LITERATURE

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Lots 1–37

1 DICKENS, CHARLES Oliver Twist. London: Richard Bentley, 1838.

3 vols. 8vo, publisher’s reddish brown fine-diaper cloth blind-stamped with arabesque design, giltlettered and ruled spines, yellow endpapers, housed in custom linen clamshell case. First edition, third issue, with new title pages in each vol. (“By Charles Dickens” verses “Boz”) and the final plate of vol. III showing the “church” scene, instead of the “fireside” scene. Light fading and rubbing to boards, with some minor loss to spine ends; bookplate tipped in front pastedown of each volume. Property from a Private Chicago-area Collector Literature: Gimbel, A27 $600-800 2 DICKENS, CHARLES Little Dorrit. London: Bradbury & Evans, 1857.

8vo, 3/4 green calf over cloth, gilt-tooled and lettered spine. First edition in book form. Wear to boards; intermittent foxing; offsetting from plates; hinges starting; otherwise good. $100-200 3 DICKENS, CHARLES Great Expectations. London: Chapman and Hall, 1861.

3 vols. 8vo, publisher’s violet wavy-grain cloth, covers stamped in blind with decorative spine panel, giltlettered spines, light yellowish endpapers, modern linen solander box. First edition, fifth impression, with “fifth edition” to the title pages, published October 30, 1861 [the previous issues appeared July 6, August 5, August 17 and September 21, respectively]. Some copies of the first five issues did not contain catalogues, like this example. Manuscript ex-libris dated March 1862 to title page, vols. 1-2, and ex-libris, undated, to vol. 3; rubbing to boards with ends bumped. Property from a Private Chicago-area Collector Literature: Gimbel A146; Smith II, 14 $3,000-5,000

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4 DICKENS, CHARLES Oliver Twist. Philadelphia: Lea and Blanchard, 1839.

2 vols. 8vo, publisher’s calico-texture red quarter cloth and pale brown boards, printed paper spine labels, ads, endpapers and flyleaves as called for. First complete American edition in book form, with publisher’s notice in vol. I containing the following statement: “A large portion of the last part of Oliver Twist having been sent to the American Publishers in manuscript, they hasten to place before the public the work complete in the present form. At the same time, they have to regret that the illustrations by Cruikshank, were not ready to accompany the manuscript from London.” Boards edgeworn and spines faded; endpapers starting; pages evenly toned; stamps to recto f.f.e.p. both vols. Property from a Private Chicago-area Collector Literature: Gimbel A33 $800-1,200 5 DICKENS, CHARLES A group of seven First American editions in nine volumes, all but one title housed in modern linen-backed solander boxes.

The Chimes. A Goblin Story. Philadelphia: Lea and Blanchard, 1845. 12mo, publisher’s blind-stamped cloth. Dombey and Son. Boston: Bradbury and Guild, 1848. 8vo, publisher’s brown cloth. The Personal History and Experiences of David Copperfield. New York: G.P. Putnam, 1850. 2 vols. 8vo, publisher’s cloth. A Tale of Two Cities. Philadelphia: T.B. Peterson, 1859. 8vo, publisher’s black cloth. Our Mutual Friend. New York: Harper and Bros, 1865. 8vo, publisher’s pebbled brown cloth. The Mystery of Edwin Drood. Boston: Fields, Osgood, 1870. 8vo, publisher’s green cloth. Bleak House. New York: Harper & Brothers, 1853. 2 vols. 8vo, publisher’s blue cloth. Property from a Private Chicago-area Collector $400-600

6 DICKENS, CHARLES A group of three works, all Philadelphia illustrated large 8vo editions and in matching publisher’s brown cloth, housed in modern linen-backed solander boxes.

The Postumous Papers of the Pickwick Club. Philadelphia: Lea and Blanchard, 1838. 46 pp. of ads, 20 etched plates. Gimbel A23. Oliver Twist. Philadelphia: Lea and Blanchard, 1839. 16 pp. of ads, 24 full-page plates by George Cruikshank. The Old Curiosity Shop, and Other Tales; Master Humphrey’s Clock. Philadelphia: Lea and Blanchard, 1841. With one etched plate and numerous in-text vignettes. First American edition of The Old Curiosity Shop. Gimbel A61. Property from a Private Chicago-area Collector $200-400

7 DICKENS, CHARLES Autographed letter accomplished in Dickens’ hand with his name (“Charles Dickens”) in text, one page, on a bifolium, on Gad’s Hill Place letterhead, October 18, 1861.

