408 mm). Half-titles, title pages with etched vignettes partly printed in color and finished by hand, text in English and French. 288 etched plates, partly printed in color and most finished by hand, including 36 double-page plates mounted on guards. (Some spotting to a few leaves, ca 12 plates in Vol. III trimmed and mounted or window-mounted to larger sheets, last text leaf of Vol. IV torn across text with old repair, a few half-titles with vertical creases.) Modern half green morocco gilt, top edge gilt.

FIRST EDITION, an early example of color printing. Solvyns, a Dutch native, traveled to Calcutta in 1790, arriving in 1791, He undertook a commission producing illustrations for Alexander Kyd, the Surveyor-General in Calcutta, to accompany a report was producing for the East India Company about his expedition to Penang and the Andaman Islands. Solvyns first issued his series of 250 engravings as “A Collection of Two Hundred and Fifty Coloured Etchings Descriptive of the Manners, Customs, and Dress of the Hindoos,” a work printed in Calcutta, in 1799. Returning to Europe, he enlarged the work resulting in the present edition. The plates depict the customs, festivals, occupations, costume, and flora and fauna of the region. Abbey Travel 430; Brunet V:432; Colas 2767. $15,000 - 25,000

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147 STAUNTON, George Leonard (1737-1801). An Authentic Account of an Embassy from the King of Great Britain to the Emperor of China... taken chiefly from the papers of his Excellency the Earl of Macartney. London: by W. Bulmer and Co. for G. Nicol, 1797.

3 volumes, comprising: 2 volumes text, 4to (284 x 225 mm); atlas, small folio (425 x 283 mm). Text volumes: 2 engraved frontispiece portraits, one engraved plate, 26 engravings in text. Atlas volume: additional large-paper engraved frontispiece portraits and 44 engraved maps and plates. (Some spotting and browning.) Contemporary half calf, marbled boards, spines in 5 compartments with 4 wide bands gilt (minor loss to one band on one text volume, some repairs to spines and joints, atlas volume rebacked and recornered, some light rubbing or wear, atlas covers slightly bowed). Provenance: Powell Library Fareham (booklabels in text volumes).

FIRST EDITION, “A MOST INTERESTING ACCOUNT OF CHINESE MANNERS AND CUSTOMS AT THE CLOSE OF THE EIGHTEENTH CENTURY” (Cox). Staunton was appointed principal secretary to Lord Macartney’s embassy to Beijing China in 1792. Great Britain was eager to establish a formal diplomatic relationship with China to improve commercial relations and open trade. Macartney and Staunton had an audience with the Emperor, but their proposals were rejected. Though the mission was ultimately unsuccessful, “his visit was not in vain, however, for it gave us a most interesting account of Chinese manners and customs at the close of the 18th century” (Cox I: 344). Staunton’s Account was also of considerable interest for its descriptions of places he visited en route, including Madeira, Teneriff, Rio de Janeiro, St. Helena, Tristan d’Achunha, Amsterdam Island, Java, Sumatra, and Cochin-China. Brunet V:525; Cordier Sinica 2382. $10,000 - 15,000

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148 STEINBECK, John (1902-1968). Of Mice and Men. New York: Covici-Friede, [1937].

8vo. Half-title; title printed in brown and black. Original beige cloth, stamped in brown and black (a touch of darkening to spine); unrestored publisher’s dust jacket (light toning to spine and edges, slight soiling and scuffing, a few short tears along panel folds).

FIRST EDITION, FIRST ISSUE, including the line “...and only moved because the heavy hands were pendula.” on page 9, as well as the bullet between the 8s on page 88, top edge stained blue, IN THE FIRST ISSUE DUST JACKET with $2.00 price. Steinbeck’s novella portraying the lives of George Milton and Lennie Small, migrant farm workers in California during the Great Depression, was based on his own experiences working alongside migrant farm workers in the 1910s. Goldstone & Payne A7a. $1,000 - 1,500

149 STEINBECK, John (1902-1968). Cannery Row. New York: Viking Press, 1945.

8vo. Original yellow cloth printed in blue, top edge stained blue; in unrestored unclipped dust jacket (light toning, small loss to top of front flap, light chipping to spine ends).

FIRST EDITION. PRESENTATION COPY - INSCRIBED BY STEINBECK:. “For Alan Green, with many thanks.” In the second issue binding. Cannery Row was printed in conformity with wartime conservation measures, with the first state binding issued in a light buff cloth. When supplies ran out, the rest of the first edition copies (including the present copy) were printed in light yellow cloth. Goldstone & Payne A22b; Valentine 174; Bruccoli & Clark I, 355; Salinas 35. $800 - 1,200

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150 SWIFT, Jonathan (1667-1745). Travels Into Several Remote Nations of the World. In four parts. By Lemuel Gulliver... London: Printed for Benj. Motte, 1726.

2 volumes, 8vo (190 x 113 mm). Engraved portrait frontispiece (a few leaves lightly trimmed not affecting text or image). Modern calf antique gilt; folding case.

FIRST EDITION, third issue (Teerink “B”), with the vertical chain lines of the earlier state. An explosive satire, Gulliver’s Travels attracted both criticism and praise for its clever critiques of politics, misogyny, and the «traveller›s tales» subgenre popular during the 18th century. Teerink 291; Grolier English, 42; Rothschild 2108. $4,000 - 6,000

151 TAJIMA, Shiichi (1869-1920). Masterpieces Selected from the Ukiyoye School. Tokyo: The Shimbi Shoin, 1906-1909.

5 volumes, folio. Half-titles, 170 plates, including 69 printed in color on silk, and 95 printed in color, a few folding, lettered tissue guards, numerous in-text illustrations. (Some occasional spotting.) Original color-printed pictorial silk over beveled boards, sewn with purple silk cord, top and bottom edges gilt, foreedge uncut (some wear to extremities and minor soiling and fading).

