development of work.

1. 1. Ãdel (artist)
Collection of 20 Anti-American Iraqi Political Cartoons from the First Iraq War (1990-91).
[Iraq]: N.P., [n.d. but ca.1990-91]. 20 original drawings, created for an unknown Iraqi newspaper.
Pen and ink, marker, and watercolor on white composition paper, with sizes ranging from 25.5 X
16cm to 28 X 21.5cm (10" X 6.25" to 8.5" X 11"); most of the cartoons are signed, with text in
Arabic or English. Some trivial edgewear, with occasional guidelines and marginalia in graphite
pencil and a few spots of white correction fluid; Near Fine.
A strong group of Iraqi anti-American political cartoons from the first Gulf War, from the period
just prior to Operation Desert Storm through the aftermath of the massive air campaign against
Iraqi forces. The clearest sentiment towards American and Coalition forces can be seen
through a series of five cartoons showing groups of fighter planes firing missiles at Iraqi soldiers
as well as civilians, who are depicted as hunkered down, cowering in bed, or fleeing north of
Baghdad on foot; a similar cartoon shows a lone Iraqi soldier in a foxhole facing a horde of
tanks, one of which has fired an enormous anvil that is precariously positioned directly above
the soldier's head. United Nations soldiers are depicted as towering over Iraqi soldiers, weilding
superior weaponry. A pervading sense of doom is evident throughout the cartoons, the clearest
of these depicting an Iraqi soldier turning the page of a calendar from January 14th (1991), only
to find gun barrels facing him where the 15th should be; the U.N. Security Council gave the
Iraqi's the ultimatum to withdraw their forces from Kuwait by January 15, 1991, and this
particular cartoon provides a glimpse into what must have been a sense of national anxiety over
the looming outcome. In one of the most provocative cartoons, American pilot of a B-52 has
parked his plane in front of an ice cream shop, while Baghdad burns in the background.
Several cartoons take daring jabs at the Iraqi leadership; one is a caricature of Saddam holding
a ruled sign, with a caption reading "Please just write how much you love me or how much you
hate me" (as if anyone could...). Another depicts Iraqi Public Information Minister Latif Nassif al-
Jassem making a press announcement; the microphones he is speaking into are toilets, he is
given donkey ears behind his head, and casts a shadow shaped like Satan. For these alone the
artist could have easily invited torture or death under Saddam's regime, a sobering
consequence shared historically by any number of political cartoonists.
A fascinating group of cartoons from one of the critical periods in recent history, providing a
wealth of insight into Iraqi sentiments towards both foreign governments, as well as their own.
$2,500.
2. ALINSKY, Saul D.
Rules For Radicals: A Practical Primer for Realistic Radicals [Review Copy].
New York: Random House, 1971. First Edition. First Printing, a review copy with the publisher's
typed slip and promotional photograph of the author laid in. Octavo (21.75cm); black cloth, with
titles and author's initials stamped in gilt and red on spine and front cover; dustjacket; 196pp,
[1]. Slight lean, touch of dustiness to boards and top edge of text, else clean throughout; Very
Good+. Dustjacket is price-clipped, spine-sunned and lightly edgeworn, with a large, faint
dampstain along upper front flap fold, rubbing at center of rear panel, and several short edge
tears; Very Good.
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2. Published shortly before Alinsky's death, Rules For Radicals was an updated version of his
"epoch-making" 1946 book Reveille For Radicals. Alinsky's goal for Rules was to create a guide
for future community organizers to use in uniting low-income communities, or "Have-Nots," in
order to empower them to gain social, political, and economic equality by challenging the
current agencies that promoted their inequality. An incredibly influential book, and quite scarce
as a review copy.
$500.
3. [ANARCHISM] KROPOTKIN, Prince Petr Alekseevich
Three Autograph Letters To His Publisher, Signed, Dated 1891.
Harrow on the Hill [London]: 1891. Three handwritten letters to the London publisher Swan
Sonnenschein, dated between April 7-18, 1891. Four, two, and three pages respectively. Each
on a single octavo sheet, folded once to make four ca. 18cm x 11cm pages. Each letter neatly
penned in ink in Kropotkin's hand, datemarked "Harrow on the Hill" (a neighborhood of London);
each signed, "P. Kropotkin." Minor toning at folds and margins, else Fine.
A fascinating series of letters relating to publication of Kropotkin's major book Fields, Factories,
and Workshops, a popularization of his Communist Anarchist philosophy intended for
workingmen and general readers. In the first letter, dated April 7th, Kropotkin pitches his concept
of the book, to be based upon "...articles which I lately contributed to The Nineteenth Century
upon the necessity of combining Agriculture with Industry, & Brain work with Manual work." He
goes on to list the articles he will use, promising to undertake necessary revisions and updating
of statistics; he predicts the book "...will make about 55,000 words with the Appendix, and might
be published, I suppose, in a 4/o volume...Would you like to undertake the publication of this
book?" The answer was apparently in the affirmative, as Kropotkin's next letter responds
(negatively) to the publisher's idea of including the book in their "Social Science Series": "...my
opinion is, that the book which I propose to publish is not one which might suitably be published
in that Series...its character is different, and it appeals to another set of readers." But in the final
letter, written on April 18th, Kropotkin seems to yield on this point; he agrees with the publisher's
proposal to bring the book out at 5 shillings, then goes on to discuss royalties (1-1/2d to the
shilling) and requests an advance of 60 pounds.
Fields, Factories, and Workshops was finally published in 1899, under the Hutchinson imprint,
and was soon recognized as a foundation work of the Anarchist movement; it is now considered
a major classic of political philosophy and is probably Kropotkin's most-read work. The
circumstances accounting for the near decade lapse between Kropotkin's conception of the
book and its eventual publication are murky; however, the fact that Swan Sonnenschein did not
bring out the first edition, but did later issue a popular edition of the work (in 1901), suggests to
us that publication may have been delayed due to a misunderstanding over which publisher in
fact had rights to the book. Whatever the case, this remains a scarce and historically important
series of letters, with real content, by the widely-acknowledged Father of modern Communist
Anarchism.
$2,800.
4. ANDROS, Phil (pseud. of Samuel Morris Steward)
$tud [Stud].
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3. Washington DC: Guild Press Ltd., 1966. First Edition. First Printing. Octavo (21cm); black cloth,
with titles stamped in gilt on spine; dustjacket; 295pp. Some trivial rubbing to crown and lower
board edges, else Fine. Dustjacket is unclipped (priced $4.95), with light rubbing to panels, a
few short, closed tears, and two tiny chips at upper corners of rear panel; Very Good+.
The first major work by Steward under his Phil Andros pseudonym, now considered a classic of
gay literature. Steward, who spent most of his adult life in Chicago, had a PhD in English and
taught at a variety of institutions through the mid-1940's. He left academia and made a name
for himself as one of the leading tattoo artists of his day, for a time serving as the official tattooist
for the Hells Angels Motorcycle Club in the Bay Area. Steward lived an open, renegade
homosexual lifestyle, meticulously documenting his sexual conquests and escapades in diaries
and a box marked "Stud File." After meeting Alfred Kinsey in 1949, he spent a number of years
working for the Institute for Sex Research in an unofficial capacity, openly sharing the details of
his sexual records and introducing Kinsey to large numbers of sexually active men in the
Chicago area. In 1966, thanks to changes in American publishing laws, Steward was able to
publish $tud under the Guild Press imprint. It's the story of "a cocky male hustler who made no
bones about his illicit profession, nor his countless erotic encounters." Like his character,
Steward was "a macho rebel and a proud gay man writing at a time when many similar stories
were still drenched in shame and guilt" (Peters, Brooks. Lover Man: The Samuel Steward
Story). The rare dustjacket shows superb wraparound artwork, designed by homoerotic
illustrator "Etienne" (pseud. of Dom Orejudos). Though the book was reprinted in the early
1980's by Alyson Books, the first edition is rare; we find no other copies in the trade (2014), with
OCLC locating only 10 copies in U.S. institutions, 3 others internationally. YOUNG 66.
$1,500.
5. ”Anonymous Proletarian" (pseudonym of Bruce Elwell)
Original Broadside: Post Mortem Ante Facto.
New York: Situationist International, 1969. First Edition. Broadside, 44cm x 57cm. Printed offset
in black on white uncoated lithograhic paper; text in two columns beneath headline in Gothic
type. Minor wrinkling at margins, else Fine.
Issued January 10, 1969 as a "supplement" to the first issue of the American journal Situationist
International, the imminent publication of which it announces. Possibly the first official
pronouncement of the American Situationists following their admission to the SI in December,
1968. The broadside actually pre-dates publication of the first journal issue by some six months;
and though earlier materials by the same core group of authors (primarily Robert Chasse) were
published in 1967-8, these were issued prior to the admission of the American Section, all under
the imprint of "The Council for the Liberation of Daily Life." The current broadside is rare; the
text is available via a number of internet sites, but we find no catalogued examples of the
physical broadside in OCLC or museum collections. Not in RASPAUD.
$850.
6. ART STUDENTS LEAGUE OF NEW YORK (Edward Duffy, ed; Peggy Bacon, Anne
Rector, Alexander Brook, John Sloan, George Bellows, et al, contributors)
Bad News 1919.
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4. New York: Art Students League of New York Publishing Co. , N.d. [1919]. First Edition. Quarto
(28cm). Printed, staple-bound thick-paper wrappers; [32]pp; illus. Contents signed or initialed by
the contributors in ink or pencil beneath 87 contributions. Covers moderately worn, with small
chips and partial split at bound edge; contents fresh, though center spread has pulled away
from staples. Withal a complete, about Very Good copy.
Unique and important copy of this rare one-off periodical, a student publication of the Art
Students League of New York. The two principal contributors, Peggy Bacon and Anne Rector
(later Anne Rector Duffy), have signed or initialed each of their 80+ contributions throughout.
Also signed by Alexander Brook in five places and by Edmund Duffy in two. Other contributions
(unsigned) by John Sloan, George Bellows, Bryant Fryer, Richard Dyer, and others.
An exuberant student publication tied to the Art Student League's glory years, when the faculty
consisted of such luminaries as George Bellows, John Sloan and Kenneth Hayes Miller, and the
roster of students included what would become a who's-who of American inter-war social
realists. Content includes light verse, satirical news articles (most being concocted stories
involving the faculty and students of the ASL), caricatures and cartoon panels. There is one full-
page reproduction of a drawing by John Sloan, signed in print, and a mounted plate reproducing
Bellows's 1917 lithograph "Life Class." Of special interest is a mounted panel of photographic
illustrations (halftones) depicting scenes from daily life at the ASL, including student gatherings
and classroom/studio events.
Among the contributors to "Bad News," the one who would go on to greatest acclaim was Peggy
Bacon (1895-1987), who became a prominent figure in New York's art world of the Twenties and
Thirties as an illustrator, caricaturist, painter and printmaker, frequently contributing work to such
left-wing periodicals as The Liberator and The New Masses. Her contributions to this journal
mark the very first publication of any of her drypoint caricatures, the medium for which she
would become best known. Her lover (and later husband), the painter Alex Brook, also
contributes a number of caricatures and sketches, all signed. Interestingly, two of the other
principal contributors, Ann Rector and Edward Duffy, who each went on to successful art-world
careers, also carried their art-school relationship into marriage.