Dickens writes to Hunt and Roskell regarding his seal, which he does not want to contain his monogram but rather simply the separate letters “C D” in old English characters. 7 x 8 3/4 inches unfolded. Property from a Private Chicago-area Collector $600-800

8 [DICKENS, CHARLES] SPARKS, TIMOTHY, pseud. Sunday Under the Three Heads. As It Is; As Sabbath Bills Would Make It; As It Might Be Made. London: Chapman and Hall, 1836.

Small 8vo, publisher’s illustrated brownish-white stiff wrappers, early morocco chemise and slipcase with gilt-lettered spine. First edition, written by Dickens under the pseudonym Timothy Sparks, with halftitle, etched frontispiece and two plates by Hablot K. Browne. Bookseller’s description tipped to verso cover; otherwise a very good copy of a very fragile item. Property from a Private Chicago-area Collector Literature: Gimbel B30 $600-800

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13 9 DICKENS, CHARLES The Loving Ballad of Lord Bateman. London: Charles Tilt, 1839.

16mo, publisher’s deep blue-green flexible cloth with gilt illustration to upper cover, modern linen-backed solander box. First edition, with 11 engraved plates by George Cruikshank and music leaf. Thackeray’s involvement in the publication has been a topic of much interest, but letters written by Dickens to Cruikshank concerning Lord Bateman appear to prove that he had no involvement in the publication or the design of the engravings. [Colophon, no. 1, 1939] First few leaves detached and others starting, with some loss to edges of pages. Property from a Private Chicago-area Collector $100-200

10 DICKENS, CHARLES The Pic Nic Papers. London: Henry Colburn, 1841.

3 vols. 8vo, publisher’s blind-stamped green cloth, gilt-lettered spines, housed in custom quarter morocco slipcase and chemise with gilt-lettering. First edition, with 14 etchings and engravings by George Cruikshank, Hablot K. Browne (Phiz) and others. Some light foxing; minor wear to boards. Property from a Private Chicago-area Collector Literature: Gimbel B109 $150-250

11 DICKENS, CHARLES American Notes for General Circulation. London: Chapman and Hall, 1842.

2 vols. 8vo, publisher’s variant greying reddish brown vertically-ribbed cloth with a blind decorative floral frame, gilt-lettered spines, housed in modern linenbacked solander box. First edition, first issue, with all points present, along with half-title and ads at beginning and end. Light fading to cloth; light foxing to preliminary leaves. Property from a Private Chicago-area Collector Literature: Smith II, 3 $300-500

12 DICKENS, CHARLES Pictures from Italy. London: Bradbury Evans, 1846.

8vo, publisher’s blue blind-stamped cloth with circular centerpiece, gilt-lettered spine, housed in modern solander box. First edition, first issue, with all points present, along with half-title and ads at beginning and end. Light soiling to boards; ends bumped; hinges starting. Property from a Private Chicago-area Collector Literature: Smith II, 7 $100-200

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13 DICKENS, CHARLES A Child’s History of England. London: Bradbury & Evans, 1852-54.

3 vols. 12mo, publisher’s reddish brown cloth stamped in blind with gilt illustrated centerpiece vignettes of young Alfred reading to his mother, marbled edges and endpapers. First edition, with half-titles and frontispieces. Bookplate of Alain de Suzannet to front pastedowns. Some light fading to spines; spine ends lightly bumped; otherwise very good. Property from a Private Chicago-area Collector Literature: Smith II, 10 $400-600

14 DICKENS, CHARLES The Uncommercial Traveller. London: Chapman and Hall, 1861.

8vo, publisher’s variant green pebbled cloth with double-lined rectangular frame with semicircular corners, gilt-lettered spine, modern quarter red morocco slipcase and matching chemise, half-title. First edition, first issue, with all points present and 32 pp. ads, dated December 1860, to the end. Cloth lightly faded; otherwise fine. Property from a Private Chicago-area Collector Literature: Smith II, 11 $600-800 15*

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(DICKENS, CHARLES) KYD, pseud. The Characters of Charles Dickens. Pourtrayed in a Series of Original Water Colour Sketches. London, Paris & New York: Raphael Tuck & Sons, n.d. [c. 1890]

4to, publisher’s cloth-backed pictorial boards. With 24 chromolithograph plates by J. Clayton Clarke under the pseudonym “Kyd”, including title page. Contents detached from text block; spine worn and boards soiled; previous owner’s inscription to f.f.e.p.; otherwise generally clean internally. Property from the Estate of William R. and Rachel E. Judd, West Lafayette, Indiana $80-120

16 DICKENS, CHARLES Works. Boston: J.R. Osgood, 1875.

14 vols. 12mo, gilt-stamped and lettered green cloth. Illustrated throughout with black and white plates. Wear to boards; ends and corners bumped; scattered light brownspotting. Property from a Private Chicago-area Collector $100-200

17 DICKENS, CHARLES [Works.] London: Chapman and Hall, 1863, 1867.

11 vols. 8vo, publisher’s green cloth stamped in blind, 10 with matching paneled covers and one [Great Expectations] with an elaborate centerpiece. Early edition of Dickens Works, not identified by Gimbel. Fading to spines; some hinges a bit tender. Property from a Private Chicago-area Collector $50-100

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19 COOPER, JAMES FENIMORE The Pathfinder: or, The Inland Sea. Philadelphia: Lea and Blanchard, 1840.