FIRST EDITION, LIMITED ISSUE, number 67 of 100 sets of the “Edition de Luxe.” Considered the masterpiece of the acclaimed Shimbi Shoin publishing house, this work took over 10 years to produce. English-language explanatory text accompanies the detailed wood engravings in the Japanese ukiyo-e tradition. Many of these woodblocks were printed on silk, a technique pioneered by Shimbi Shoin. The binding of each volume depicts a different image. $5,000 - 7,000

152 TENNYSON, Alfred, Lord (1809-1892). The Works of Alfred, Lord Tennyson. New York and London: G. P. Putnam’s Sons, 1909.

8 volumes, 8vo. Photogravures from original designs by Frederick Simpson Coburn and Gustave Dore. Contemporary navy crushed levant gilt, decorated with floral red calf onlays, top edges gilt, others uncut (light sunning to spines).

LIMITED EDITION, number 22 of 50 sets of the “Poet Laureate Edition.”

[Tipped into volume I:] TENNYSON, Alfred Lord. Manuscript letter signed in his hand (“A. Tennyson”) with the bulk of text written by Tennyson’s wife, Emily, dated 25 November 1872, 2 pp., 8vo ( In full: “Dear Sir, I am happy to be able to return your tale and your poems. The subjects treated of in your poems and your first letter are I feel too high and rare to be dealt with in a letter but you have let me assure you, my sympathy.” $1,500 - 2,500 96

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153 THOMSON, John (1837-1921). Illustrations of China and its People.

A Series of Two Hundred Photographs, with Letterpress Descriptive of the Placed and People Represented. London: Sampson Low, Marston, Low, and Searle, 1873-1874.

4 volumes, folio (470 x 350 mm). 218 collotype images on 96 plates. (Vol. I title-page becoming with some minor chipping and a short tear in the gutter margin Vol. I, some very minor spotting to a few leaves.) Original brown cloth gilt (some minor chipping or losses to a few extremities, corners slightly bumped, a few hinges starting). Provenance: Paget Library, The Red Triangle Club, Chichester (bookplates).

FIRST EDITION, ONE OF THE MOST EXTENSIVE VISUAL RECORDS OF MID-19TH-CENTURY CHINA, likely one of only 750 sets published.

Sampson Low, the publisher, patented a form of collotype printing called “autotype” by which Thomson’s photographs were beautifully reproduced to maintain the high level of resolution in the original albumen prints. “My design in the accompanying work is to present a series of pictures of China and its people, such as shall convey an accurate impression of the country I traversed as well as of the arts, usages, and manners which prevail in different provinces of the Empire” (Introduction).

Between 1870 and 1872, Thomson “undertook four distinct journeys, up the north branch of the Pearl River, up the River Min to the area around Foochow (Fuzhou), to Peking (Beijing), and finally up the great Yangtze (Yangzi) River. The photographs taken on these journeys form one of the most extensive photographic surveys of any region taken in the nineteenth century. The range and depth of his photographic vision mark Thomson out as one of the most important travel photographers” (DNB). $20,000 - 30,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

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154 THOREAU, Henry David (1817-1862). A Yankee in Canada, With AntiSlavery and Reform Papers. Boston: Ticknor and Fields, 1866.

8vo. Publisher’s blind-stamped brown cloth, spine gilt [BAL Binding A, no priority] (spine sunned, a touch of wear to extremities, minor stain to lower cover); custom slipcase and chemise.

FIRST EDITION, FIRST ISSUE, one of only 1546 copies, INCLUDING THE FIRST PUBLICATION OF “CIVIL DISOBEDIENCE” IN BOOK FORM. Edited by William Ellery Channing and Sophia Thoreau and published posthumously, A Yankee in Canada contains “Prayers” on pp.[117]122, which was actually written by Ralph Waldo Emerson, but here misattributed to Thoreau. BAL 20117. $500 - 700

155 TOLSTOY, Lev Nikolayevich, Count (1828-1910). The Novels & Other Works of Lyof N. Tolstoi. New York: Charles Scribner’s Sons, 1903-1904.

24 volumes, 8vo. Half-titles, frontispieces in 2 states. Contemporary half dark-green morocco, spines in 6 compartments with 5 raised bands, gilt-lettered in 3, gilt-decorated in 4, top edges gilt, others uncut, STAMPSIGNED BY STIKEMAN & CO. (sunning to a few spines, a few minor stains).

LIMITED EDITION, number 18 of 150 copies printed on Ruisdael paper.

This edition includes Tolstoy’s major novels Anna Karenina, Resurrection, and War and Peace and other short stories and writings. While Tolstoy has never won the Nobel Prize, he was nominated for the award 19 times between 1901 and 1909, all of which he declined. $4,000 - 6,000

156 WELLS, H.G. (1866-1946). The Island of Doctor Moreau. London: William Heinemann, 1896.

8vo. (Light spotting throughout.) Original pictorial tan cloth, stamped in red and black, uncut (rubbing, light soiling); slipcase. Provenance: A.S. Rathbone (ownership inscription).