The magazine is exceedingly scarce: we find no record of it in commerce, and OCLC gives only
two institutional locations (Syracuse and Indiana). The unique addition of the artists' signatures,
identifying the individuals behind each of the volume's many illustrations, comprises a significant
and useful bibliographical enhancement.
$2,500.
7. BALDWIN, James
Go Tell It on the Mountain [Advance Copy].
New York: Alfred A. Knopf, 1953. First Edition. Octavo (20cm); illustrated wrappers; [x], 303pp,
[5]. Small owner's label to verso of front wrapper, some pinpoint wear to spine ends and joints,
and a hint of dustiness to rear wrapper; still very Near Fine, notably absent the usual heavy
wear and fading to spine.
The author's debut novel, a semi-autobiographical work examining the role of the Christian
church in the lives of African Americans, both as a source of inspiration and community. On a
more subtle level, the novel examines racism in the United States, and explores some
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5. homosexual themes. The artwork on the advance copies was commissioned by Knopf for the
dustjacket, though when Baldwin saw it, he disliked it and insisted that more cartoon-like
artwork be substituted for the first edition. An attractive copy of Baldwin's most enduring work in
a format that clearly wasn't built to last.
$2,500.
8. BASKIN, Leonard (fwd); Workshop of Graphic Art
Yes, the People! Workshop Prints Number One.
New York: Workshop of Graphic Art, [1948]. First Edition. Portfolio, 36cm x 24cm (ca. 14" x
9-1/2"), containing twelve loose leaves, complete as issued; contents include text foreword by
Leonard Baskin; contents leaf + 10 b/w machine lithographs after illustrations by: Antonio
Frasconi; Helen Maris; Irving Amen; Charles White; Milton Wynne; Phyllis Skolnick; and Eugene
Karlin. External soil and wear to portfolio; mild marginal toning to contents, which are otherwise
Near Fine.
One of two portfolios of social-themed artworks (the other was "Negro, U.S.A.," 1949) produced
under the direction of Jay Landau's Workshop of Graphic Art, a New York group that evolved
from (and shared many of its members with) the war-time graphic arts collective The Victory
Workshop. The group's motives are summed up in then 26-year-old Leonard Baskin's foreword:
"...A group of young artists have come to realize that if their art is to survive as healthy and vital
work, it must establish honestly and forthrightly, intimate and strong ties with the working people
of America....these young artists conceived of a cooperative whose premise was clearly
expressed in its original statement of aims: 'Art is fundamentally a form of language whose
social function cannot be fulfilled unless it is seen, understood, loved, and nourished by the
people..." Interestingly, though Baskin contributed this thoughtfully-written foreword, he
contributed no graphic work to the portfolio.
Extremely uncommon, and a significant cultural link between the Depression-era preoccupation
with social realism and the post-war rise of abstract expressionism. Indeed by mid-century many
of the artists represented here would begin to explore more abstract themes in their work, and
by the Sixties the notion of an art that appealed "honestly and forthrightly....to the working
people of America" would become synonymous, among the majority of art-world critics, with the
notion of kitsch.
OCLC finds only 2 locations for this portfolio (Williams, Stanford); none others in commerce
(2015).
$450.
9. BECH-MEYER, Nico
A Story From Pullmantown. Illustrated with Sketches by Capel Rowley.
Chicago: Charles H. Kerr, 1894. First Edition. Octavo. Original green cloth boards, lettered in
deep green on spine and front cover; floral endpapers; 110, [8]pp; [9] inserted leaves of plates;
illus. Neat ink hand-stamps ("Junior College, C.S.S.R. Oakland, CA") to front pastedown and
title page; endpapers browned but intact at gutters; Very Good. Like most Kerr publications of
this era, the novel is printed on rather cheap paper, with the pulp floral endpapers being
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6. particularly fragile; this is easily the best-preserved of the very few copies we have encountered
in commerce.
Scarce radical novel drawing on the contemporary events of the Great Pullman Strike of 1894,
set in the fictional "Pullmantown," clearly modeled on the Southside Chicago company-planned
community of Pullman. BLAKE (The Strike in the American Novel, Metuchen: 1972) p.220: "...a
puerile story of the desperate lives of the workers in Pullmantown owned by Mr. HOARD
(always printed in caps in the book)...the novel ends as the first strike in Pullmantown's history
begins."
$450.
10. BELLAMY, Edward
Looking Backward 2000-1887.
Boston: Ticknor & Company, 1888. First Edition. Octavo (19cm); original gray cloth; 470pp.
Blanck's earliest printing, with imprint of printer J.J. Arakelyan on verso of title page; "wore" for
"were" on p.210. Laid in are an original albumen photographic portrait of Bellamy and a card
signed by the author, each with evidence of having been removed from an album - as found, but
of unknown (and perhaps dubious) provenance. The book shows a bit of external soil, with
dulling to spine gilt; endpapers foxed; text clean, and overall in an excellent state of
preservation, easily Very Good.
Without question the most influential 19th-century American utopia, and included among the
Grolier Club's One Hundred Influential Books Printed Before 1900. Looking Backward spawned
not only a host of literary imitators, accounting for the great profusion of utopian fantasies
between 1890 and 1900, but also inspired a great many American social and political
movements during the Progressive Era; "Bellamy Clubs" became a prominent feature of social
life in all but the least progressive of American cities, and many of their members went on to
influential careers in social reform and politics. Though almost continuously in print from the
date of publication until the present day, the first printing has long been considered an
uncommon and desirable book; the present copy among the better examples we have handled,
and of special interest for the included portrait and autograph. GROLIER 100. SARGENT p.38.
NEGLEY 80. LEWIS p.11ff.
$1,500.
11. BESSIE, Alvah [text]
This is Your Enemy: A Documentary Record of Nazi Atrocities Against Citizens and
Soldiers of Our Soviet Ally [Inscribed Presentation Copy].
New York: Front Line Fighters Fund of the International Workers Order, 1942. First Edition.
Oblong quarto (ca 19cm x 26cm). Pictorial linen-backed boards; [48]pp; illus. Bessie has
inscribed and signed in ink, on verso of title page, to film producer Spyros Skouras (undated).
Slight rubbing to board edges; spine cloth split along crown; text block slightly shaken, but still a
Good, sound copy. Issued simultaneously in card wrappers; this the only copy we have seen in
boards.
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7. Interesting association copy of this uncommon work, which combines text by Alvah Bessie with
gruesome photographic images of Nazi atrocities in the Soviet Union. The extremely pro-Soviet
tone of the work would have been unthinkable a few years later, but in 1942 Russia was still
being treated as a staunch ally of the US against the Axis. Bessie's failure to navigate the
shifting sands of American anti-communist sentiment would result in his falling victim to the
Hollywood Blacklist in 1948, a career blow from which his screenwriting career never fully
recovered. Ironically, the recipient of this volume, Spyros Skouras, head of 20th-Century Fox
from 1942-1962, was among the group of Hollywood studio executives who issued the famed
1947 "Waldorf Statement," creating the Blacklist and putting Bessie out of work for nearly two
decades.
A fragile and seldom-encountered work, especially in the trade; OCLC shows a modest
scattering of 22 holdings, many of these presumably the more common wrappered issue.
$850.
12. BEZYMENSKII, A.
Komsomoliia: Stranitsy Epopei. Izdanie Piatoe.
Moskva: Gosudarstvennoe Izdatel'stvo, [1929]. Fifth Edition. 12mo (17.5cm.); original pictorial
wrappers (artist unidentified) printed in red and black; 79pp. A few small tears to spine, old
rubberstamp to rear wrapper effaced with later ink notes written over. Still an About Very Good
copy of a fragile work.
Epic poem by proletarian author and member of the far left Litfront faction Aleksandr
Bezymenskii devoted to the Komsomol (abbreviation of the Kommunisticheskii Soyuz
Molodyozhi), the youth division of the Communist Party of the Soviet Union, first established in
1918. All early editions of this collection are scarce in OCLC; NYPL, the Getty, and Illinois only
of this edition as of April, 2015.
$450.
13. [BLACK PANTHERS - BALTIMORE]
A Nigger Wrench in the Pig's Court (It's Time to Set An Example).
Baltimore: Black Panther Party - Baltimore Chapter Community Information Center, N.d.
[1970?]. Mimeographed broadside, printed both sides of a single 14" x 8-1/2" sheet; set from
typed original. Imprint at upper right, recto. Paper toned; single horizontal fold-line at center;
Good or better.
Protests the arrest of Baltimore BPP member Leroy "Ochika" Young, who was rather hastily
convicted for the murder of fellow Panther Eugene Leroy Anderson in 1970. The broadside
describes Young as "the first victim of Baltimore's Fascist courts...convicted for a crime the facist
[sic] have manufactured in an attempt to destroy any and all resistance to the oppressive
conditions that black people are forced to live under." Calls for active resistance to police
detentions and warns the Baltimore legal establishment: "...take note when you are ready to
conduct another mock trial, watch the ground, watch the air, cause nigger wrenches will come
from everywhere, bringing you and your railraod [sic] to a dead halt."
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8. $450.
14. [BLACK PANTHERS - PHILADELPHIA]
The Ten Point Platform And Program of the Black Panther Party [with] Rules of the Black
Panther Party [and 6 others].
N.p. [Philadelphia: Black Panther Party, ca 1970]. Corner-stapled, mimeographed sheets,
printed recto-only; [21pp]. Slight wear and corner-creasing; Very Good.
Informational packet for prospective party members, assembled and distributed by the
Philadelphia chapter of the Black Panthers (so identified through provenance; there is no
imprint), ca 1970. Includes eight essays, including "The Ten Point Platform and Program [2pp];"
"Rules of the Black Panther Party [3pp];" "On Correcting Mistaken Ideas in the Party" [4pp]; "On
the Ideology of Roving Rebel Bands" [1pp]; "Combat Liberalism" [4pp]; "On Subjectivism" [1pp];
"Ultra-Democracy" [2pp; signed in type, "by Field Marshall D.C."]; "Fascism is the Power of
Finance Capital" [2pp]. A scarce Panther item. Not in OCLC.
$450.
15. BODENHEIM, Maxwell
Collection of 13 Signed Manuscript Poems.
N.p. [Greenwich Village]: Ca. 1940s-1950s. Thirteen typescript poems on 22 sheets, each
signed in ink by Bodenheim at end of text; several with hand corrections in ink. Two works
mounted to board; one work appears fragmentary (but see note below); occasional marginal
losses and tape reinforcements; paper age-toned; Good to Very Good overall.
A fixture of Greenwich Village bohemian life from the Twenties through the early Fifties, the
Mississippi-born poet Maxwell Bodenheim (1982-1954) published more than 20 volumes of
verse and fiction, including such well-regarded jazz-age novels as Replenishing Jessica (1925)
Georgie May (1928) and Naked on Roller Skates (1930). After the Great Depression
Bodenheim's production dropped off precipitously; by the end of WW2 he was penniless,
alcoholic, and living on the streets of Greenwich Village, where he supported himself by cadging
drinks at the "bohemian" bars and hawking signed copies of his poems for twenty-five cents a
page (sometimes less, depending upon his circumstances). Bodenheim and his third wife (30
years his junior, and a working prostitute) were brutally murdered by an irate john in a Bowery
flophouse in 1954.
