The number 42 represents many things: Jackie Robinson's number as a Brooklyn Dodger, two thirds of Oldsmobile's famous 4-4-2 muscle car, the number of muscles it takes to frown, and also the number of books in our latest catalogue. Numerology shmumerology.

To reserve items from this list please e-mail us at or telephone the shop at 860.364.1890. Standard reciprocal trade discounts apply; institutions billed according to their needs.

Thanks and enjoy!
Batterberry, Michael and Ariane
ON THE TOWN IN NEW YORK: From 1776 to the Present
New York: Charles Scribner's Sons, (1973). First edition. 8vo. 354 pp. Finely woven black and white cloth lettered in crimson; dust-jacket designed by Michael Batterberry, very slightly darkened along top edge, with one small closed tear in rear panel. An almost near-fine copy.

The Batterberrys founded and edited Food & Wine magazine.         

Berendt, John
New York: Random House, (1994). First Edition. 8vo. 388 pp. Quarter black cloth over green paper-covered boards, lettered in light green. A near-fine copy.

Basis for the 1997 film starring Kevin Spacey and John Cusack. 

[Bernstein, Leonard]
Gruen, John (text) and Ken Heyman (photographer)
New York: The Ridge Press and The Viking Press, (1968). First edition. 4to. 191 pp. Printed clear plastic dust-jacket, with small chip in bottom of spine panel, over photographic boards with very light wear to extremities. An almost near-fine copy. 

1683 Cambridge printing of the King James Version of the Bible

THE HOLY BIBLE, Containing the Old Testament and the New, Newly Translated Out of the Original Tongues and with the Former Translations Diligently Compared and Revised by His Majesties Speciall Command
Cambridge: John Hayes, 1683. 4to. Unpaginated. Printed in black and red. Engraved architectural title-page with date of 1683—altered from 1682 as is common with this printing (Hayes also published another bible with a similar title-page in 1674). Handsome contemporary brown morocco binding, elaborately gilt, with red morocco spine label; green and gold headbands; marbled endpapers (book-plate removed from front paste-down); all edges gilt; 19 watermarked blank leaves bound into front—presumably for listing of births, deaths, and marriages—five of which now excised. A very good copy. Bowes, #162 (b). Pettigrew, #145

Contains the Apocrypha, The New Testament (separate title-page: “Cambridge: John Hayes, 1683”—not “Cambridge: John Field, 1666”, as in Harvard and Wing copies, and not 1680 as in Bowes) and The Whole Book of Psalms.

[Big Little Books] Winterbotham, R.R.
Racine, Wisconsin: Whitman Publishing Company, (1941). Presumed first edition. 32mo. (425) pp. Illustrated by Erwin L. Hess. Illustrated paper-covered boards with some wear to extremities; pages evenly browned. A very good copy.

Better Little Book #1445 (Big Little Books became Better Little Books in 1938). The publisher managed to evade legal action by DC Comics, whose own "Superman" debuted in 1938.

"Reminders of the revolution..."

Bolton, Reginald Pelham
CAMP LIFE OF THE ARMIES OF THE REVOLUTION ON WASHINGTON HEIGHTS 17761783 With Illustrations and Military Notes by W.L. Calver
Bolton’s typescript, 1912. 4to. Profusely corrected and annotated in pen and pencil in Bolton’s hand. 42 illustrations (mostly original photographs) including one original pencil sketch. Some photographs signed E[dward].H[agaman], others W[illiam].L[ouis].C[alver]. Dark brown pebbled cloth titled in gilt; green endpapers. 

Bolton’s original typescript, self-published in 1916 as Relics of the Revolution: The Story of the Discovery of the Buried Remains of Military Life in Forts and Camps on Manhattan Island. Comparisons between this and the published book make it clear that Bolton made a number of changes, most notably in the illustrations. Except for two reproductions, none of the original photographs present in this copy appear in the published version. The images in Camp Life are unique and have, to our knowledge, never been published. An additional 12 photos or illustrations are not present (evidenced by blank pages with captions and empty photo corners) and were either never included or have since been lost. According to a note laid in, the book was purchased by its previous owner in 1969 with several photos already missing.