FIRST EDITION, FIRST ISSUE with 33 pp. advertisements at rear and in Currey’s (A) binding with monogram on rear board. The Island of Dr. Moreau has been adapted into film numerous times, perhaps most famously in 1932 as Island of Lost Souls starring Bela Lugosi as the Sayer of the Law. Currey p. 520; Hammond B3; Wells 8. $1,000 - 1,500

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157 WELLS, H.G. (1866-1946). The Invisible Man; A Grotesque Romance.

London: C. Arthur Pearson Limited, 1897.

8vo. Title-page printed in orange and black (very light toning). Original red cloth (spine slightly sunned, light soiling); folding case. Provenance: John Henry Hickinbotham (ownership inscription); John J. Banks (bookseller’s ticket).

FIRST EDITION, FIRST STATE with first page numbered “2” and title page printed in orange and black. Publisher’s ad leaf at rear. The Invisible Man was serialized in Pearson’s Weekly in 1897, and has been the basis for numerous film, radio, and television adaptations. Currey 520; Hammond B4; Wells 11. $600 - 800

158 WELLS, H.G. (1866-1946). The War of the Worlds. London: William Heinemann, 1898.

8vo. (Occasional light marginal soiling.) Original gray cloth uncut (previous owner’s signature on rear board, endleaves slightly browned light rubbing and toning); slipcase.

FIRST EDITION. Currey’s state (B) with 32-page publisher’s catalogue at rear. The War of the Worlds was originally published as a serial from April to December 1897 in Pearson’s Magazine and is considered to be one of the first stories to detail a conflict between humans and extraterrestrials. Bleiler 2331; Currey p. 526. $800 - 1,200

159 WELLS, H. G. (1866-1946). The Works. New York: Charles Scribner’s Sons, 1924-1927.

28 volumes, 8vo. Contemporary half red morocco gilt, top edges gilt, stamp-signed by Stikeman (light rubbing, light toning to spines).

LIMITED EDITION, number 693 of 1050 copies of the “Atlantic edition,” SIGNED BY WELLS. $5,000 - 7,000

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161 160 WILDE, Oscar (1854-1900). The Complete Works of Oscar Wilde. New York: Wm. H. Wise & Company, 1927.

2 volumes, 8vo. Half-titles, title-pages printed in red and black, numerous illustrations. (Slight soiling and marginal toning.) Mid-20th-century half blue morocco gilt, spines in 6 compartments with 5 raised bands gilt, gilt-lettered in 2, the rest gilt-decorated, top edges gilt, others uncut (a touch of wear to extremities, spines slightly darkened). Provenance: Susan W. Hildreth (original subscriber); Meyer Robert Guggenheim (1885-1959) U.S. Army Major and U.S. Ambassador to Portugal (bookplates).

The Collected “Connoisseur’s edition.” This set “specially prepared for Susan W. Hildreth.” With introductions by John Cowper Powys, Arthur Symonds, W.B. Yeats, and other authors. $2,000 - 3,000

161 WILSON, Alexander (1766-1813). American Ornithology; or, The Natural History of the Birds of the United States. Philadelphia: Bradford and Inskeep, 1808-1814.

[With:] BONAPARTE, Charles Lucian. American Ornithology; Or, the Natural History of Birds Inhabiting the United States. Not Given by Wilson... Philadelphia: Samuel Augustus Mitchell, Carey, Lea, and Carey, 1825-1833.

Together, two works in 13 volumes bound in 6, 4to (342 x 264 mm). 103 engraved plates with hand coloring, comprising: Wilson, 76 engraved plates with hand-coloring; Bonaparte, 27 engraved plates with hand-coloring. (Some spotting to a few volumes, some offsetting, a few imprints bound tight or just shaved.)

Uniformly bound in mid-19th-century polished green calf elaborately gilt in a foliate motif, sides with red morocco onlays gilt, spines in 6 compartments with 5 161 raised bands, tan morocco lettering-pieces in 2, the rest with tan morocco onlays gilt, board edges and turn-ins gilt, edges gilt, STAMP-SIGNED BY JOHN WRIGHT (upper cover to vols. I & II of Bonaparte’s work neatly reattached, some light rubbing to extremities, a few minor scratches).

FIRST EDITION OF THE FIRST AMERICAN BIRD BOOK WITH COLOR PLATES PUBLISHED IN AMERICA. Second state of the text on p.33 of Volume I of Wilson’s work.

Alexander Wilson, the “father of American ornithology,” emigrated to America from Scotland in 1794. Though not a naturalist by training, he was fascinated with the American landscape and varieties of birds he had never seen before. Naturalist William Bartram encouraged him to cultivate his interest, and in 1807, Wilson secured an editorial position with Philadelphia publisher Samuel Bradford, who he persuaded to finance his monumental American Ornithology.

Many of the plates were engraved by Alexander Lawson. Wilson died before the final three volumes of his work were published, and George Ord completed the text for the work. A decade later, Charles Bonaparte issued his sequel to Wilson’s work. Bonaparte’s work included the first published bird plate from a drawing by John James Audubon (Plate IV, the female great crow-blackbird). Wilson’s work, along with Bonaparte’s, established the foundation for the study of birds in America. Anker 533 (“the classical work of American ornithological literature”); Bennett, p. 114; Fine Bird Books, p. 114; Nissen IVB 992; Sabin 104597 and 6264; Reese Stamped with a National Character 3 (“the first American work to use color plates to convey scientific information”); Zimmer 679 and 64. A FINE COPY. $15,000 - 25,000 1 0 0 F I N E B O O K S F R O M T H E D O R R O S F A M I LY C O L L E C T I O N

162 WILSON, Charles William, Sir (1836-1905). Picturesque Palestine, Sinai and Egypt. New York: D. Appleton and Company, 1880-1883.