The current group of signed manuscripts is typical of Bodenheim's "output" during this late
period. Nearly all are typed versions of previously-published works, most from his early
collections Advice (1920) and The Sardonic Arm (1923), though in most cases there are subtle
(or not-so-subtle) variations between the published and the later typescript versions. At least two
of the poems here we find no evidence of having been previously published, at least not in
Bodenheim's own collections (though they may certainly have appeared in any of the
innumerable, and un-indexed, little magazines of the Twenties and Thirties). A full list follows:
1. "(Finalities)". Poem of 20 lines. Appears to be a fragment of a larger work (the stanza is
headed "VI"), however we note that a very similar poem of 20 lines appeared in The Nation for
Nov 10, 1920 under the title "Criticism."
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9. 2. "Rattle-Snake Mountain Fable I." Poem of 24 lines. Collected in Advice (1920); unaltered text.
3. "Sincerely Yours, Culture." Sonnet. Collected in Light In The Valley (1942); unaltered text.
4. "Poem To A Rose." Poem of 24 lines. Apparently uncollected; we find no other examples of
this text. One holograph correction to text.
5. "Sonnet: He was enamored with prophetic speech -- " Apparently uncollected. One holograph
correction (line 9, elided).
6. "Captain Simmons." Poem of 29 lines in two stanzas. On two sheets. Collected in The
Sardonic Arm (1923).
7. "Death." Poem of 12 lines. Mounted to board, with coffee or tea stains to text (still perfectly
legible, and not affecting autograph). A version was published in The Century Magazine, v. 195
(1918).
8. "Blind." Poem of 10 lines. Collected in The Sardonic Arm (1923); unaltered text.
9. "Mr. Dogma Takes A Stroll." Poem of 29 lines. Single holograph correction to text. On two
sheets. We find no published example of this text, but it shares its first line: "Hill-flowers salute
his feet," with Bodenheim's early work "After-Pain," collected in Alfrerd Kreymborg's 1917 New
Poetry anthology Others.
10. "To A Woman." Poem of 23 lines. Two holograph corrections to text. Apparently uncollected.
11. "Insanity." Poem of 36 lines. On two sheets. Collected in Advice (1920); this version with
substantial alterations to 4 lines, differing from the published text.
12. "North Clark Street, Chicago." Substantial poem of 70 lines, in three sections on three
sheets. Collected in The Sardonic Arm, 1923.
13. "South State Street, Chicago." Poem of 108 lines, on 5 sheets. Three holograph corrections
to text. One of Bodenheim's most important early poems, composed prior to his move to
Greenwich Village; collected in Advice (1920).
$1,500.
16. BORSODI, Ralph
This Ugly Civilization.
New York: Simon and Schuster. First Edition. Octavo (23cm); light gray paper over black cloth,
with gray spine label printed in black; dustjacket; 468pp. Hint of sunning to spine label, with a
touch of dusting to text edges; very Near Fine. Dustjacket is price-clipped, lightly edgeworn,
with a few tiny nicks to spine ends and upper corners with several short tears; Very Good+.
Borsodi's first full-scale work calling for a return to agrarian homesteading and human-scale
technologies. This Ugly Civilization, written at the height of (and as a direct attack on) the
influence of the rhapsodists of the "Machine Age," is a prescient and scathing indictment of
20th-century industrial consumerist society and its attendant evils. The work of Ralph Borsodi
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10. (b. 1886) would become a major influence on the Vietnam-era "back-to-the-land" movement,
and this book, his largest and most forceful, became something of its bible. Long sought-after
and long out-of-print, attractive copies are still hard to come by, even in the post-internet age;
rare in dustjacket.
$750.
17. BOULLET, Jean
Oedipe, ou Tout le Monde ne Peut Pas Être Orphelin.
[Paris: Le Terrain Vague/Editions du Scorpion, 1957]. First trade edition of 425 copies, this copy
not numbered (apparently as usual). Octavo; 43 folded, die-cut leaves laid loose within pictorial
wrappers. Faint ring-stain tolean and unmarked in original wrappers; Very Good.
A portfolio of 42 mostly homoerotic drawings based on the Oedipus legend, each within a
captioned bifolium with die-cut window through which the illustration is visible. A charming work
in an unusual format. Reprinted in 1958 by the same publisher, but the first edition notably
scarce; only 2 locations noted in WorldCat, few in trade.
$450.
18. BROONZY, William "Big Bill"
Big Bill Blues: William Broonzy's Story as told to Yannick Bruynoghe.
London: Cassell & Company Ltd, 1955 [1956]. First American Edition. One of reportedly 750
copies used for distribution in the U.S., using the British binding and sheets with supplied Grove
Press dustjackets. Octavo (22cm); brown cloth, with titles stamped in gilt on spine; dustjacket;
139pp, [1]; 9pp of half-tone illustrations and four drawings by Paul Oliver. Endpapers foxed,
else Near Fine in a Very Good+ dustjacket, unclipped (priced $3.00), with light shelfwear to
panels and extremities, gently sunned at spine, with a few small nicks and chips.
Scarce American issue of Broonzy's autobiography, as told to Belgian author Yannick
Bruynoghe, detailing his early years in Mississippi and Arkansas to his rise as a prominent
American bluesman. Includes a complete discography compiled by Albert J. McCarthy and 9pp
of photographs of Broonzy, Memphis Slim, Washboard Sam, Tampa Red and many of the
author's contemporaries.
$500.
19. BROWNING, Alice C and Earl Conrad (eds). HIMES, Chester (contrib)
Negro Story. Short Stories By or About Negroes for All Americans. Vol II, No. 1 (August-
September, 1945).
Chicago: Negro Story Magazine, 1945. First Edition. Octavo. Staple-bound, thick paper
wrappers; 64pp. Toning to text, else clean, tight and unmarked with few signs of use; Very
Good.
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11. Nicely preserved single issue of this important war-time magazine of African-American fiction.
This issue with an early contribution by Chester Himes - "Make With The Shape" - preceding the
publication of his first novel; and a brief Langston Hughes sketch, "Two At The Bar." Other
contributions by Edith Segal, Eugene Maleska, Richard Bentley, others. Publication ceased in
1946.
$275.
20. BURNS, Robert E. (story); STEVENS, Dalton (cover art)
I Am A Fugitive From A Georgia Chain Gang! - Original Six-Part Serial in True Detective
Mysteries [WITH] I Am A Fugitive From A Georgia Chain Gang (First Edition).
Dunellen, NJ and New York: New Metropolitan Fiction, Inc. / MacFadden, 1931. Six quarto
issues bound into one volume (29.5cm); illustrated wrappers; 120; 136; 128; 120; 120; 112pp;
illus. Minute loss to base of spines, light wear to extremities, with several short tears and
creases to same; faint, shallow moisture staining to rear wrapper edges and margins of several
issues, else complete and clean throughout; Very Good+ or better.
[WITH]
I am a Fugitive from a Georgia Chain Gang! New York: Vanguard Press, 1932. First Edition.
Octavo (21cm); light gray cloth, with titling and decorations stamped in blue on spine and front
panel; blue topstain; dustjacket; 257pp. Bookplate to front pastedown, faint mustiness, with light
offset and some scattered foxing to endpapers; Near Fine. Dustjacket is unclipped (priced
$2.00), lightly dusty overall, with mild foxing to spine panel; Very Good to Very Good+ and much
better than usually seen.
A slightly fictionalized but largely autobiographical account, written while in hiding, of the
author's adventures with the Georgia penal system, beginning with his arrest for stealing $5.80
from an Atlanta grocer in 1922. By his own admission, the author sent his story to True
Detective Mysteries through an indirect and secret channel while hiding out from the law. At a
side-by-side comparison with the finished text of the novel, the serialized version shows textual
variations in certain portions. The six issues notably include dozens of photographic illustrations
throughout the text that were not included in the published book, prominently featuring Burns in
civilian, military, and prison garb, photos of his family, facsimiles of numerous letters written on
his behalf, and stark portrayals of prisoners on the chain gang.
Burns's intent was to expose the brutality and corruption of the chain gang system, and he
succeeded; the book created an instant furor upon publication and became a bestseller for
Vanguard. It served as the basis for the Mervyn LeRoy film released later the same year,
starring Paul Muni in the role of Burns. The film heralded a new genre - the prison drama - and
won three Oscars including a Best Actor Award for Muni. While copies of the novel in dustjacket
are notably scarce, the complete serial in its original state is nearly unobtainable. A primary
source and rare, with nothing comparable available in the trade (2015) and OCLC showing 8
American institutions with any issues of this publication.
$4,500.
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12. 21. CARRERAS, Luís / I. López
Paris a Sangre y Fuego. Jornadas de la Comuna [bound with] Proceso de la Commune
de Paris. Relación completa y detallada de todas las causas [...] contra los jefes de la
ultima insurrección de Paris.
Barcelona: Librería Española de I. Lopez, 1871. First Edition. First title 4to; 46,[2]pp;
chromolithographic half-title and advertising leaf; woodcut illustrations in text, one
chromolithographic plate at end of text. Second title in two parts, with separate title pages (as
issued), comprising: First Series, hojas 1-22; 174pp; Second Series, hojas 1-8, 64pp. All three
parts bound as one in recent black quarter-leather over decorated boards. General toning, with
occasional foxing, to contents; probable trimming to margins; color plates still bright and clean;
Very Good.
A popular and sensational account, for Spanish readers, of the Paris Commune and its
aftermath. The first title provides a general narrative of events, heavily illustrated with portraits of
the principal figures among both the communards and their opposition, as well as documentary
images of Paris in the throes of insurrection. Of special interest is the vividly colored half-title, a
striking portrayal of women revolutionaries, the so-called "petroleuses" in action, marching forth
with guns and swords while Paris burns in the background.
The second title, issued in 30 serial parts of 8 to 12 pages each (all present here), provides a
daily account of the state trials of the Commune's leaders that followed the insurrection,
beginning in August, 1871 (military tribunals through the summer had already resulted in the
incarceration, execution, or deportation of more than 10,000 rank-and-file communards). The
proceedings include abridged transcriptions of the major pieces of testimony, with woodcut
portraits of convicts and prosecutors; title-pages of most issues are illustrated either with
portraits or views. The Second Series, beginning with the issue for September 4th, 1871, deals
heavily with the trials of the petroleuses.
Both titles rare; OCLC gives four locations for the Jornadas (Yale only in North America); seven
locations for the Proceso, of which three are in the U.S. (Yale, N'Western, Michigan). A facsimile
edition of the Jornadas was issued by a Spanish publisher in 1979. We would note that two
extant copies of the Jornadas are bound, as with our copy, together with the Proceso,
suggesting that the publisher issued at least some copies in this format. We would also note
that a Spanish government publication, apparently a complete transcript of the state trials,
shares its title with the Proceso, but given that it was issued by a different printer and runs to
some 700 pages we presume little actual overlap in terms of contents.
$1,000.
22. CARUSO, Bruno
La Mano Dell'Uomo.