Bolton, an English-born engineer, was also an amateur archaeologist devoted to discovering and sharing the history of Manhattan, particularly the neighborhoods of Washington Heights and Inwood. Then-recent residential development projects in Manhattan had unearthed a wealth of Revolutionary War-era artifacts, such as fortifications, army camp sites, artillery shells, and English and American uniform buttons. Along with a team of like-minded individuals, including William L. Calver, Edward Hagaman Hall, and John Ward Dunmore, Bolton spent his weekends painstakingly unearthing these “reminders of the revolution”. He believed deeply in the value of preserving the remains of history, particularly the pieces of everyday life left behind by both soldiers and civilians: buttons, pottery, pipes, belt buckles, etc. When studied in combination with their surroundings, he felt they became “greater than a mere assortment and display of objects…because they identify the character of the several places in which they were discovered.”

In 1916 Bolton donated a collection of roughly 5,000 artifacts, notes, photographs, and other related materials to the Dyckman Farmhouse Museum in New York City, and curated an exhibit of these objects with Bashford Dean, one of the founders of the museum as well as founding curator of the Metropolitan Museum of Art’s Department of Arms and Armor. 

Bradbury, Ray
New York: Alfred A. Knopf, 1980. First Edition. 8vo. 884 pp. Introduction by Bradbury who selected his best 100 stories, spanning five decades, for this sweeping anthology. Black cloth lettered in gilt; a few innocuous traces of ink on untrimmed fore-edge of text block; in its striking R.D. Scudellari-designed dust-jacket. A near-fine copy.
Brown, Paul
New York and London: Charles Scribner's Sons, 1936. First and limited edition, one of 750 numbered copies signed by Brown. Oblong 4to. Unpaginated. Red pictorial cloth stamped in white and in black, with some insect damage to front joint; gutters slightly browned, presumably from glue offsetting; dust-jacket wanting, save for rear flap now laid in. Despite these faults, still a very good copy. Biscotti p. 66

A splendid collection of Brown's captioned pencil drawings of horses, horse racing, and polo.

Capote, Truman
New York: Random House, (1965). FIRST PRINTING. 8vo. 343 pp. Signed by Capote on the first free leaf. In the iconic dust-jacket, designed by S. Neil Fujita, with very light wear to head and tail of the spine, and with a short closed tear in fore-edge of front flap. A near-fine copy, not usually found in this condition. 

The burgundy hatpin on the jacket’s upper right corner—meant to represent a drop of blood—was a brighter shade of red in Fujita’s original design, but Capote reportedly objected that the blood should not be red because the crime was old. The color was adjusted, and a more funereal black border added.
Carroll, Lewis (Charles Lutwidge Dodgson)
London and New York: Macmillan and Co., 1889; 1893. First editions. 12mo. 400, (3) pp. of ads; 423, (5) pp. of ads. Each with 46 illustrations by Harry Furniss. Both titles inscribed by Carroll. Red cloth stamped in gilt, variously worn and with sunning to spines; all edges gilt; in red cloth-covered slip case.

Both volumes inscribed to Mrs. F(rederick). Holiday, sister-in-law of Henry Holiday, illustrator of Carroll’s The Hunting of the Snark. Both books also bear the inscription: "For Edward Holiday from Grannie". Williams 56 & 66

[Chagall, Marc] Lassaigne, Jacque
(Paris): Maeght Editeur, (1957). First edition. 8vo. 177 pp. Contains all 15 lithographs as called for (13 in color—including the wrapper, frontispiece, and 4 fold-outs—plus 2 in black-and-white), as well as a number of black-and-white and color reproductions. Text in French by Jacque Lassaigne and Chagall. Illustrated wrappers, extremities very lightly darkened, and with one small closed tear in rear panel; extremely light scattered foxing throughout text, label from Wittenborn Art Books, New York, mounted on rear free endpaper; in original plastic dust-jacket with chip in spine and small closed tear in rear panel. An almost near-fine copy, not usually found in this condition. 

Churchill, Winston S.
MARLBOROUGH: His Life and Times
London, Bombay & Sydney: George G. Harrap & Co. Ltd., (1933, 1934, 1936, and 1938). In four volumes. First edition. 8vo. (612) pp., (651) pp., (608) pp., and (671) pp. Purple cloth stamped in gilt, with sunning to spines of Volumes I, II, and III; top edges gilt; dust-jackets foxed, wear to extremities, and with a large chip out of top of spine panel of Volume I affecting title; Volumes I and II price-clipped and from later printings. Despite these flaws, a very good set. 

John Churchill, 1st Duke of Marlborough and ancestor of the author, was widely regarded as one of the greatest commanders in British military history.
"A red blooded novel of the cactus country . . ."