40 volumes in 40 original parts, 4to. 2 maps, 40 steel engravings, and 574 wood engravings. Original pictorial wrappers printed in blue (light spotting, a few closed tears, toning, a few volumes partially disbound but with all parts intact, light dampstaining to two volumes).

FIRST EDITION, RARE IN THE ORIGINAL PARTS. Beginning in 1864 Charles William Wilson began the first official survey of Jerusalem while working for the wealthy philanthropist Baroness Angela Burdett-Coutts, who wished to identify a better source of drinking water for the citizens of the city. These volumes contain the first printed views of the interior of the Dome of the Rock, a Muslim holy site at which the artists were famously protected by armed guards while they sketched its interiors, as Christians were traditionally barred from access (Ackerman, 258). Blackmer 1817.

[With:] WILSON. Picturesque Palestine, Sinai and Egypt. New York: D. Appleton and Company, 1880-1883. 2 volumes, 4to. 2 maps, 40 steel engravings, and 574 wood engravings. (Toning to page edges, some offsetting.) Publisher’s deluxe brown morocco decorated in blind, edges gilt (light rubbing along extremities). FIRST EDITION IN BOOK FORM. $500 - 700

163 WORDSWORTH, William (1770-1850). The Complete Poetical Works of William Wordsworth. Boston and New York: Houghton Mifflin Company, 1910-1911.

10 volumes, 8vo. Half-titles, title-pages printed in red and black; hand-colored photogravure frontispieces, numerous photogravure plates. (Slight toning, soiling to a few leaves.) 20th-century half brown morocco, marbled boards, spines in 6 compartments with 5 raised bands, gilt-lettered in 2, the rest with floral giltdecoration, top edges gilt, others uncut (some minor chipping to extremities). Provenance: Henry F. Schwarz (embossed bookplates).

LIMITED EDITION, number 42 of 500 sets of the “Large-Paper Edition.” The photogravure plates were created for this edition and taken by Walmsley Brothers of Ambleside, England who endeavored to “reproduce the atmosphere of Wordsworth’s poetry” through their pastoral views of the Lakeside District (“Publisher’s note,” p.v).

[Tipped in to vol. I:] WORDSWORTH, William. Autograph poetic manuscript from “Inscriptions For a Seat in The Groves of Coleorton” signed (“Wm Wordsworth”).

Rydal Mount, 7 November 1837. 1 page, 8vo (114 x 182 mm), brown ink on paper, window mounted. Comprising 7 lines (published as the last 4 lines on p.

238 in vol. V), in full: “Communities are lost and Empires die And things of holiest use unhallowed lie; They perish; but the Intellect can raise From airy words alone a pile that ne’er decays. Wm Wordsworth Rydal Mount Nov. 7th 1837.” $4,000 - 6,000 F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 101

164 [WYOMING–LARAMIE CITY]. TRIGGS, J.H. History and Directory of Laramie City, Wyoming Territory, Comprising a Brief History of Laramie City from its First Settlement to the Present Time, Together with Sketches of the Characteristics and Resources of the Surrounding Country; Including a Minute Description of a Portion of the Mining Region of the Black Hills. Also a General and Business Directory of Laramie City. Laramie City: Daily Sentinel Print, 1875.

8vo (224 x 145 mm). 91 pp. including advertisements. Original blue printed wrappers (upper wrapper with pale dampstain along spine); blue quarter morocco slipcase. Provenance: Presumably the Jay T. Snider copy, with bookplate removed from chemise (his sale, Christie’s New York, 21 June 2005, lot 321).

FIRST EDITION of this early history of the Wyoming Territory, with local advertisements on the versos of the first 50 leaves, and with a long alphabetical directory at the end. J. H. Triggs spent 12 years on the plains and in the Rocky Mountains. His history of the region begins “from the day of first settlement in April of 1868. It has long been recognized by students of western history as probably the most honest, outspoken, and vivid account of the early and turbulent days. Laramie was famous for its disorder, crime, and rapid growth. Triggs describes the horde that first came in as made up of one-fifth honest and daring men, the balance ‘were gamblers, thieves, highwaymen, robbers, cut-throats, garroters, prostitutes, and their necessary companions.’ The narrative describes the ensuing mass-meeting to form a government; its organization and collapse; the reign of violence; the formation of the Vigilance Committee government; the battles between the Vigilantes and the new police and succeeding events, until finally the Territorial legislature in desperation, took away the city’s charter, and put the community under the jurisdiction of the Federal courts” (Eberstadt 136:667h). Adams Herd 2332; Adams Six Guns 2239; Graff 4191; Howes T-351 («b»); Stopka Wyoming Territorial Imprints 1875; Streeter IV:2245. $4,000 - 6,000

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165 [WYOMING STOCK GROWERS’ ASSOCIATION]. Four log books, caption title: “Wyoming Stock Growers’ Association.” Wyoming: n.p., 1885, 1886.

4 volumes, 8vo (175 x 114 mm). Each volume with 5pp. printed Instructions to the Foremen, round-up logs accomplished in manuscript, signed notarized affidavits of the foremen and bills of sale or stubs. Original beige, brown, or gray cloth wallets with paper labels (some staining). Provenance: Thomas W. Streeter (bookplates).