Rome: Edizioni dell'Elefante, 1965. First, Limited Edition. Octavo. Original pictorial wrappers;
15pp. Limited to 500 copies. This copy nicely inscribed on inside cover to Ben and Bernarda
Shahn, dated 1966: "a Bernarda e Ben / tanti auguri / da Bruno e Lidia," with an original
humorous drawing of the author/artist holding a fountain pen between his toes. Covers slightly
faded at extremities, else Near Fine.
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13. A visual paean to the human hand, with numerous illustrations by the author. An uncommon
work by the Italian caricaturist and surrealist painter, among the leading anti-Fascist artists of
the post-war period. Very scarce; none others in commerce; only two copies located in OCLC
institutions; this a great association copy.
$750.
23. [CENTRAL LABOR UNION, ST. LOUIS], H.J. Miller
Boycott. To the Public. As it is a known fact that the Journeyman Bakers of the City....
[with] Notice to My Patrons! Why am I Boycotted?...
[St. Louis]: Executive Committee, Central Labor Union, [1886]. Two letterpress handbills, 9"x6".
Marginal losses (with loss of a few characters to first broadside, without loss of sense), light
browning; Very Good.
First handbill, issued by order of the St. Louis Baker Union Local no. 15, includes text in English
and German, calling for a boycott against H.J. Miller, a commercial baker; the complaint states
that Miller's employees worked 18-hour days and were forced to pay for boarding at Miller's
house and to purchase their meals at the baker's own commisary. The second broadside,
issued by Miller himself, refutes these claims and begs the public to ignore the boycott. Miller's
broadside includes a patriotic graphic, perhaps a sly poke at the heavily foreign Baker's Union,
which included many German members.
Remarkably, thanks to a contemporary article in the Kansas City Star, we can identify the
precise date (April 22nd) and year (1886) of the event which precipitated this broadside
exchange. The article, headlined, "Bakeries Boycotted...Special Telegram to the Star" remarks
that all of St. Louis's "best bakers" had voluntarily complied with the union's 12-hour policy save
two. Thus, on April 22, in retaliation, "...The committees stood in front of the two bakeries...G.
Krunz, on Franklin avenue, and Mr. H.J. Miller, on the southwest corner of Fourth street and
Clark avenue...yesterday and distributed handbills...." The reporter went on to interview Mr.
Miller, who claimed "his men were perfectly satisfied with their situations and their pay...and he
thought the boycott was altogether unnecessary." A few years later, Miller's bakery would suffer
the ravages of a nitro-glycerine bomb, killing one worker; police initially investigated the event
as an anarchist attack, but it turned out to have been the work of a desparate unemployed baker
who was attempting to scare off employees in hopes of securing a job.
A unique survival. Having handled many dozens of strike broadsides and handbills over the
years, this is the first instance we can recall in which a printed response came to us
simultaneously with the original complaint -- all the more remarkable given the extremely local
and ephemeral nature of the event. Neither broadside is located in OCLC, nor do we find any
record of the event outside the single contemporary newspaper account.
$450.
24. CHAMBLESS, Edgar
Roadtown.
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14. New York: Roadtown Press, 1910. First Edition. Original maroon cloth, lettered in white on spine
and front cover with hand-colored pictorial inlay to front cover; dustjacket; 172pp. Fully Fine, in
the exceptionally uncommon pictorial dustwrapper, rubbed and chipped at spine ends, still Very
Good.
Scarce technological utopia. The author proposes a radical new model of city planning, the
"Roadtown," in which "...a line of city is projected through the country...this line of a city will be in
the form of a continuous house. In the basement of the house are to be placed means of
transporting passengers, freight, parcels and all utilities which can be carried by pipe or wire."
Chambless claimed that this plan would result in a reuniting of urban and rural cultures, whose
dichotomy he viewed as one of the chief ills of modern society. Chambless actively proselytized
for his plan until his death in the 1930's, and even won a major award from the American
Institute of Architects in a 1919 competition to "devise a solution to the housing problem." To our
knowledge, none of his proposals were ever actualized, but his notions live on in the tenets of
Linear City Planning, a movement which retains a few loyal devotees.
We have neither seen nor handled any other jacketed copy. The jacket is of some
bibliographical interest, as the spine panel copy identifies two states of the binding for the first
edition: "Price $1.25 net / with Cover Picture Hand Colored $1.35 net." The current example
includes the hand-colored onlay, presumably the scarcer and more desirable state. NEGLEY
192. HANNA 655. SARGENT p.78.
$1,500.
25. CHAPLIN, Charlii [Charlie Chaplin]; P. Okhrimenko, trans.
[Text in Cyrillic] Moe Puteshestvie v Evropy. Perevod s antgliyskogo P. Okhrimenko
[Russian translation of My Trip Abroad].
Mosvka: Akts. Izdat. O-vo "Ogonek", 1926 [but 1927]. First Thus. 12mo (14.75cm.); original
white photographically illustrated staplebound wrappers; 68,[4](ads)pp.; illus. publisher's ads
printed inside wrappers. Some light wear from handling, textblock uniformly toned and rather
brittle due to poor paperstock, else Very Good. "Biblioteka 'Ogonek'" no. 195. Title page imprint
gives the date 1926; upper cover dated 1927.
First Russian edition (abridged) of Charlie Chaplin's memoir My Trip Abroad (1922), recounting
the Hollywood actor's return to his native England and travels through Europe after 10 years in
the United States. Describes the (by then) universally recognized movie star's shock at seeing
the enormous changes taking place in post-WWI Europe--among the fan letters he received
during his first days in England were cards containing a white feather, symbolizing Chaplin's
abscence from service during the War. The first edition also coincided with the FBI opening its
first inquiry into whether Chaplin was a Bolshevist. (See Michael North, Reading 1922: A Return
to the Scene of the Modern.) NYPL and Stanford only in OCLC as of April, 2015.
$750.
26. [Civilian Conservation Corps]
Photograph Album of CCC Camp Skokie Valley, Glenview Illinois.
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15. [Glenview, Illinois: circa 1938 -1941]. Oblong, 7” x 9 ¾”. Light blue flexible faux leather photo
album containing 56 silver gelatin prints (49 mounted, 7 laid in) most measuring 4 ½” x 2 ¾”, a
few larger. 18 leaves, photos mounted rectos only, with three leaves blank. Album very good
with modest wear, mostly at edges; photos and leaves very good or better.
An attractive, well-arranged and nicely-preserved album, apparently complete, containing more
than 50 original (vintage) photographs of Civilian Conservation Corps activities at Camp Skokie
Valley -- presently the site of the Skokie Lagoons in Cook County, Illinois about 20 miles north of
Chicago. A good blend of vernacular images, including occupational scenes (trench-digging,
heavy machinery, etc) and views of facilities as well as casual shots of camp life, showing men
playing instruments, playing baseball, engaged in card games, and relaxing. Aside from one
commercial image -- an aerial view of the camp -- the album is comprised entirely of amateur
photographs, probably taken by the compiler of the album. Though the creator is anonymous, a
few images are captioned with names and dates, allowing us to date the album to within a year
or two of 1941 (in which year the CCC was discontinued due to conscription for the Second
World War).
The CCC took on the Skokie Lagoons project in 1933 with the goal of reclaiming the large
wetlands known as Skokie Marsh, which as early as the 1910s had begun to be encroached
upon by the northward expansion of the Chicago suburbs. In what was purportedly the largest
single project undertaken by the CCC, engaging more than 2000 men over a period of nearly 9
years, the Corps transformed the marsh into a major recreational area encompassing seven
lagoons, four dams, and a system of heavy dykes and diversion ditches. Much of the work (as
pictured here) was done by hand with shovels, pickaxes and wheelbarrows. By 1934 heavy
equipment was brought in; after 1941, the work was completed by the WPA. The Skokie
Lagoons are still in existence, and mark a popular summer destination for Chicago-area
recreationists.
$650.
27. CŒURÉ, Sébastien, Ludwig Rullman, and Charles Etienne Pierre Motte, illus.
Premier et Second Procès Fualdès, ou Représentation Lithographiée des Principales
Scènes de cette Épouvantable Affaire, et des personnages qui y on eu le plus de part,
avec un texte qui en rend un compte abrégé.
Paris: Ostervald l'Ainé, 1818. First Edition. Folio (42cm.); originally stitched leaves very neatly
disbound and laid into recent custom chemise; [6]pp. and 12 lithographic plates. Some foxing,
three plates with dampstain along right edge not affecting text; Very Good or better.
Antoine Bernardin Fualdès (1761-1817) was a retired Bonapartist judge from Rodez, in the Midi-
Pyrénées region of France, whose assassination during the Restoration sparked one of the
most sensationalist court cases of the era. On the night of March 19th, 1817, Fualdès was
carried by force into a brothel run by one Bancal and his wife; Fualdès' throat was slit and his
body thrown into the Aveyron river where it was recovered the following day. The star witness of
the case was Clarisse Manson, née Enjalran, the daughter of another Rodez judge and the
separated wife of Manson, who had gone to the brothel dressed as a man and was thrown into
a cupboard by Madame Bancal when the murder took place. As described in this collection's
accompanying text: "Soon the muffled cries of a man being stabbed reached her ears...She
heard the sound of blood dripping into a bucket or tub...She fainted" (my translation). The sound
of Manson's collapse drew the attention of the assassins, who "rushed to the cupboard; they
dragged into the kitchen what they believed to be a man: one of them was going to stab her with
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16. the knife still steaming with the blood of their victim. Madame Manson cried out that she was a
woman! One of the assassins recognized her, protected her..."
Eventually the guilty party would grow in number to nine accomplices, including the Bancals and
Anne Benoît, the "concubine" of Collard, another one of the assassins. Madame Manson would
later wreak havoc at the trial by recanting all that she had recounted to the tribunal and was
eventually added to the list of defendants. Bousquier, another member of the guilty party, would
eventually confess all. Among the sordid details was conspiracy to commit infanticide: another
witness had been discovered during the murder, the Bancals' young granddaughter, whom
Bancal promised to dispose of the following morning. The account describes Madame Bancal
sending her granddaughter and husband off together into the country, where the latter dug a
trench but finally proved incapable of killing the child. At the outcome of the trial, four were
condemned to death, though eventually only three were executed in June, 1818, Bastide-
Gramont, Jausion (who had protected Madame Manson), and Collard. (Monsieur Bancal had
already died in prison).
The superficial motive of the murder was money--Bastide-Gramont had Fualdès sign various
bills of exchange before murdering him. However, Fualdès' son Didier claimed the assassination
was political, Fualdès père having been on the Revolutionary Tribunal with Barres, and could
potentially have called into question the legitimacy of Louis XVIII. Another theory published in
Les Grandes Affaires Criminelles de l'Aveyron by Paul Astruc, Jean-Michel Cosson, and Jean-
Phillippe Savignoni (2003) hypothesizes that Fualdès' murder was commissioned by the secret
society the Chevaliers de la Foi (1810-1826), which served to protect the Catholic Church and
the monarchy.
The plates in this collection depict both scenes from the crime as well as the trial, with portraits
of eight of the defendants showing their expressions at the moment of their sentencing. Each
portrait accompanied by a short physiognomical description of the subject. For example, the
expression of accomplice Missionier is described as "Almost complete idiocy, to the point of
being unaware of his own fate." The case, with its violence, its risqué locale, and its sexy star
witness-turned-defendant, has enjoyed popular representation in both French and English 19th-
century literature, having been covered in detail in Charles Dickens's All the Year Round, and
alluded to in novels by Balzac, Hugo, Flaubert, Leroux, and Anatole France. A scarce collection:
OCLC locates three copies worldwide, NYPL and Stanford only in North America.