Coolidge, Dane
New York: W.J. Watt & Company, (1917). First edition. 12mo. 311 pp. Illustrated by George W. Gage.  Dark green cloth stamped in dark yellow, light spotting to spine and front board; foxing to edges of text block; dust-jacket with a few small closed tears. Despite these faults, still a very good copy of a rare book in its even rarer jacket.  

Inspiration for the lost 1918 silent film directed by Donald Crisp and starring Wallace Reid.

Crankshaw, Edward
THE NEW COLD WAR: Moscow v. Pekin
(Harmondsworth, England): Penguin Books, (1963). First edition. 12mo. 167 pp. Apt red photographic wrappers with very light sunning to spine. A near-fine copy. 
Crankshaw served as the Russia correspondent for The Observer for more than two decades, and wrote over 20 books in his lifetime. 

Eggleston, William
New York: The Museum of Modern Art, (1976). First edition. 8vo. 110 pp. Contemporary review laid in. Black faux leather-covered boards with color photo plate mounted to front; light scattered foxing to top edge of text-block. An almost near-fine copy.
Catalogue from the 1976 MoMA exhibition, with introductory essay by the show's curator, John Szarkowski. William Eggleston's Guide was the Museum's first publication of color photography. Both the exhibition and the publication of the book are credited with establishing color photography as a respected art form. Laid in is an article by Janet Malcolm from the October 10, 1977 issue of The New Yorker, in which she discusses the above at length.
Ericson, Kate, and Mel Ziegler
Cambridge, Massachusetts/London, England: The MIT Press, (2005). First edition. 4to. 216 pp. Photographic boards and endpapers. A fine copy.
An in-depth catalogue of the artists’ careers and works to accompany their 2005 retrospective, America Starts Here at the Frances Tang Young Teaching Museum and Art Gallery at Skidmore College, and the MIT List Visual Arts Center.

The Lost City of Z

[Fawcett, Percy] Fawcett, Brian [editor]
London: Hutchinson, (1953). First edition. 8vo. 312 pp. Green cloth lettered in gilt; illustrated map endpapers; dust-jacket wanting. Contemporary ownership signature on front paste-down. Inscribed: “To _________/with all good wishes, and in/celebration of a long friendship/that started in that land of mystery—/South America./Brian Fawcett/Carlisle, England/May 8, 1953” on title-page. Additionally, there are three A.L.s’s, two T.L.s’s—all unpublished—and four related clippings laid in. Together with:

Fawcett, Brian
London: Hutchinson, (1958). First edition. 8vo. 320 pp. Black cloth lettered in silver; illustrated map endpapers; dust-jacket designed by author and with a few small chips in spine panel. “Author’s copy (4)” in pencil on recto of front free endpaper. Contemporary ownership signature, dated 1958, on front paste-down. Inscribed: “To _______/our so-much valued friends,/with very best wishes & love./Brian & Ruth Fawcett/Carlisle, England/Nov. 7, 1958” on title-page. Additionally, there are two A.L.s’s, two T.L.s’s, and ten assorted black and white photographs—again, all unpublished—laid in.

A fascinating archive, this intimate collection spans only five years, yet brings to life a decades-long saga. Engineer and illustrator Brian Fawcett (1906–1984) writes about his father and brother, Percy and Jack Fawcett, who disappeared on an expedition in South America in the 1920s. In the earliest letters Brian was hopeful that his father and brother were still alive—optimistic, given they disappeared over three decades prior—and by the last letter he had given up searching for them: “I doubt I shall ever have another try at finding my brother…”

In 1925, Fawcett and his older son Jack (b. 1903) disappeared while on his last expedition in search of the lost “City of Z”. He was convinced that ruins of an ancient and advanced civilization existed somewhere in the rainforests of Brazil, a theory that was originally based upon his own research and native lore. His daring expeditions captivated the public’s imagination long after he disappeared and theories surrounding it grew in the decades following, reaching their peak in the late 1940s. Percy’s surviving son, Brian, published Exploration Fawcett—a selection of his father’s letters and manuscripts—in 1953, followed in 1958 by Ruins in the Sky, which detailed his own search for both his missing father and brother as well as the lost city.

The letters, spanning the years 1951–1956, coincided with a new chapter in Brian Fawcett’s life. Prompted by the recent claims by Brazilian activist Orlando Villas-Bôas that he had found Percy Fawcett’s remains (a claim that, as Brian rightly guessed in his letters, was false), Brian began to plan expeditions: “I left Ruth once more, and went on another expedition to Bahia State, to try and find the old city my father was looking for in 1920/21…. [and] to see if by any chance my brother is yet alive, and held by savages.” In a later letter, he wrote of his intentions to visit a man who claimed he had documents written by Percy Fawcett that had washed ashore in 1930, five years after his disappearance. 