THE THOMAS W. STREETER COPY. The Wyoming Stock Growers’ Association, founded in 1872, was the first association formed in the Wyoming territory, counting among its members the most powerful cattle owners in Wyoming. In the late 1800s, cattle grazed freely across unfenced land, resulting in a large number of heifers and bulls being born. To deal with potential ownership problems resulting from these births, the Association rounded up any unmarked stray cattle, called “mavericks,” at the end of each year and sold them at auction to benefit the Association.

At the end of the logbook for Round Up No. 5 in 1885 is a biographical note in green ink about foreman James C. Shaw: with a manuscript note at end: “James C. Shaw was a native of Georgetown, Texas. He 1st came up the Texas Trail with trail herds of cattle delivered in Wyoming. He was an outstanding cow boy who came up the hard way from trail driver, cow boy ranger foreman, cattle & ranch owner to the presidency of the Wyo. Stock Growers Assn. A democrat and rugged individualist.” $3,000 - 4,000 End of Sale F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 103

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Updated 8.1.23

Inquiries LEADERSHIP Alyssa D. Quinlan Chief Executive Officer alyssaquinlan @hindmanauctions.com Jay Frederick Krehbiel Executive Chairman Leslie Hindman Founder & Chairman Emeritus Wes Cowan Vice-Chair Maron Hindman Vice-Chair Andrew Seltzer Interim Chief Operating Officer andrewseltzer @hindmanauctions.com Molly Morse Limmer Executive Vice President, Deputy Chairman mollylimmer @hindmanauctions.com AUCTION OPERATIONS, CLIENT SERVICES Rita Swanberg Manager, Client Experience ritaswanberg @hindmanauctions.com Dawnie Komotios Operations Director Cincinnati dawniekomotios @hindmanauctions.com Nicole Joy Regional Manager Auction Operations nicolejoy @hindmanauctions.com FINANCE Marco Gusella Vice President, Finance marcogusella @hindmanauctions.com TRUSTS, ESTATES & PRIVATE CLIENTS Molly E. Gron, J.D. Managing Director mollygron @hindmanauctions.com Miranda Maxfield Senior Manager mirandamaxfield @hindmanauctions.com Hannah Unger Manager hannahunger @hindmanauctions.com Kathryn Hodge Senior Associate, West kathrynhodge @hindmanacutions.com Erin Madarieta Associate, East erinmadarieta @hindmanauctions.com

APPRAISALS Tim Luke, CAI, BAS, MPPA, ISA-AM Managing Director timluke @hindmanappraisals.com LaGina Austin Senior Director, Appraisals & Valuations laginaaustin @hindmanappraisals.com Margaret Cece Appraisals Supervisor margaretcece @hindmanappraisals.com MUSEUM SERVICES Timothy Long Director, Museum Business Development & Corporate Client Services timothylong@ hindmanauctions.com Briar Koehl Oleferchik Senior Manager, Museum Services briarkoehl@ hindmanauctions.com FINE ART Monica Brown Vice President, Director Prints & Multiples monicabrown @hindmanauctions.com Zack Wirsum Vice President, Director Post War & Contemporary Art zacharywirsum @hindmanauctions.com Madalina Lazen Director, Senior Specialist European Art madalinalazen @hindmanauctions.com

EUROPEAN FURNITURE & DECORATIVE ARTS Corbin Horn Vice President, Senior Specialist corbinhorn @hindmanauctions.com Nick Coombs Senior Specialist nickcoombs @hindmanauctions.com Donna Tribby Senior Specialist Sam Cowan National Head of Sale, The Collected Home Nicholas Gordon Associate Specialist Alison Lynch Associate Cataloguer Tyler Wilson Department Coordinator AMERICAN FURNITURE, FOLK & DECORATIVE ARTS Ben Fisher Vice President, Senior Specialist benfisher @hindmanauctions.com Leah Vogelpohl Specialist Katie Benedict Associate Specialist ANTIQUITIES & ANCIENT ART Jacob Coley Director, Senior Specialist jacobcoley @hindmanauctions.com

ASIAN ART Annie Wu Vice President, Senior Specialist anniewu @hindmanauctions.com Flora Zhang Specialist Megan Sadler Associate Specialist JEWELRY & WATCHES Reginald Brack Senior Vice President, Director, Jewelry & Watches reginaldbrack @hindmanauctions.com April Matteini, G.G. Senior Specialist, Associate Director, Jewelry aprilmatteni @hindmanauctions.com Karina Hammer, G.G. Senior Specialist karinahammer @hindmanauctions.com Katie Hammond Guilbault, G.G. Senior Specialist San Diego katieguilbault @hindmanauctions.com Sean Johnson Senior Specialist, Watches seanjohnson @hindmanauctions.com Leslie Roskind, G.G. Senior Specialist, New York leslieroskind @hindmanauctions.com

Sean Galvin Associate Cataloguer

Laura Paterson Director, Senior Specialist Photographs laurapaterson @hindmanauctions.com

Ruth Thuston, G.G. Senior Specialist ruththuston @hindmanauctions.com

DESIGN Hudson Berry Director, Senior Specialist hudsonberry @hindmanauctions.com

Marisa Palmer, G.G. Senior Appraiser marisapalmer @hindmanauctions.com

Aaron Cator Senior Specialist Post War & Contemporary Art aaroncator @hindmanauctions.com

Sabrina Granados Associate Specialist

Madeline Schroeder, G.G. Associate Specialist

John Martinez Department Coordinator

Gina O’Connor Cataloguer

Katherine Hlavin Consultant Fine Art

BOOKS & MANUSCRIPTS Gretchen Hause Vice President, Senior Specialist gretchenhause @hindmanauctions.com