2 vols. 8vo, publisher’s purple cloth and pastedown printed spine label. First edition, second state, with imprint on verso page ii near bottom and no copyright statement. Boards faded and rubbed with some loss at spine ends; bookplate tipped in front pastedowns; some loss to spine labels. $100-200

20 MELVILLE, HERMAN Mardi; and a Voyage Thither. New York: Harper & Brothers, 1849.

2 vols. 8vo, publisher’s blind-stamped green cloth. First American edition, with eight pages publisher’s catalogue to end. Dampstaining to some leaves of vol. 1; boards lightly rubbed. $1,000-2,000 21 STOCKTON, FRANK R. The Lady, or the Tiger? New York: Charles Scribner’s Sons, 1884.

8vo, publisher’s illustrated cloth, eight pages publisher’s ads at rear. First edition, one of 1,500 copies. Light rubbing to boards; hinges starting. Property from a Private Chicago-area Collector Literature: Blanck 18880 $100-200

22 VERNE, JULES From Earth to the Moon. New York: Scribner, Armstrong, 1874.

8vo, publisher’s orange cloth pictorially stamped in gilt and black. First American edition. With 80 engraved plates. Wear and soiling to boards with cloth torn on upper board; spine chipped and deteriorated at head; hinges starting; previous owner’s manuscript inscription to f.f.e.p.; light interior soiling. $100-200 23 BRADBURY, RAY A group of four signed books, two first edition, first printings.

We’ll Always Have Paris. (New York:) William Morrow, (2009). 8vo, quarter blue paper over white cloth, dust jacket. First edition, first printing. Signed by Bradbury on the title page. Farewell Summer. (New York:) William Morrow, (2006). 8vo, quarter maroon cloth over green boards, dust jacket. First edition, first printing. Inscribed by Bradbury on the half title, “Mike!! Part of ‘D. Wine’ 50 Years Later! Ray Bradbury 1/14/07.” Dandelion Wine. (New York:) William Morrow, (2006). 8vo, quarter blue cloth, dust jacket. Signed on the half title. The Stories of Ray Bradbury. New York: Alfred Knopf, 1983. 8vo, quarter black cloth, dust jacket. Inscribed by Bradbury on the title page. $200-400

24 BROOKS, GWENDOLYN Maud Martha. New York: Harper & Brothers, (1953).

8vo, publisher’s quarter green cloth over yellow boards, dust jacket. First edition. Signed by Brooks on the half-title. Ends bumped; light soiling and marginal chipping to jacket with some loss to head and tail of spine. $100-200

25 CAPOTE, TRUMAN Breakfast at Tiffany’s. A Short Novel and Three Stories. New York: Random House, 1958.

8vo, publisher’s yellow cloth, title in gilt to black spine label, original dust jacket with “10/58” date code on front flap. First edition, first printing. Fading to jacket at spine; light wear to spine label. $600-800

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26 FAULKNER, WILLIAM The Marble Faun. Boston: Four Seas Company, 1924.

8vo, original green paper boards, printed paper label on upper cover and spine, very rare original printed dust jacket, unrestored, glassine. First edition, first (and only) printing, of William Faulkner’s first novel. Dust jacket with a few small tears at corners and spine ends and a few creases; otherwise fine.

Four Seas publishing company agreed to issue Faulkner’s collection of poems in 1923, providing he pay for the manufacturing costs (a usual request for Four Seas of their authors). Although Faulkner did not have the money to pay for the costs himself, he was able to secure the backing of a 27-year old colleague, Phil Stone, an attorney from Oxford, Mississippi, for the initial print run of 500 copies. The book sold poorly and Four Seas quickly moved it to the remainder shelf. While no record of how many copies Four Seas sold exists, an early estimate suggests about 100 copies. This estimate is supported by Faulkner scholar William Boozer, who has been able to locate approximately 70.