Included are a number of photos taken from the air (unlike his father, who trekked through the jungle on foot, Brian conducted his expeditions primarily by plane) along with an explanation of what must have been a heartbreaking discovery, one that he would later flesh out in Ruins in the Sky—that the ruins his father and brother lost their lives over were “nothing but extraordinary freaks of erosion!” Still, Brian believed that remains of ancient civilizations could exist in Brazil, but that they were completely buried, a hypothesis which turned out to be quite accurate. In 2003 archaeologist Michael Heckenberger unearthed twenty pre-Colombian settlements that bore a marked similarity to what local tribes had described to Fawcett—towns with plazas, moats, and connecting roads—near his intended destination. 

Brian Fawcett’s reputation grew after the publication of Exploration Fawcett; he wrote to his friends of book tours, lectures, as well as television and radio appearances. He was even asked by Franz Eichhorn and Andre Fodor of Astra Films to play himself in The Fawcett Story, opposite Errol Flynn as his brother Jack, but sadly the project was never realized. 

Expeditions intended to find the remains of Percy and Jack Fawcett, as well as the lost City of Z, have continued on into the 21st century, including one by New Yorker contributor David Grann, who wrote of his attempt in his 2009 book, The Lost City of Z, now a major motion picture.

This archive, a rare and very private glimpse into the mysterious and complicated history of the Fawcett family, has, until now, only been seen by its author, Brian Fawcett, and his dear friends, the original recipients of the material.

"It is not every boy who gets Mr. Cable's autograph & Mrs. Field's, all in one book. And it is not every boy who gets his finger into such a pie as this in the making."

[Field, Eugene], Burt, Mary E., and Mary B. Cable (editors)
THE EUGENE FIELD BOOK: Verses, Stories, and Letters for School Reading
New York: Charles Scribner's Sons, 1898. First edition. 12mo. 136 pp. Introduction by George W. Cable. Illustrated maroon cloth stamped in gray, lightly rubbed. A near-fine copy with some great associations.
Tipped onto front free endpaper is a single leaf containing a quote of Eugene Field's in his wife's hand as well as a quote of George Cable's from his story, "Au Large", in Cable’s own hand. Mounted on the half-title page are pressed leaves notated, "Myrtle from the grave of Eugene Field. Sent by Mrs. Field to the boys who helped make this book," in Mary Burt’s hand. Additionally, on the front free endpaper is a gift inscription also in Burt’s hand to a ten-year-old Ruthven Wodell from "the editors." Lastly, there is a charming note from Burt, who was also Wodell’s schoolteacher, to Wodell on the recto of the last free leaf. The book’s final illustration has been labeled "Fancy and Bell" again in Burt's hand, presumably a reference known only to teacher and student.
Gabaldon, Diana
(New York): Delacorte Press, (1991). First edition. 8vo. 627 pp. Review copy with a letter from the publisher laid in. Top of rear panel very slightly creased, interior flaps lightly yellowed; faint crease in dedication page. A near-fine copy. 

The first of eight books (and counting) in Gabaldon's Outlander series, and the inspiration for the much-heralded television series. 

Gannett, Ruth Stiles
New York: Random House, (1950). First edition. 8vo. (87) pp. Illustrated by Ruth Chrisman Gannett. Red cloth stamped in gilt; charming illustrated endpapers; top edge stained blue; dust-jacket with very light wear to extremities. A near-fine copy. 

The second, stand-alone installment in Gannett’s My Father’s Dragon trilogy.
Gorey, Edward
(New York: Random House, Inc., 1982). First edition. 4to. Unpaginated. Illustrated by the author, paper engineering by Ib Penick. Glossy pictorial boards; very small paper abrasion to leaves containing first pop-up; sliding panels and pop-ups in perfect working order. An almost near-fine copy.
This pop-up book is not only noteworthy for its elaborate and enchanting design by Penick, considered the modern father of the pop-up industry, but also for its grim subject matter—typical of Gorey, but darker than most children’s literature. $100

[Haggard, H. Rider]
[Autographed Notecard]
Norfolk, 1899. Author H. Rider Haggard's signature in black ink on his Ditchingham House stationery. Faint offsetting to recto, with some adhesive remnants to verso.

Haggard (1856–1925), best known for his novels King Solomon's Mines and She, moved from South Africa to Ditchingham in 1882. 