Camille Michelotti Department Coordinator

Pauline Archambault Specialist, American Art Alexandria Dreas Specialist, Head of Sale Western & Wildlife Art Angela Whitaker Senior Appraiser, Fine Art Julianna Tancredi Senior Researcher Thea Andrus Cataloguer Christina Kiriakos Cataloguer John Martinez Department Coordinator Sarah Gray Department Coordinator

Katie Horstman Senior Specialist katiehorstman @hindmanauctions.com Emily Payne Specialist

LUXURY HANDBAGS & COUTURE Tanner Branson Specialist, Head of Sale tannerbranson@ hindmanauctions.com Brett Heeley Department Coordinator brettheeley@ hindmanauctions.com

NATIVE AMERICAN, PREHISTORIC & TRIBAL ART Danica Farnand Vice President, Senior Specialist danicafarnand @hindmanauctions.com Erin Rust Specialist William Norwood Department Coordinator ARMS, ARMOR & MILITARIA Tim Carey Director, Senior Specialist timcarey @hindmanauctions.com Emma Fulmer ATF Manager and Senior Coordinator Barrett Sharpnack Cataloguer Tucker Etnoyer Cataloguer SPORTS MEMORABILIA James Smith Director, Senior Specialist jamessmith @hindmanauctions.com Joshua McCracken Department Coordinator MARKETING & DESIGN Ashley Galloway Vice President, Marketing Zoë Bare Director, Photography David Jackson Supervisor, Photography Photographers: Carmen Colome Marisa Fabiilli Chad Feierstone Jared Hefel Kristen Hudson Tyler Leiby Deogracias Lerma Roberto Martinez Libby Moore Elizabeth Phillips Mike Reinders Bill Ross Maddie Scarpone Rachel Smith Dallas Tolentino* Leanne Uzelac Brian Maslouski* Senior Designer Jennifer Castle Graphic Designer *Lead Photography and Design for Sale 1242

Kaylan Gunn Specialist Leslie Winter Associate Specialist Joshua McCracken Department Coordinator

Updated 9.27.23

F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 105

Guide for Prospective Sellers and Buyers GUIDE FOR PROSPECTIVE SELLERS

GUIDE FOR PROSPECTIVE BUYERS

Evaluation of Property Hindman is pleased to provide complimentary auction estimates for items you’re considering consigning. You are welcome to submit items electronically (consign@hindmanauctions.com) or to contact any of our offices directly.

Conditions of Sale All bidders with Hindman LLC must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction.

Our specialists are eager to help you learn more about your collection and current auction sale estimates.

Viewing Auction Items It is highly recommended that all prospective bidders either view the sale via our online catalogue or contact Hindman LLC for further images or to schedule an appointment to view objects in person.

To begin an estimate, our specialists will need: • At least 3 photos • Detailed description • Details on signatures or marks

Estimates Hindman LLC provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision.

Shipping Arrangements Buyers assume full responsibility for the packing and shipping of lots won at auction. Our Recommended Shippers offer a wide variety of local, domestic, and international shipping options.

Condition Reports We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports.

In the interest of our clients, Hindman requires a written authorization from the buyer in order to release property to anyone other than the purchaser of record (including but not limited to our recommended shippers). You may submit the Shipping Release Form via fax to 312.280.1211 or email to shipping@hindmanauctions.com

Appraisals Our exceptional team of specialists regularly appraises property by analyzing market trends and conducting comprehensive research.

Specialists evaluate thousands of objects each year for auction, allowing them to closely monitor the nuances of the current market.

Professional appraisals are prepared for estate tax, gift tax, charitable contribution, insurance and for equitable distribution purposes.

• Estate Tax • Gift Tax • Charitable Contribution • Insurance • Appraisals for Corporate Valuation Needs Our trust and estates department recognizes that each client and appraisal situation is unique and often involves multiple asset categories and residences. Fees for appraisals are determined by the number of specialists, hours involved and the necessary travel and expenses. Our competitive fees are negotiated based upon the express needs of each client and are competitive within the marketplace.

Please contact our Appraisals Department (appraisals@ hindmanauctions.com) for more information.

Estate Services Estate settlement is a meticulous and multi-faceted process. Hindman provides executors, fiduciaries and beneficiaries throughout the country with confidential and customized appraisals and disposition services.

All appraisals are prepared fully in accordance with USPAP guidelines and meet all current requirements set forth by the IRS. We recognize that each client and appraisal situation is unique and often involves multiple asset categories and residences. Our Trusts and Estates department offers services that are tailored to meet our clients’ timelines and specifications.

Our specialists offer complimentary walk-through services with the goal of providing an accurate representation of each items’ value based on the current auction market. A detailed proposal outlining the manner in which a sale will be conducted from the initial value assessment to removal of the property and settlement is provided to all parties involved.

Please contact our Estate Services (inquiries@hindmanauctions.com) team for more information.

Updated 1.13.23

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Bidding at Auction The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.

Bidding Increments Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction.

The standard bidding increments are: $0 – 500 $500 – 1000 $1000 – 2,000 $2,000 – 5,000 $5,000 – 10,000 $10,000 – 20,000 $20,000 – 50,000 $50,000 – 100,000 $100,000 – 200,000 $200,000 +

$25 $50 $100 $250 $500 $1,000 $2,500 $5,000 $10,000 AT AUCTIONEER’S DISCRETION

In-House Bidding Our auctions are free and open to the public with no obligation for attendees to bid.

Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.

Live Bid Online Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com.

Absentee Bidding If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids.

Telephone Bidding You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue.

Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $500 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.

Conditions of Sale These Conditions of Sale set out the terms upon which Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction.

A. BEFORE THE AUCTION 1. LOT DESCRIPTIONS AND WARRANTIES Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance— are our opinion and shall not to be relied upon by you as a statement of fact.

Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot.

2. CONDITION The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report.

3. VIEWING LOTS We offer pre-auction viewings, either scheduled or by appointment, that are free of charge.

If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping purposes.

4. ESTIMATES Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose.

Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges.

5. WITHDRAWAL We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw.

B. REGISTERING TO BID 1. GENERAL We reserve the right to reject any bid. By participating in the sale, you represent and warrant that: (a) The bidder and/or purchaser is not subject to trade sanctions, embargoes or any other restriction on trade in the jurisdiction in which it does business as well as under the laws and regulations of the United States, and is not owned (nor partly owned) or controlled by such sanctioned person(s) (collectively, “Sanctioned Person(s)”); (b) Where you are acting as agent, your principal is not a Sanctioned Person(s) nor owned (or partly owned) or controlled by Sanctioned Person(s); and (c) The bidder and/or purchaser undertakes that none of the purchase price will be funded by any Sanctioned Person(s), nor will any party be involved in the transaction including financial institutions, freight forwarders or other forwarding agents or any other party be a Sanctioned Person(s) nor owned (or partly owned) or controlled by a Sanctioned Person(s), unless such activity is authorized in writing by the government authority having jurisdiction over the transaction or in applicable law or regulation.

2. NEW BIDDERS New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity. (a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s

name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid.

3. RETURNING BIDDERS If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction.

4. BIDDING FOR ANOTHER PERSON If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal.

5. BIDDING IN THE SALEROOM If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction.

6. OUR BIDDING SERVICES We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services. (a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids. (b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites. (c) Written Bids: You can find a Written Bid Form at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve.

If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids.

7. CREDIT CARD AUTHORIZATION HOLD When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a temporary authorization hold on the card that will remain until it falls off, usually within 2 to 7 days.

C. DURING THE AUCTION 1. BIDDING IN THE AUCTION (a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders, including bidders through third-party bidding sites.

Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (b) Online Auctions. The auctioneer will accept bids from Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (c) Timed Auctions. Bids may only be submitted on our website between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion.

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2. AUCTIONEER’S DISCRETION The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1).

3. BIDDING ON BEHALF OF THE SELLER The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller.

If a lot is offered without reserve, the auctioneer will open the bidding at a set increment lower than the lot’s low estimate and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold.

4. SUCCESSFUL BIDS AND INVOICES Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges. Please note that Hindman will not accept payments for purchased lots from any party other than the purchaser, unless otherwise agreed between the purchaser and Hindman prior to the sale.

D. AFTER THE AUCTION 1. THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots except for those in Coins, Medals & Banknotes; Sports Memorabilia; and Arms, Armor & Militaria auctions we charge twenty-six percent (26%) of the hammer price up to and including $1,000,000; twenty percent (20%) of any amount in excess of $1,000,001 up to and including $5,000,000; and fifteen percent (15%) of any amount in excess of $5,000,001. For all lots offered in Coins, Medals & Banknotes we charge a buyer’s premium of twenty-one percent (21%) of the hammer price. Sports Memorabilia; and Arms, Armor & Militaria auctions we charge a buyer’s premium of twenty percent (20%) of the hammer price. If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium.

2. TAXES The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required.

3. MAKING PAYMENT (a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date. (b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name. (c) You must pay for lots in US dollars in one of the following ways: (i) Wire transfer. (ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed. (iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us.

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(iv) Credit card: Credit card payments may not exceed $10,000 and a convenience fee of 3% will be added to each credit card payment. (v) ACH Bank Transfer (d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1550 West Carroll Avenue, Chicago, IL 60607, ATTN: Client Accounting Department.

4. TRANSFERRING OWNERSHIP TO YOU You will not own the lot and title will not pass to you until we have received full payment in good funds of the purchase price, even in circumstances where we have released the lot to you.

5. TRANSFERRING RISK TO YOU Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse.

6. YOUR FAILURE TO PAY If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion: (a) We can charge interest from the due date at a rate of up to one and one-half percent (1.5%) per month on the unpaid amount due. (b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation. (c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount. (d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law. (e) We can reveal your identity and contact details to the seller. (f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids. (g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us. (h) We can take any other action we deem necessary or appropriate.

7. SHIPPING, COLLECTION, AND STORAGE (a) You must collect purchased lots within thirty (30) days of the auction. We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect.

Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping. (b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate. (c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot. (d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).

8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES (a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot. (b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be

responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.

E. WARRANTIES 1. SELLER’S WARRANTIES For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

2. OUR LIMITED AUTHENTICITY WARRANTY Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows: (a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction.

After such time, we will not be obligated to honor the limited authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type. (c) It does not apply to any Heading or part of a Heading that is qualified.

“Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty. (d) It applies to the Heading as amended by any saleroom notice. (e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion. (f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot. (g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else. (h) In order to make a claim under the limited authenticity warranty, you must (i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses. (j) No employee or agent of Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

3. ADDITIONAL WARRANTY FOR BOOKS If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances: (a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms: (i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale. (ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale. (iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

4. JEWELRY (a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time. (b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report. (c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent.