$3,500.
28. CRANE, Stephen
War is Kind.
New York: Frederick A. Stokes, 1899. First edition. Octavo. Original illustrated boards; 94pp.
Drawings by Will Bradley. Hint of toning to spine; trivial erosion to crown; printed bookplate; still
a Near Fine copy of this notoriously fragile book; scarce thus.
Widely acknowledged as a masterpiece of Art Nouveau book design and a key Will Bradley
work. The title poem remains Crane's most searing indictment of war, condensing the spirit of
The Red Badge of Courage into a work of 32 lines.
$750.
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17. 29. DAVIS, Stuart; SOLMAN, Joe; WEINSTOCK, Clarence (editors)
Art Front - Group of 19 Issues, 1935-1937.
New York: Art Front, 1935-1937. 19 quarto and folio issues (ca.31-42cm); illustrated tabloid and
stapled wrappers; ca.8-20pp; illus. Publication sequence running as follows: Vol.1, Nos.2-4,
6-8; Vol.2, Nos.3-11; Vol.3, Nos.1-6. Issues lightly edgeworn, with occasional splitting along
folds, short tears and attendant creasing; tabloid issues with old horizontal folds; scattered
foxing and light staining, with occasional graphite and color pencil marginalia; overall, a Good to
Very Good group.
An important, if now seldom-seen, publication, whose editorial board included Stuart Davis,
Louis Lozowick, Joe Solman, Angel Flores, Harold Glintenkamp, Jacob Burck, and William
Gropper, et al. "Initially the publication was the dual venture of the Artists' Committee of Action
and the Artists' Union. By the April 1935 issue, however, it was designated as the "Official
Publication of the Artists' Union...Art Front united artists of all political persuasions in an effort to
secure federal government support for the arts. Its title alluded not only to the political front--
namely, the Popular Front against fascism and war--but also to the frontiers of artistic
expression. During its three years of publication, Art Front became the single most important
forum for radical and non-radical artists to air their views concerning the appropriate social
function of art, to review and address new art movements, and to lobby for federal
support" (Marquart, Virginia Hagelstein. "Art on the Political Front in America: From The
Liberator to Art Front," Art Journal (Vol.52, No.1, p.72. Spring 1993)). Large groups of Art Front
are virtually unseen in the trade, this being the most substantial group we have seen or handled
in the last 15 years; OCLC notes 32 holdings for between US and international institutions, most
substantially incomplete.
$3,500.
30. DEUTSCHE ZEPPELIN-REEDEREI
Passenger Ticket for Carriage on the Airship "Hindenburg" [At head of title: Zeppelin-
Fahrschein (Ticket/Billete/Bilhete/Contrat de Passage) Nr. 4901] TOGETHER WITH One
blank sheet of "Luftschiff-Hindenburg" stationary with matching envelope.
Berlin: Deutsche Zeppelin-Reederei, 1936. First Edition. Broadsheet passenger ticket (27cm.)
printed in blue and black, accomplished in manuscript; recto printed within blue border; previous
folds, a few soil spots; About Fine. Text in German, English, Spanish, Portuguese, and French.
Feminist and author Mary Day Winn's passenger ticket aboard one of the earliest commercial
eastward trans-Atlantic crossings of the Hindenburg, scheduled to depart on May 11, 1936, from
Lakenhurst, New Jersey and arriving in Frankfurt sometime between 43 and 61 hours later.
Accomplished and signed by a Reederei agent (illegible) in New York City on May 7, 1936, a
day after the ship commenced its "maiden voyage." (The maiden voyage was actually not the
ship's first trans-Atlantic flight, having been making crossings to and from South America since
March of that year.) Winn's ticket is priced at "$360.00 netts [sic] plus $5.00 U.S. Tax," an
exhorbitant price for the time, but less than the average cost of $400 for a one-way ticket. The
ill-fated Hindenburg disaster would take place almost exactly one year later, on May 6, 1937,
while landing in Lakenhurst at the end of its first trans-Atlantic flight of the year.
TOGETHER WITH:
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18. Single sheet of Hindenburg airship stationary (29.5x21cm.) and envelope (11x16.5cm); some
old glue (?) stains, else About Fine. Stationary letterhead printed in blackletter in red and black
"Luftschiff-Hindenburg / An Bord." Accompanied with an illustration in red and black of the
Deutsche Zeppelin-Reederei flag, which depicts a hawk straddling the globe whose axis is
spinning on top of a swastika. The envelope also printed in black and pressure stamped
"Luftschiff-Hindenburg" along bottom edges.
$2,500.
31. DINNERSTEIN, Harvey and Burt Silverman
The Artist as Reporter: A Series of Drawings Executed in Montgomery, Alabama by
Harvey Dinnerstein and Burt Silverman.
[New York]: Davis Galleries, 1956. First Edition. Small card portfolio (22.5cm), folded once at
center, containing two printed sheets and five lithographs reproducing charcoal pencil drawings
by Dinnerstein and Silverman; illustrated title label applied to front cover of portfolio. Portfolio is
edgeworn, with creasing and short tears to extremities, and a 3cm tear along upper spine fold;
Very Good. Contents Fine, save for a small diagonal crease to lower right corner of preliminary
sheet.
Small portfolio containing drawings of men and women involved in the Montgomery bus boycott.
Dinnerstein and Silverman traveled to Montgomery in late 1995-early 1956, were embraced into
the community, and let their artwork humanize the faces of the movement there. "For in them
we saw a profound expression of intense religious feeling, which gave unity and purpose to their
immediate struggle for equality. Here were people who had grown that much larger than
themselves. It was this that moved us and gave impetus to our art" (from foreword). Rare; we
find no copies for sale in the trade (March 2015), and OCLC finds just 3 locations (Brandeis,
Frick Museum, U.Nebraska at Lincoln).
$350.
32. [DOUGLASS, Frederick, contributor] [Griffiths, Julia, ed.]
Autographs for Freedom.
Boston: John P. Jewett and Company, 1853. First Edition. Octavo (19.5cm.); publisher's red
cloth, covers triple ruled in gilt with gilt cornerpieces and central lozenges, spine also elaborately
stamped in gilt, a.e.g.; viii,263pp.; engraved frontispiece and two plates with tissue guards;
author signatures in facsimile; some edge wear, corner bumped, upper joint cracked but still
about solid; contemporary gift inscription, some light foxing throughout; a Very Good copy of
what appears to be the publisher's deluxe binding; this volume would have been more
commonly issued in boards or in full -blind-embossed cloth. We have been unable to locate any
other copies in this publisher's binding in the trade or in the auction records.
A collection of literary works by the prominent men and women of the anti-slavery movement,
compiled for the Rochester [NY] Ladies' Anti-Slavery Society. Issued in the format of an annual
gift book, for which a second series was published the following year. Contents includes a poem
and short vignette by Harriet Beecher Stowe; and the first book edition of Frederick Douglass'
only attempt at fiction, a novella titled "The Heroic Slave," originally published the same year in
his newspaper The North Star. The story is a fictionalized account of the historic figure Madison
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19. Washington, an enslaved cook who instigated a revolt on the slave brig Creole on its journey
from Virginia to New Orleans; upon gaining control of the ship, the slaves had the ship be taken
to Nassau, which was under British occupation at the time. Though they would be taken under
British custody, 116 of the participants would be granted their freedom the following year. BAL
11172 (describing Caroline M. Kirkland's contribution "Momma Charlotte"). SABIN 28835.
SCHOMBURG IV, p. 3088. WRIGHT II 1033.
$2,750.
33. ELLISON, Ralph
Invisible Man.
New York: Random House, 1952. First Edition. First Printing. Octavo (21.5cm); two-tone black
and beige cloth, with titling and decorations stamped in white and dark gray on spine; black
topstain; dustjacket; 439pp. Hint of offsetting to front endpaper, else a fresh, Fine copy.
Dustjacket is unclipped (priced $3.50), with Gordon Parks' photo of Ellison on rear panel; subtle,
professional restoration to spine ends and corners (<3mm), else Fine, completely unrubbed,
with spine colors bold and unfaded.
Ellison's first novel, which he began writing while serving in the Merchant Marines during World
War II. "The story begins with a terrifying odyssey of one man's search for his own identity
through his high school days to the campus of a Southern Negro college and then to New York's
Harlem. Here the main character becomes involved in a series of complex adventures,
deceltions and betrayals, as much by himself and his own illusions. His heroes have an identity
and yet he ends up as a nonentity." Winner of the National Book Award in 1953, and cited in
The Modern Library's 100 Best Novels list (#19), Invisible Man remains one of the 20th century's
most enduring works on the Black experience in America. BLOCKSON 86; COAN p.187.
$7,500.
34. [FDR - NEW DEAL] Democratic National Campaign Committee
22 Democratic Party Campaign Broadsides for the Presidential Campaign of 1936.
[Washington, D.C.]: Democratic National Campaign Committee, 1938. 22 quarto broadsides
(12" x 7-1/2" - ca. 30.5cm x 19cm). Printed recto-only in black ink on various colored
paperstocks. Gentle marginal fading to one or two pieces; generally about Fine.
An apparently complete set of twenty-two broadsides trumpeting the accomplishments of FDR
in his first term and warning against the regressive social and fiscal policies of the Republicans.
Each broadside on a different theme: Housing; the WPA; Trade Policy; Taxes; Farm Relief, etc.
The broadsides were issued in 1938, probably for the mid-term elections of that year. OCLC
shows none of the broadsides to be separately cataloged.
$850.
35. FETTAMEN, Ann [pseudonym of Anita Hoffman]
Trashing.
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20. San Francisco: Straight Arrow Books, 1970. First Edition. First Printing. Octavo (21.5cm); navy
blue cloth with titles stamped in silver on spine; red topstain; dustjacket; 131pp. Signed on the
first blank both as Ann Fettamen and Anita Hoffman, and dated Los Angeles 9/18/91. Fine in a
lovely example of the original suppressed dustjacket, featuring the nude Hoffman's embracing in
Nixon and pig masks. Dustjacket is unclipped with some trivial rubbing, else very Near Fine.
One of the earliest titles (and certainly one the of earliest novels) published by the short-lived
Straight Arrow imprint, the publishing arm of Rolling Stone. Written by Anita Hoffman under a
pseudonym, Trashing is simultaneously a walk through the underground scene, the love story of
her and Abbie Hoffman, and the manifest of the Yippie movement. A stunning copy, and
particularly scarce in the suppressed dustjacket.
$1,250.
36. FISHER, Irving
100% Money. Designed to keep checking banks 100% liquid; to prevent inflation and
deflation; largely to cure or prevent depressions; and to wipe out much of the National
Debt [INSCRIBED COPY].
New York: The Adelphi Company, (1935). First Edition. Octavo. Blue cloth boards, lettered in gilt
on spine; 212pp. Inscribed on front endpaper to one-time Ohio Governor and Presidential
candidate James M. Cox: "with the compliments and good wishes of / Irving Fisher," dated in
year of publication. Spine slightly rubbed and faded, with spine gilt dulled but still legible; lower
corners creased on final 20 or so leaves; still a presentable, VG copy.