The present copy, in the original dust jacket and very early, possibly original, glassine, has remained in private hands for decades. Property from a Private Collection Literature: Massey 743. Peterson A1.1 $15,000-20,000

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27* HEARN, LAFCADIO The Writings of Lafcadio Hearn. Boston: Houghton Mifflin, 1922.

16 vols. 8vo, original 3/4 brown morocco over cloth, gilt-lettered spines. Large paper edition, limited to 750 copies, with a page of manuscript laid into vol. 1 and signed by Setsu Koizumi (Mrs. Lafcadio Hearn). Boards rubbed with some chipping to spine ends; otherwise a fine set. Property from the Estate of Eugene B. Clark Jr., Amarillo, Texas $800-1,200 28 (HEMINGWAY, ERNEST) KARSH, YOUSUF Ernest Hemingway, 1957, gelatin silver print. Signed in black ink at lower left corner, stamped on verso. Framed. 9 1/2 x 7 1/2 inches. $2,000-4,000

29 MAILER, NORMAN A group of five first editions.

The Naked and the Dead. New York: Rinehart, (1948). 8vo, black cloth, dust jacket. Barbary Shore. New York: Rinehart, (1951). 8vo, black cloth, dust jacket. Advertisements for Myself. New York: G.P. Putnam’s Sons, (1959). 8vo, quarter black over orange cloth, dust jacket. An American Dream. New York: Dial, 1965. First U.S. edition. 8vo, blue cloth, dust jacket. An American Dream. London: Andre Deutsch, (1965). 8vo, green cloth, gilt-lettered spine, dust jacket. First U.K. edition. $100-200

30 MICHENER, JAMES Two signed first editions.

Chesapeake. New York: Random House, (1978). 8vo, publisher’s gilt-stamped green cloth, dust jacket, clipped. Signed on the half-title. Marginal chipping to jacket with 1-inch tear to upper cover; light fading to boards. [Together with:] Poland. New York: Random House, (1983). 8vo, gilt-stamped red cloth, dust jacket, clipped. Signed on card tipped to half-title. Marginal chipping to jacket; boards faded; ends bumped. $100-200 31 NORDHOFF, CHARLES AND JAMES NORMAN HALL Mutiny on the Bounty. Boston: Little, Brown, 1932.

8vo, publisher’s blue cloth decorated and lettered in gilt, dust jacket (later issue with reviews), plain endpapers. First edition, first printing, later dust jacket. Presentation copy, inscribed by James Norman Hall and dated 1933, additionally signed by Nordhoff under Hall’s inscription. $800-1,200

32* POUND, EZRA An exceptional unpublished archive of forty seven letters to artist Ernest Tino Trova from St. Elizabeth’s Hospital in Washington, D.C., circa 1950, comprising 10 autographed letters signed (“E.P.”), six autographed cards signed (“E.P.”), one humorous drawing on a card signed (“E.P.”), 30 typescript letters unsigned (10 with Dorothy Pound’s autographed postscript [five signed (“D.P.”), three signed (“Dorothy Pound”], two unsigned, most with original envelopes), and nine autographed addressed by Ezra Pound, along with photographs, additional correspondence from Dorothy Pound, Edith Hamilton, and Jaime de Angulo, and three original drawings (unsigned) attributed to Ernest Tino Trova [see below].

The letters between the modernist poet and critic, Ezra Pound, and the modern St. Louis-based artist, Ernest Tino Trova (“Tino”), are primarily political in nature and relate to the publication of Mood. Fall, [1950] (no. 24): containing Pound items, Saint Louis: [Ernest Trova, 1950], which contained the following pieces: “Ezra Pound on gold, war, and national money”; “Ecrire franchement ce qu’ils pensent” [a translation of a letter from Remy de Gourmont to Pound]; Madox Ford at Rapallo : a conversation between Ford Madox Ford and Ezra Pound [translated by Olga Rudge]; A draft Bill of Rights adapted for the needs of Great Britain; As Sextant. The archive contains not only contributions of material for that issue, but also numerous tid-bits of advice from Pound to the young Trova, and correspondence regarding Pound’s request of Trova to draw a portrait of his ailing friend, Jaime de Angulo (Trova painted a portrait of Pound that Pound was very pleased with). In one of her letters to Trova, Dorothy Pound writes: “There is no doubt E.P. is interested in your ability, and he has NOT been interested in modern art for the past 20 years or more.”

Outraged by the loss of life in WWI, Ezra Pound moved to Italy in 1924 and embraced Benito Mussolini’s fascism, expressed support for Adolf Hitler, contributed to fascist publications and made numerous broadcasts on behalf of the Italian government against the United States and Franklin Delano Roosevelt. As a result, he was arrested by American forces in Italy in 1945 and sent to a U.S. military camp in Pisa, where a 25-day stint in a small outdoor steel cage triggered a mental breakdown in the poet and critic. Deemed unfit to stand trial, he was incarcerated in St. Elizabeth’s psychiatric hospital in Washington, D.C. from 1945-1958.