[Hamilton, Alexander] Chernow, Ron
New York: The Penguin Press, 2004. First edition. 8vo. 818 pp. Quarter wine cloth over red paper-covered boards; fore-edge untrimmed. A near-fine copy. 

Don't "throw away your shot" to own the literary inspiration for Lin-Manuel Miranda’s groundbreaking Broadway musical, Hamilton.
Henty, G.A.
London: Chatto & Windus, 1897. In three volumes. First edition. 8vo. 250 pp., 253 pp., and 221 pp. (32 pp. ads at back of Volume III, dated Nov. 1896). Green cloth embossed with Art Nouveau design, lettered in gilt (now faded), and with uneven mottling to boards (especially to Volume III), rear hinges split but sound in each volume, all volumes cocked; expert facsimile title-page to Volume III; previous owner’s signature on title-page of Volume I and half-title of Volume II; patterned gold endpapers. Despite these faults, still an almost very good set—much better than usually found—of Henty’s rare novel on yachting. Among the last triple-deckers to appear in Britain. Dart, pp.108-109, not in Sadleir or Wolff.
Hodgins, Eric
New York: Simon and Schuster, (1946). First edition. 8vo. 237 pp. Illustrated by William Steig. Gray-blue cloth stamped in purple and blue; top edge stained red; dust-jacket extremities slightly age-toned and rubbed, with a few small chips, mainly in top of spine panel. Despite these faults, still an almost near-fine copy.

Basis for the classic 1948 film starring Cary Grant and Myrna Loy.

"When I was one-and-twenty
I heard a wise man say,
`Give crowns and pounds and guineas
But not your heart away;
Give pearls away and rubies
But keep your fancy free.'
But I was one-and-twenty,
No use to talk to me."

Housman, A.E.
New York: The Heritage Press, 1935. First edition thus. Narrow 4to. 74 pp. Illustrated by Edward A. Wilson, folding frontispiece signed by same. Bound in full pigskin, stamped in blind and lettered in gilt; green endpapers; contemporary gift inscription including several lines of Housman. A very good copy.

[Jewelry] Lalaounis, Ilias
Greece: presumably privately published, printed by Ekdotike Hellados, (1984). First edition. Folio. 339 pp. Profusely illustrated with color photographs. Pale gray cloth stamped in gilt; patterned endpapers. Lower portion of spine very slightly cocked; scratch in front panel of dust-jacket, light wear to rear panel. An almost near-fine copy. 
Judd, Donald
DONALD JUDD: Räume Spaces
(No place: Cantz, 1993). First edition. 4to. 159 pp. Text in German and in English. Salmon paper-covered boards stamped in black; photographic dust-jacket. A near-fine copy of a catalogue produced in conjunction with Judd’s selection as recipient of the Stankowski Foundation Prize in 1993. 

Illustrated with color photographs  by Todd Eberle of Judd's buildings, furniture, and interior spaces.
Larsson, Stieg
New York: Alfred A. Knopf, 2008, 2009, 2010. First United States Edition. 8vo. 465 pp., 503 pp., 563 pp. Translated from the Swedish by Reg Keeland. Bound in quarter black cloth over paper-covered boards, in their striking dust-jackets designed by Peter Mendelsund. An almost perfect set of the now infamous Millennium trilogy. 
LeBel, C(larence).J(oseph).
New York: Audio Devices, Inc., (1963). New Stereo Edition (Third Edition [Second Revision]). 12mo. (159) pp. Stiff illustrated wrappers, with some light scattered foxing; contemporary RadioShack sticker on front wrapper. A very good copy of this "complete handbook of tape recording" by LeBel, a pioneer in the development of recording discs and magnetic media for tapes, as well as hearing aids and stethoscopes (who knew?).
Mann, Thomas
New York: The Modern Library, (1935). First edition thus. 16mo. 359 pp. Modern Library #57.3. Translated from the German by H.T. Lowe-Porter. Flexible blue cloth stamped in gilt, now darkened; top edge stained blue, Macy's rubber stamp on penultimate leaf; illustrated dust-jacket with wear to extremities; Rockwell Kent-designed endpapers. An almost near-fine copy. Corresponds to all Toledano first edition points.

Morris, Wright
New York, Evanston, and London: Harper & Row, Publishers, (1968). FIRST EDITION in the second issue dust-jacket. 4to. Unpaginated. Olive cloth lettered in gilt; dust-jacket lightly worn and scratched on front panel; edges of text block very lightly foxed; previous owner's signature on front pastedown. A very good copy.   