Fisher's most important work of economic theory, published at the height of the Great
Depression in response to widespread failures in the American banking system. The recipient,
James M. Cox, was a prominent Democratic political figure, long-serving legislator (later
Governor) from Ohio and a nearly-successful candidate for the Presidency in 1920, an election
he narrowly lost to Republican Warren G. Harding. Of this election, the historian Irving Stone
famously wrote: "there was never a stronger case in the history of American presidential
elections for the proposition that the better man lost" (see Stone, They Also Ran: The Story of
Men Who Were Defeated for the Presidency. NY:1943). Inscribed books by Fisher are not
common; this an excellent association copy.
$750.
37. FOLON, Jean-Michel
Le Message.
Paris: Hermann, 1967. First Edition. Original black linen-covered boards with paper cover label,
9.5cm x 12.5cm; unpaged (24 leaves). Warmly and lengthily inscribed to Ben Shahn on second
blank, in Folon's miniscule hand: "Mr. Ben Shahn, Un grand merci pour votre lettre et pour
l'autorisation concernant Sacco-Vanzetti. Bien entendu, il faut r'conter le docteur mais je suis
certain que vous serez tres vite en grande forme, et en magnifique santé, et fin-avril, ce sera
une immense joie de vous revoir à Roosevelt.." Mild wear and light soil to covers; internally fine.
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21. A rare early work by the acclaimed Belgian painter and illustrator, published two years prior to
his first one-man show in New York. Folon's hopeful note regarding Shahn's health is
particularly poignant, as it must date from early April 1967 - the beginning of a precipitous
decline in Shahn's health which would end in his death in early 1969, and just weeks before the
sudden, devastating death in London of his daughter Susanna. Folon's reference to permissions
for Shahn's Sacco-Vanzetti paintings is elusive; we can find no evidence that Folon ever
borrowed the Sacco-Vanzetti theme in his own work.
$1,500.
38. FRIEDMAN, I.K.; William Glackens (illus)
The Autobiography of a Beggar. Prefaced by Some of the Humorous Adventures &
Incidents related in The Beggars' Club [Signed Presentation Copy].
Boston: Small, Maynard & Co., 1903. First Edition. Octavo (19cm); red decorated cloth boards,
stamped in white and black on spine and front cover; 350pp + ads. Frontispiece + 7 inserted
leaves of plates after ink sketches by Willliam Glackens. Author's presentation to front
endpaper: "To John T. McCutcheon - the "funny cove" referred to on page 341," dated June 5,
1903; unsigned, but in the author's characteristic hand. Tight, straight copy, slightly darkened
(but still legible) on spine; Very Good to Near Fine.
Friedman's fourth book, following closely on his Rideout-listed socialist novel "By Bread Alone".
A highly interesting association, inscribed to one of the foremost left-wing political cartoonists of
the era. An uncommon book in any incarnation; this a particularly fresh and desirable copy.
HANNA 1323.
$500.
39. GALLEANI, Luigi
La Fine dell'Anarchismo?
[Newark]: Edizione Curata da Vecchi Lettori di Cronaca Sovversiva, 1925. First Edition. 12mo
(18.5cm.); original grey pictorial wrappers printed in blue and dark grey; x,[2],130pp.; facsimile.
Slightly worn from handling, else Very Good to Near Fine.
Lengthy essay in response to the former anarchist author and attorney Francesco Saverio
Merlino after his conversion to socialism and his statement in an interview titled "La Fine
dell'Anarchismo" in the Italian daily La Stampa that anarchism was dead. Galleani's response,
titled "La Fine dell'Anarchismo?," first appeared in ten installments in his newspaper the
Cronaca Sovversiva, from April, 1907, to January, 1908. This, the first collected edition, did not
appear until six years after Galleani's deportation from the United States, in 1919. PERICONI
53.
$300.
40. [GAMES - PRISONS]
Tee-Pee-Gee (The Prison Game).
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22. Milwaukee, WI: Tee-Pee-Gee Company, n.d. but ca.1950. Board game, consisting of one (1)
game board (21.5" x 22"), set of two (2) red acrylic dice, 41 round and square painted wood
pieces in black, white, green, red, yellow, blue, and brown (one black piece replaced), 17 game
cards (2.25" x 3.75", printed on rectos only), and original instruction manual (6" x 4"). Dice,
game pieces, and cards housed in the original manufacturers two-piece box. Game board is
hinged with linen, lightly worn at extremities with some occasional board exposure; instruction
manual is browned overall, folded in half, with some splitting along spine fold and holographic
notes to front and rear wrappers. Box for entire game not present, though it is unclear whether
or not one was issued. Presumed complete.
"The fascination of this game lies in the variety of ways, chances, and combinations in which it
can be played. For instance - a player may decide to play all the men on the straight and
narrow path to freedom by being pardoned, or take a shorter but more risky method as a
fugitive. The trials of fate and temptation may enter at any time and upset all plans. This novel
game, which may be played by two to six players, illustrates the separation of prisoners from the
outside world and their discipline and reformation. It is a game of chance and skill and the
possibility of your opponents' chance to win depends upon where and how you make your
moves. It will hold you spellbound from beginning to end" - opening statement from instruction
booklet.
A prison-themed board game with a phantom manufacturer; our research has failed to reveal
much information about either one, though in theory and objective, it bears remarkable
similarities to the much later (ca.1990's) board game The Slammer, produced by Ruppert
Games. Tee-Pee-Gee can be played by up to six players, and while it appears fairly easy at
first glance, the dynamics are quite complicated, with game pieces representing inmates,
messengers, guards, and visitors. The possibility for numerous moves exists, dictated by the
roll of the dice, cards chosen, and each players respective positioning on the board. Prisoners
can be released or can choose to escape, with or without the help of visitors. The winner of the
game is the player with all their prisoners outside the walls, either as "pardoned" or "fugitives,"
and their visitor(s) "in good standing" with the prison officials. Rare; we find no example for sale
at the time of this writing (March, 2015), and no record in OCLC.
$850.
41. [GOLDBERG, Betty, aka Betty FRIEDAN]
UE Fights for Women Workers: End Rate Discrimination! End Job Segregation! [with]
Women Fight For A Better Life! - UE picture story of women's role in American history.
New York: United Electrical, Radio and Machine Workers of America (UE), 1952 & 1953. First
Editions. Two separately-issued pamphlets in original pictorial staple-bound paper wrappers.
First title octavo, 39pp; illus. Second title 12mo, [31]pp. Uniform light edgewear to covers, hint of
dusting and soil; both Near Fine.
These two pamphlets, written and published ten years before her landmark work The Feminine
Mystique, comprise Friedan's first two separately-published books (preceded by numerous
periodical appearances). Friedan (then Goldberg) authored the books anonymously while on the
editorial staff of the United Electrical, Radio and Machine Workers of America, at this time
among the most radical, old-line leftist trade unions in the U.S. and one of the first to seriously
confront the question of workplace equity for women. Though brief, these two pamphlets
comprise a strenuous critique of gender inequality in industry as well as in society at large,
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23. presaging Friedan's groundbreaking work of a decade later. The genesis of Friedan's theories
regarding gender roles, marriage and women's alienation can be found in these early works,
making them two of the foundational documents of feminism's so-called "second-wave," which
most critics agree began with the publication of The Feminine Mystique in 1963.
Extremely scarce in commerce and surprisingly uncommon in institutional collections -- OCLC
notes fewer than 10 locations for each title, and no holding institution's catalog attributes either
pamphlet to Friedan (though Friedan's authorship is undisputed and widely documented in the
secondary literature).
$1,500.
42. [GOLDBERG, Isaac] [H.L. Mencken, Upton Sinclair, George Jean Nathan, Charles
Angoff, Elmer Gertz, et al.]
Archive of Printed and Manuscript Materials, mostly letters, relating to American author,
critic, and literary translator Isaac Goldberg.
Ca. 1921-1936. Collection of 53 individual items, among them 36 signed letters including from
Upton Sinclair, H.L. Mencken, George Jean Nathan, Charles Angoff, Elmer Gertz, and Joel Elias
Springarn; all addressed to Goldberg regarding his literary achievements. Various formats,
sizes, and states of wear, though no items so worn as to have lost meaning.
Isaac Goldberg [1887-1938] was a prolific early 20th-century American author and critic. Among
his works mentioned in this collection are biographies of sexologist Havelock Ellis, co-founders
of The American Mercury H.L. Mencken and George Jean Nathan, and composer George
Gershwin; his translation of Sholom Ash's Mottke, the Vagabond; his critical works Brazilian
Literature, Studies in Spanish-American Literature, and Tin Pan Alley; his collection of erotic
short stories Sexarians; and numerous reviews, essays, and individual short stories. Notable
items from the collection (in approximately chronological order) include:
1. Typed note, signed by Upton Sinclair on his personal Pasadena letterhead. Dated February
3, 1925 and written on behalf of Mrs. Sinclair regarding Goldberg's review of her Sonnets, "and
to add that the sonnet 'Finis', [sic] was intended to be a joke."
2. Typed letter, signed by Sinclair with autograph postscript. Dated February, 19, 1925 regarding
Sinclair's book of criticism Mammonart (1925): "As to my use of the phrase, 'instruments of
propaganda and repression employed by ruling classes', [sic] let me say that I am fighting for
the working classes, and I have a tendency to take a one-sided attitude, and to look upon ruling
class arguments as repression and working-class arguments as truth and justice."
3. Typed note, signed by Upton Sinclair, dated March 17, 1925. Obviously a reponse to
Goldberg's reply to the above letter: "I don't know what I wrote you in the nature of 'self-
confessed bias,' but what I think on the subject is this. Justice between man and man is the
most important moral fact in the universe; anyone who truly believes in it and works for it seems
to be ipso facto a good person, while anyone who works against it is a bad person. I don't call
that a bias; I call that a moral judgment..."
4. 2-paged typed letter, signed by M. Lincoln Schuster on Simon and Schuster letterhead. Dated
October 19, 1925, regarding Schuster's desire to obtain the republication rights for Goldberg's
translation of Sholom Ash's Mottke, the Vagabond.
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24. 5. Typed note, signed "George Jean" on blue American Mercury letterhead. Regarding the title
of Goldberg's biographical study of Nathan. Nathan proposes "The Other Man Nathan," in
response to the title of Goldberg's biography of Mencken, The Man Mencken (1925). OCLC
records show that Nathan's title did not win Goldberg over; the book was published under the
title The Theatre of George Jean Nathan (1926).
6. Autograph letter, signed by Havelock Ellis. Dated April 23, 1926, showing appreciation for
Goldberg's critical biography of Ellis's life and works.
7. Typed letter, signed by H.L. Mencken, on blue American Mercury letterhead. Dated May 22,
1926. Commends Goldberg's review of "the Krutch book" (most likely Joseph Wood Krutch's
first book, Edgar Allan Poe: A Study in Genius (1926)). Concludes with Mencken's verdict that
"He is a young man of considerable promise but I get the impression that he is still somewhat
vealy."