The gemological laboratories only report on the improvements or treatments known to them at the date they make the report. (d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced.

5. WATCHES AND CLOCKS (a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys. (b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use. (d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site.

Please check with the department for details on a lot with such a strap.

6. YOUR WARRANTIES You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money

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laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.

F. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties. (b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale. (c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH. (d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services. (e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

G. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3. COPYRIGHT We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights.

4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6. PERSONAL INFORMATION We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com.

7. WAIVER No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

8. LAW AND DISPUTES This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. You and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English.

The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute.

The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

H. GLOSSARY authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material. buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice. due date: has the meaning given to it in paragraph D(3)(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot.

Heading: has the meaning given to it in paragraph E(2). limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic. other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law. purchase price: has the meaning given to it in paragraph D(3)(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E(2), subject to the following terms: (a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter. (b) “Attributed to” means, in our opinion, a work probably by the artist. (c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style. (d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist. (e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work. (f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned.

UPPERCASE type: type having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

Updated 10.1.23

1 1 0 F I N E B O O K S F R O M T H E D O R R O S F A M I LY C O L L E C T I O N

Upcoming Auction Schedule

Lot 18 CATLIN, George (1796-1872). Catlin’s North American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America. London: Geo. Catlin/Piccadilly Place, 1844 [but Chatto & Windus, 1875].

Estimate: $40,000 - 60,000 To be featured in Sale 1242 | Fine Books from the Dorros Family Collection

SALE 1232 EUROPEAN ART OCTOBER 17 | CHICAGO | LIVE + ONLINE SALE 1231 AMERICAN ART OCTOBER 17 | CHICAGO | LIVE + ONLINE SALE 1267 TIME AND SPACE: WATCHES FROM THE COLLECTION OF GLEN DE VRIES OCTOBER 18 | NEW YORK | LIVE + ONLINE SALE 1230 WATCHES OCTOBER 18 | NEW YORK | LIVE + ONLINE SALE 1274 FOREVER YOUNG: PHOTOGRAPHS FROM THE JOE BAIO COLLECTION OCTOBER 19 | NEW YORK | LIVE + ONLINE SALE 1293 ARMS, ARMOR & MILITARIA OCTOBER 24 | CINCINNATI | LIVE + ONLINE SALE 1283 THE COLLECTION OF JUDITH AND PHILIP SIEG, BELLEFONTE, PENNSYLVANIA OCTOBER 26 | NEW YORK | LIVE + ONLINE SALE 1279 HAVING A BALL OCTOBER 30 | CHICAGO | TIMED ONLINE

SALE 1239 WESTERN & CONTEMPORARY NATIVE AMERICAN ART NOVEMBER 1 | DENVER | LIVE + ONLINE SALE 1278 THE DONALD F. MOYLAN, M.D. COLLECTION OF AMERICAN FURNITURE, FOLK & DECORATIVE ARTS, PART I NOVEMBER 3 | CINCINNATI | LIVE + ONLINE SALE 1172 THE COLLECTED HOME INCLUDING PROPERTY FROM THE COLLECTION OF JUDITH AND PHILIP SIEG, BELLEFONTE, PENNSYLVANIA NOVEMBER 8 | CHICAGO | TIMED ONLINE

SALE 1172 THE COLLECTED HOME INCLUDING PROPERTY FROM THE COLLECTION OF JUDITH AND PHILIP SIEG, BELLEFONTE, PENNSYLVANIA NOVEMBER 15 | CHICAGO | LIVE + ONLINE SALE 1264 COINS & COLLECTIBLES NOVEMBER 15 | CHICAGO | ONLINE SALE 1276 BEYOND A CINCINNATI LEGACY: THE COLLECTION OF MR. AND MRS. CHARLES FLEISCHMANN III, PART I NOVEMBER 16 | CINCINNATI | LIVE + ONLINE

SALE 1242 FINE BOOKS FROM THE DORROS FAMILY COLLECTION NOVEMBER 9 | CHICAGO | LIVE + ONLINE

SALE 1277 BEYOND A CINCINNATI LEGACY: THE COLLECTION OF MR. AND MRS. CHARLES FLEISCHMANN III, PART II NOVEMBER 17 | CINCINNATI | ONLINE

SALE 1241 FINE PRINTED BOOKS & MANUSCRIPTS, INCLUDING AMERICANA NOVEMBER 10 | CHICAGO | LIVE + ONLINE

SALE 1219 EXPRESSIONS OF LIFE: PHOTOGRAPHS BY RUTH ORKIN NOVEMBER 20 | CHICAGO | TIMED ONLNINE

SALE 1244 MODERN DESIGN NOVEMBER 14 | CHICAGO | LIVE + ONLINE

SALE 1248 PHOTOGRAPHS NOVEMBER 28 | CHICAGO | LIVE + ONLINE

SALE 1243 EARLY 20TH CENTURY DESIGN NOVEMBER 14 | CHICAGO | LIVE + ONLINE

SALE 1249 HOLIDAY JEWELRY NOVEMBER 29 | CHICAGO | TIMED ONLINE

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FINE PRINTED BOOKS & MANUSCRIPTS, INCLUDING AMERICANA SALE 1241 10 November 2023 10:00am CT | Chicago | Live + Online

F INE B OOKS FROM THE DORROS FAMILY COLLECTION | 9 NOVEMBE R 2023

NO. 1242