Many notable authors, artists and academics contacted Pound while he was in St. Elizabeth’s, including T.S. Eliot, William Carlos Williams and William Butler Yeats, or made contact with his wife Dorothy, to facilitate a connection. These individuals, along with young students of art and literature and fanatics, kept Pound connected to the outside world and gave him an outlet to publish his work.

The letters, typescripts and scribbled notes to Trova contain a pithy of expositions of Pound’s theories on economics and politics; he argues about taxation, systems of government, and the theories of his contemporaries. Ernest Tino Trova, who was quite young at the time, gave Pound a wonderful outlet in his publication of Mood, but he clearly saw more in the young artist, along with Dorothy, as is apparent in the correspondence regarding his portrait for their friend Jaime de Angulo.

In addition to the correspondence from Pound directly, the archive contains the following: 12 ALS and one TLS from Dorothy Pound to Ernest Tino Trova (six signed “Dorothy Pound,” six signed “D.P.”, with original holograph envelopes); five TLS and one original drawing from Jaime de Angulo, thanking Trova for his portraits; six original black and white photographs of Jaime de Angulo sent by the Pounds to Trova for study; the two original drawings of Jaime de Angulo attributed to Ernest Tino Trova (referred to as “masks” by Ezra Pound); one original drawing of Ezra Pound attributed to Ernest Tino Trova on the back cover of Quarterly Review of Literature: Ezra Pound Issue. Indiscretions: An Autobiography Envoi, A Poem. Volume V, Number 2; typescript drafts of “Ezra Pound’s Economics,” 3pp., and “Ezra Pound on Gold, War and National Money,” The Capitol Daily, May 9, 1939, 4pp., along with a TLS from David Horton, Ezra Pound’s attorney; three extracted pages from Mood containing annotations from Pound, two typed and one in the hand of Pound; TLS from Ezra Pound’s brother, Omar Pound, thanking Trova for a gift; two typed documents, official release forms signed, from St. Elizabeth’s hospital, with original envelopes, one for a lighter and another for a compact. From the Estate of Ernest T. Trova, St. Louis, Missouri $10,000-15,000

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33 STEINBECK, JOHN East of Eden. New York: Viking, 1952.

8vo, publisher’s green cloth, dust jacket, clipped. First edition, first issue, with the word “bite” for “bight” on page 281, line 38. Light fading and soiling to boards, ends bumped; marginal chipping to jacket; minor soiling to fore edge. Property from a Private Chicago-area Collector $100-200

34 (TERKEL, STUDS) ALGREN, NELSON The Man with the Golden Arm. Garden City, NY: Doubleday, 1949.

8vo, publisher’s cloth. First edition. Signed by Nelson Algren. Also signed by Studs Terkel on the same page with the inscription, “He was the greatest of the Chicago bards,” with an arrow pointing to Nelson Algren’s signature, which he underlined. Lacking dust jacket; ends bumped; light soiling to boards. Property from a Private Chicago-area Collector $200-400 35 UPDIKE, JOHN Assorted Prose. New York: Alfred A. Knopf, 1965.

8vo, publisher’s yellow cloth lettered in silver, dust jacket. First edition, signed by Updike on the f.f.e.p. Light soiling to jacket; minor chipping to jacket at spine ends; otherwise fine. $100-200

36 (WELLES, ORSON) SHAKESPEARE, WILLIAM The Mercury Shakespeare: The Merchant of Venice. Edited by Orson Welles and Roger Hill. New York and London: Harper Brothers, (1939).

Thin 8vo, original printed paper wraps. Orson Welles copy, with his signature on the verso of the f.f.e.p. in blue ink. $100-200

37 (WILLIAMS, TENNESSEE) FROMM, ERICH Sigmund Freud’s Mission. An Analysis of His Personality and Influence. New York: Harper & Brothers, (1959).

8vo, grey cloth lettered in white, dust jacket, clipped. First edition. Inscribed in pencil by Tennessee Williams on the f.f.e.p. with the closing lines of the second act of Sweet Bird of Youth: “You can still get away I can still help you, baby. Thanks but no thank you, Miss Lucy. Somehow, I don’t know how, but somehow, I’ll get her out of St. Cloud. I’ll wake her up in my arms and give her life back to her. Yes, God help me, somehow.” Marginal chipping and light soiling to jacket; ends bumped; pencil inscription lightly faded. $300-500

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