8. 2-paged autograph letter written on both sides of one leaf, signed by American critic and
essayist Benjamin DeCasseres on his professional letterhead. Dated Feb. 15/27. Mostly
concerned with DeCasseres negative opinion of the author Frank Harris: "Plainly, I think him a
faker--a courageous one, however--and, I fear, a Tremendous but Enchanting Liar in regard to
the people he has 'interviewed.' Remember, he's Irish, who are all delicious Falstaffian liars
without spiritual content...Harris's case is really pathetic. He has tried every trick to mount to
fame; first on the backs of Shakespeare, Wilde and the celebrities with whom he swapped
cigarettes. Then, finally, on his cock."
9. 2-paged autograph letter, signed by Sinclair on blue-green stock. Dated Aug. 27, '27.
Mentions Sinclair's upcoming research on his novel-in-work Boston (1928), a documentary
novel condemning the trial and execution of Italian-born anarchists Nicola Sacco and
Bartolomeo Vanzetti for the murder of a guard and paymaster during an armed robbery in
Braintree, Mass. ("It will surely be suppressed" according to Sinclair's letter.) Concludes with:
"As to art and propaganda, I doubt if we differ very much. I am push[ing?] [illegible] to overthrow
the art for art's sake nonsense, and to establish the importance of content as the basic
necessity..."
10. Autograph letter, signed by Nathan on "The Royalton" letterhead. Dated Feb. 11, '31.
Describes his trip to visit Mencken and his wife Sara Haardt in Baltimore: "He has a most
comfortable establishment & has never seemed happier & more content. His cigars--eight
inches long--and his wines are excellent."
11. 2-paged typed letter, signed by Howard M. Parshley, zoologist and sexologist, written on
yellow "General Catalogue of the Hemiptera," Smith College, letterhead. Dated July 28, 1931.
Regards Parshley's enthusiasm for Goldberg's collection of erotic short stories Sexarians (1931)
and bemoaning the fact that Lady Chatterley's Lover is not more readibly available to all 16-
year-olds.
12. 3-paged autograph letter, signed by lawyer Elmer Gertz on "Washington Pine Apt. Hotel
East" letterhead. As in the above letter, clearly a fan letter for Sexarians, which "made my trip
back to Chicago memorable." At the time of writing, Gertz was working on an edition of the
works of Frank Harris, though today he is best known as the winning defence lawyer for the
obscenity trial against Henry Miller's Tropic of Cancer (1961).
13. Autograph letter, signed "George" on Nathan's private letterhead. Undated. Mentions a trip
to the country with Knopf and cocktails with Mencken and social reformer Ben Lindsey: "You
should have been on hand. You'd have been pleasured with some low humor."
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25. 14. 3 typed letters, signed by Charles Angoff, managing editor of The American Mercury after
1925, on blue Mercury letterhead. No year given. The first two letters appear to be in response
to Goldberg's request for some biographical information for a short work-in-progress on Angoff.
By way of biography, Angoff mentions that he is a bachelor, heavy smoker, moderate drinker,
and "some of my best friends are Jewish!" The third letter, probably dated a few months later,
describes the reviews of the first two volumes of Angoff's Literary History of the American
People: "The book is being severly attacked on nearly all fronts. In most cases the motives are
obvious enough. In the rest all I can discern is bumptious ignorance. Some of the reviewers
haven't even taken the trouble to read the book. I am sure that God will punish them all, not only
in the hereafter, but also in this world."
15. Autograph 12-line poem titled "Love's Autumn--Rhyme," signed "H.H. Ellis" and dated 14
Sept, 1879 (?). Apparently early unpublished poem with the opening line "Put in the sickles and
reep..."
16. Small collection of autograph notes in Goldberg's hand, many of which were made on dust
jacket remnants (for review purposes?).
$3,000.
43. GOLDMAN, Emma
Living My Life.
New York: Alfred A. Knopf, 1931. First Edition. Two large octavo volumes (24cm). Original blue
cloth, lettered in black on spines and front covers; original dustwrappers; 1-503; 504-990, xii pp;
illus. Tight, attractive set, with just a hint of sunning to board edges, in the very uncommon
pictorial dustwrappers, lightly rubbed and with small nicks at spine ends, still Very Good.
Illustrated throughout with photographic plates (halftones).
First edition of Goldman's monumental autobiography, an undisputed high-spot of women's
writing and one of a few truly important 20th-century radical memoirs. Goldman was reputedly
furious with Knopf for issuing the book in two volumes at the height of an economic depression,
and considered the publication price of $7.50 to be exhorbitant. The book indeed sold poorly,
despite strong reviews, and has never been common. Examples in attractive dustwrappers are
very seldom encountered in the trade. Knopf reissued the work in one volume in 1934.
$2,500.
44. GOLDMAN, Emma
Living My Life [One-Volume Edition] - Inscribed.
New York: Alfred A. Knopf, 1934. First Edition Thus. Octavo (23cm); black cloth, with titles
stamped in red on spine and front panel; red topstain; dustjacket; Cloth boards; 653pp, xvi,
followed by 8 leaves of half-tone plates. With presentation inscription from Goldman on the
front endpaper: "Mrs. Sabina Cohen / Emma Goldman." Hint of a forward lean, with light wear
to board edges; Very Good+. Dustjacket is spine-sunned, lightly edgeworn, with a few tiny
losses at spine ends and corners, and a few tears mended on verso; Very Good+.
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26. First one-volume edition of Goldman's monumental autobiography, an undisputed high-spot of
women's writing and one of a few truly important 20th-century radical memoirs. Goldman was
furious with Knopf for issuing the book in two volumes at the height of an economic depression,
and considered the publication price of $7.50 to be exhorbitant. The book indeed sold poorly,
despite strong reviews, and it has never been common. Knopf issued the one-volume edition in
1934. On February 1 the same year, after 15 years in exile, Goldman was re-admitted to the
United States for a brief 90 day period, during which she lectured extensively. The present copy
was signed for Sabina Cohen of Rochester, NY, who attended a city club lecture with her
husband Hyman in February, 1934. A scarce title in dustjacket.
$1,500.
45. GREENE, Lorenzo J. and Carter G. Woodson
The Negro Wage Earner [Inscribed copy].
Washington DC: Association for the Study of Negro Life and History, 1930. First Edition. Large
octavo. Green textured cloth boards, lettered in black on spine and front cover; dustjacket;
388pp. Inscribed by Lorenzo Greene on front endpaper "With best wishes," dated 1931. A
straight, Near Fine copy, free of significant wear; in the original pictorial dustwrapper designed
by the major Harlem Renaissance artist James Lesesne Wells (artwork signed in plate "JLW").
Jacket lightly rubbed at flap-folds, with a few small nicks to extremities; Very Good Plus.
A major and influential study of "the development of the negro in the various occupations in the
united states since 1890," co-authored by Greene, long-time Professor of History at Lincoln
University in Missouri, and Carter G. Woodson, long-time Dean of Arts and Sciences at Howard
University and the founder of Negro History Week. Rare in jacket, and especially desirable
signed.
$750.
46. GROPPER, William and HARRIS, M. Tjader (editors); GUTHRIE, Woody (contributor);
LANGE, Dorothea (photographs)
Direction - Vol.3, No.3 (March, 1940).
Darien, CT: Direction, 1940. First Edition. Quarto (27.5cm); white stapled wrappers, printed in
red and blue and designed by Paul Rand; 24pp; illus. A trifle rubbed along spine fold, with a few
spots of oxidation to staples; a bright, Near Fine copy.
The Easter issue of Direction, which focused on social action, with a particular interest in the
plight of the migrant worker. This issue contains a notably early contribution by Woody Guthrie
entitled "Songs of the Migratious Trail" (pp.6-7), which would go on to be reprinted in the pages
of Daily Worker and People's World. In it, Guthrie provides a short summary of his own career,
and introductory notes and lyrics to the songs "I'm A Goin' Down This Road A Feelin' Bad,"
"Greenback Dollar" (traditional and labor versions), and his own song "Uncle Sam Started Him A
Union." An additional editorial piece on migrant workers (pp.10-13) is humanized by a number
of photos taken by Dorothea Lange. An attractive, well-preserved issue with an early Woody
Guthrie piece. REUSS 17.
$400.
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27. 47. HEINEMANN, A.[Alfred]
"Völk Woher, Völk Wohin? Erbbiologie im Lichte des Judentums. Holograph manuscript
of 210 leaves, with additional material including research notes and source materials.
[Saarlouis, Germany: n.d. (ca 1936?)]. Substantial holograph manuscript of 210 leaves, with an
additional ca. 70 leaves (mixed typescript and holograph) comprising research notes,
bibliography, and related drafts. Written in a neat but hard-to-decipher (especially for this non-
German cataloguer) hand. Together with a large archive of original source material, including
newspaper clippings, pamphlets, periodical issues, and ephemera. Manuscript pages irregularly
numbered, many pages with extensive holograph corrections and editorial markings in the
author's hand. It is unclear, based on pagination, whether the manuscript is complete; a few
sections appear unfinished. Newspaper clippings fragile, many with losses, now conserved in
archival sleeves. A full inventory is available on request.
Lengthy, unpublished treatise, by a German-Jewish author, on the genetics of the Jewish race.
Apparently written, perhaps naïvely, with the intention of justifying the eugenic character of
generations of Jewish racial intermarriage and providing "uplift" to German Jews in the face of
growing state-sponsored antisemitic sentiment.
Heinemann, a general medical doctor with a practice in the German-French border city of
Saarlouis, provides a scholarly, deeply-sourced treatise on the nature of genetics and heredity,
theories of race-classification, and the particular characteristics of the genetics of the Jewish
race which, he appears to theorize, have been affected by Jewish Talmudic law ("le-mino") and
by the millenia of suffering of the Jewish people. Heinemann's argument is essentially a eugenic
one, and indeed the largest section of his manuscript is devoted to "Die Eugenik des
Judentums", with sub-sections dealing with such topics as "Man as the reflection of God's
image," "Jews as God's people," and "Jewish intermarriage." The work concludes with surveys
of Jewish culture around the world and a discussion of eugenic movements in those nations
where Jews have established significant populations.
The phenomenon of a German Jew writing on the subject of eugenics at the height of Nazi
power is perhaps less ironic than it would seem at first glance. Race-theory and eugenics had
become a major preoccupation of German medical thought as early as the 1880s, and Jewish
scientists (who comprised the majority of the German medical profession until the drafting of the
Nuremberg Race Laws of 1935) were among the most important contributors to German genetic
science. But given the special nature of this work, and the epically bad timing of its author, it is
no surprise that it never found a German publisher.
The manuscript came to us with a large archive of related source material, in the form of
newspaper clippings, offprints, pamphlets, journal issues, and correspondence, all dated
between 1933 and 1937, which appear to have been the years Heinemann was at work on his
manuscript. These include substantial excerpts from the Berlin Jewish daily newspaper
Israelitisches Tageblätt (with many pertinent articles marked with red pencil); several issues of
the Orthodox German-language newspaper Der Israelit; 48 complete issues of Jüdisches
Bibliothek, the literary supplement to the Israelitisches Tageblätt; and numerous pamphlets and
offprints, including what appears to be the only issue published of the Mitteilungsblatt des
Jüdischen Buchhandels (Jan 1938), an ill-fated journal of the German-Jewish book trade. A
complete list of these additions is available on request.
Dr. Alfred Heinemann appears to have emigrated to New York by way of England, probably
following the Krystallnacht uprising of November, 1938. We find him on the board of a local
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28. medical society in Dunkirk, New York in 1940. In the Nazi Restitution files of the state archive of
Saarbrucken, Heinemann is still listed as a New York resident in 1951, when he received
compensation for the loss of his house, a building plot, and outbuildings in Saarlouis.
The Leo Baeck Institute (New York) holds a finished typescript of this manuscript.
$7,500.
48. HEMINGWAY, Ernest
Three Stories & Ten Poems.
Paris: Contact Publishing Co., 1923. First Edition. 12mo. (18cm); issued in grayish-blue paper
covers printed in black; 64pp. Custom quarter Morocco slipcase and chemise. Evidence of
cleaning to wrappers, resulting in some uneven discoloration within and around the typographic
elements, but still a tidy, well-preserved copy of Hemingway's scarce first book, published in an
edition of only 300 copies. HANNEMAN A1.a.
$37,500.
49. [HINE, Lewis] Lewis W. Hine Memorial Committee
Lewis W. Hine 1874-1940 [Portfolio of 5 Original Silver Gelatin Photographs].
New York: Lewis W. Hine Memorial Collection Committee / Photo League, [1946]. Limited
Edition. 5 original silver gelatin photographs, printed posthumously by the Lewis Hine Memorial
Collection Committee from the original negatives. Each approximately 6¼" x 4½" (15.9 x
11.4cm) or the reverse. Each photograph mounted on 12" x 10" sheet, in card portfolio with 4-pp
letterpress introduction by Marynn Ausubel. Issued in an edition of 50. Exterior of portfolio
stained and soiled; faint tidemark at base of introductory sheet; the photographs bright and
unsoiled on clean mounts.
The second such portfolio of original photographs issued by the Lewis W. Hine Memorial
Committee of the Photo League (the first was issued in 1942, and included only 4 images). The
present portfolio includes several of Hine's most enduring portraits, including Albanian Woman,
Ellis Island (1905); Bowery Mission Bread Line, 2 a.m. (1907); Homework, Artificial Flowers,
New York City, 1908 (1908); Little Orphan Annie in a Pittsburgh Institution (1909); Stevedore,
New York Waterfront (undated). All are original photographic prints from Hine's negatives.
A stunning portfolio of work by one of the great masters of documentary photography of the 20th
century, and a noted rarity. The last example recorded in commerce was incomplete (lacking
one photograph), appearing at Christie's (New York) in 2001, where it achieved $8,800. The
current example complete and fine but for some old external staining to the portfolio.
$8,500.
50. [INDUSTRIAL WORKERS OF THE WORLD]
Preamble of the Industrial Workers of the World.
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29. N.p., n.d., s.i. [ca 1920s]. Broadside, 14-1/4" x 10-1/2". Shop sign, printed on heavy card stock;
text in black within a red decorative border. Slight darkening to paper; creases and a few tiny
stains and losses at extremities; adhesive stains verso; Very Good. Uncommon printing of this
classic text of American radicalism, issued entirely without imprint, probably intended for display
in a factory or other workplace. Quite possibly a unique example, produced as a training piece
by an apprentice printer; we find no comparable catalogued printings of the Preamble in the
collection of any OCLC member institution.
$350.
51. INMAN, Will
[Original typescript, signed] A Letter To Ché Guevara.
[New York: 1967]. Hand-typed manuscript on two 11" x 8-1/2" sheets of onionskin typewriter
paper. Poem of 88 lines, dated in type "10-11 October 1967," inscribed in black ink in margin:
"for Israel Young / from Will Inman," dated 23 November 1967. Old fold lines; marginal stain to
first leaf; Very Good.
A substantial elegiac poem addressed to the memory of Ché, composed only two days after his
death at the hands of a CIA-backed Bolivian hit-squad. Inman (1923-2009) was a former
Communist Party organizer who, following his run-in with HUAC, reinvented himself as a poet
beginning in the early Sixties. His long career included the founding and editorship of the
influential mimeo journal Kauri, which he ran from 1964-1977.
The recipient of this poem, Israel "Izzy" Young, was the long-time proprietor of the Folklore
Center in lower Manhattan, an important locus of Greenwich Village bohemianism in the Fifties
and Sixties (now best remembered as the site of Bob Dylan's first New York concert). Young
hosted many underground poetry readings at the Folklore Center, one of these likely being the
occasion of Inman's inscription. We can find no evidence that this poem was published, at least
not under its current title.
$450.
52. INTERNATIONAL WORKMEN'S ASSOCIATION [HASKELL, Burnette G.]
Broadside Circular. International Workmen's Association. North American Section -
Pacific Coast Division - Organizer's Circular.
[San Francisco]: International Workmen's Association, N.d [ca 1881]. First edition. Broadside
circular, printed recto only; 46 x 22 cm (ca. 18-1/8" x 8-3/4"). Faint old fold lines, else fresh and
Near Fine. Very scarce organizing circular for this enigmatic Marxist-Anarchist society,
organized ca. 1881 by San Francisco attorney, newspaper publisher, and labor agitator Burnette
G. Haskell. Text unsigned, but almost certainly by Haskell. Includes the group's Constitution (in
nine articles); a general declaration of its principles and objectives, and a detailed exposition of
its organizational structure. ADAMS, Radical Literature in America, p.56. OCLC finds two
locations (Harvard & U. Illinois).
Though founded roughly along the lines of the First International (and consciously appropriating
the name of the International's outshoot, The International Workingmen's Association, founded
in 1864), Haskell's IWA was an idiosyncratic and strictly localized West-Coast phenomenon
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30. which probably never numbered more than a few thousand members. Though putatively Marxist
in outlook, Haskell’s IWA never fully repudiated the anarchist principles of Bakunin and in this
sense must be seen as a fully distinct entity from its earlier namesake. In terms of organization
the group was modeled on the European secret societies of the early 19th century, with
members divided into cells of no more than nine members each, thus strictly limiting the number
of fellow members that an individual, if questioned or “turned,” could implicate. Perhaps the
most compelling aspect of the current circular is its offer to members of a “scientific and
comprehensive course of chemistry” – certainly a coded offer for training in explosives, which
would become the favorite tool of subversives in the decades to follow.
Haskell went on to found, in 1884, the Kaweah Co-Operative Commonwealth, a utopian
community based on the writings of Laurence Gronlund. Members of the community included
many whose original association with Haskell came through the IWA. Kaweah flourished until
1890, when its land was annexed, without compensation, to create Sequoia National Park.
While of course no mention is made of Kaweah in the present document (published some three
years prior to the community’s founding), the zeal for detailed organization and social planning
which underlay the later experiment is clearly evident.
An excellent discussion of the origins of Haskell’s IWA, tracing its origins to around 1881, is to
be found in Stephen Schwarz’s Brotherhood of the Sea: A History of the Sailor’s Union of the
Pacific (New Brunswick: AFL-CIO, 1986); p.8ff.
$1,750.
53. JARRY, Alfred
Gestes et Opinions du Docteur Faustroll, Pataphysicien: Roman Néo-Scientifique, Suivi
de Spéculations.
Paris: Bibliothèque-Charpentier, Eugène Fasquelle, Éditeur, 1911. First Edition. Small octavo
(18.5cm); original yellow decorative wrappers; [4],323,[1]pp. Spine darkened and a touch
cocked, small chip to upper cover fore-edge, extremities a bit toned, else a Near Fine copy.
One of Jarry's most important works, though unpublished in his lifetime. Most likely begun in
1894 and completed before 1897, Faustroll was the author's attempt at a treatise on his
pseudo-scientific philosophy "Pataphysics," in which the author defined it as "the science of
imaginary solutions, which symbolically attribute...the properties of objects, described by their
virtuality, to their lineaments" (translation of Simon Watson Taylor). When Jarry submitted the
manuscript in 1897, his then-editor Alfred Vallette of the Mercure de France declined to publish
it, both due to a personal conflict and the work's general unreadability, and it wasn't until four
years after the author's death (in 1907) that Eugène Fasquelle acquired and published one of
the two extant manuscripts of the work. (See Alastair Brotchie, Alfred Jarry: A Pataphysical Life,
pp. 29-30.)
$1,250.
54. JARRY, Alfred
Ubu Enchaîné. Précédé de Ubu Roi.
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31. Paris: Éditions de la Revue Blanche, 1900. First Edition. Small octavo (18.5cm); original white
printed wrappers; [4],244,[1]pp; illus. on title page verso printed in blue-violet. Spine a bit
rubbed, else Near Fine.
Sequel to Ubu Roi, also including the earlier play, here in its sixth printing. Ubu Roi (1896),
possibly the longest-enduring school-boy prank in history, was based on Sophocles' Oedipus
Rex, with the title character styled after Jarry's hated anti-semitic high school professor Félix-
Frédéric Hébert. Ubu Enchaîné, intially advertised in the Mercure de France as Ubu Esclave,
and based on Aeschylus' Prometheus Bound, was the least critically successful of the three Ubu
plays.
Jarry had originally intended to include all three Ubu titles, Roi, Cocu, and Enchaîné, in this
volume, however his surviving manuscript calculations for such an edition show that the
projected 350 pp. volume would have been too expensive to produce. Also of note is the
woodcut illustration (possibly after an original by Jarry) on the limitation page, depicting Jarry's
familiar the owl, many of whose brethren, both live and stuffed, lodged with him during his early
adulthood in Paris.
$750.
55. KNIGHTS OF THE KU KLUX KLAN
Two Typed Letters on Klan Letterhead, Threatening Visitation Upon a Pair of Tennesse
Adulterers.
N.p. [Nashville?]: N.d. [ca 1930s]. Two original typed letters, undated but ca. 1920s, separately
addressed to Sadie McGonnigal and O.W. Pride, both of Nashville, Tennessee. Signed in type,
"K.K.K.K." Numerous old fold lines to paper (letters had been folded into eighths); small edge-
chips, browning to versos; Good.
The Klan is here displayed in its role of moral police force, intervening to end an illicit liaison
between two (apparently white) Nashville residents. The letters, addressed to both participants
in the relationship, convey (with slight variations) a single, chilling message: "...You are hereby
notified to stop this at once. If you don't the Ku Klux Klan will. We are aware of the fact of your
dealings....you will be waited on if this does not cease at once." The male party, O.W. Pride, is
identified as an employee of the "new shops" (likely referring to the L&N Railroad's maintenance
facility in West Nashville). His female accomplice, one Sadie McGonnigal, is identified as living
on 33rd Avenue, not far from the "shops". There is the vague implication that she may have
been a prostitute; at one point the letter addressed to Pride states: "...you went through
Sheffield Alabama and had with you this woman which is in violation of the white slavery law.
We know your every move." A highly unusual survival.
$850.
56. LE PETIT, Alfred; H[ippolyte] Briollet, text.
Fleurs, Fruits, & Légumes du Jour.
Paris: Au Bureau de l'Eclipse, 16, rue du Croissant, 1871. First Edition. Quarto (29cm.); 32 color
plates including title page, loose as issued in later custom chemise; some light foxing to title
page, minor edge wear to a few other plates; Very Good overall.
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