[Murphy, Gerald] Eliot, T.S.
New York: Harcourt, Brace and Company (1939). First American edition—one of 2,500 copies printed. 8vo. 131 pp. From the library of Gerald Murphy and with his ownership signature on the front free endpaper: "Gerald Murphy/New York/1941". Black cloth lettered in gilt, occasional spotting to front board; wear to head- and tail-caps, tips worn, hinge split at half-title; remnants of old label on spine; dust-jacket wanting. A very good copy of the first of Eliot’s four "drawing-room plays". Ostensibly a conventional parlor drama and detective story, it draws its inspiration from the ancient Greek dramas. 

Gerald Murphy (1888–1964) was an American socialite, painter, and close friend of F. Scott Fitzgerald. He and his wife Sara (née Wiborg), were said to be the inspiration behind Nicole and Dick Diver from Fitzgerald’s 1934 novel, Tender is the Night. They moved to France in 1921, where they were the center of a large and vibrant circle of artists, including Ernest Hemingway, Pablo Picasso, John Dos Passos, as well as Zelda and Scott Fitzgerald. In the 1930s they returned to the United States, eventually settling in East Hampton, on Long Island, New York.

Laid in to this copy is a bookmark printed on blotting paper from the "B.B. Wong Hand Laundry & Dry Clean" in the Briarwood section of Queens, New York. This cataloguer has visions of Murphy stopping there to pick up his dinner jacket on his way to an evening in town...
"Like an art-lover looking at the Mona Lisa in the Louvre, 
Is the New York
Herald Tribune looking at Mr. Herbert Houvre."

Nash, Ogden
New York: Simon and Schuster, 1931. First edition. 12mo. 99 pp. Illustrated by Soglow. Orange cloth with black title-labels; previous owner's book-plate, partially removed from front paste-down; illustrated dust-jacket with a few small chips to top and bottom of spine. A very good copy.

[Navigation] Norwood, Richard 
THE SEAMAN'S PRACTICE: Containing a Fundamental Problem in Navigation…
London: Richard Mount, 1710. Later (second?) edition (first published in 1637). Small 4to. 118 pp. (incomplete, lacking pp. 49–50 & 55–56, although they appear to never have been bound in).

Norwood (1590–1675) was an English mathematician and surveyor who spent much of his professional life in Bermuda. "The Seaman's Practice (1637) was a major help to navigators and at least eighteen editions were published" (ODNB). Together with:

Colson, Nathaniel
London: Richard Mount, 1710. Edition unknown (OCLC lists 1727 as earliest). Small 4to. 144 pp. (incomplete, lacking pp. 17–18, 23–24, and 97–98). Loss at top of pp. 119–120. 

The two titles bound together in contemporary sheep, tooled in blind to panel design, worn; contents loose in binding, text in poor condition, worn and stained throughout, with some loss at margins. Contemporary signature on front free endpaper, "James Rogers his book 1727" and on rear blank, "Mary Rogers her book". Various mathematical problems and additional notes to endpapers and prelims. Condition speaks of heavy daily use and time spent at sea. 

Neither of these editions are recorded in ESTC or OCLC. Norwood cited in Waters, The Art of Navigation in England in Elizabethan and Early Stuart Times, pp. 432–433.

The landmark photographic exhibition created by Edward Steichen for the
Museum of Modern Art

(New York): Simon and Schuster, (1955). First edition, deluxe issue. 4to. 207 pp. (contains 12 pages of installation photographs by Ezra Stoller, not found in trade edition). Prologue by Carl Sandburg. Introduction by Edward Steichen. Binding and packaging by legendary designer Leo Lionni. Quarter black cloth over blue paper-covered boards stamped in gold, silver, black, etc.; photographic endpapers; top edge stained yellow, other edges stained red; printed on much heavier stock than trade edition; enclosed in its grey corrugated cardboard box, with large paper wraparound label, and with light wear and two small splits in corners. A near-fine copy rarely found in its original box.

The deluxe edition was originally sold for $10 while the trade hardcover was $3.95, and the paperback $1. A beautiful production. 
"…And you have it on the word of the author, who offers proof as he advances, that no city in the world is as rich in the wide diversity of its eating places as New York."
[New York] Ross, George
TIPS ON TABLES: Being a Guide to Dining and Wining in New York at 365 Restaurants Suitable to Every Mood and Every Purse
New York: Covici Friede Publishers, (1934). First edition. 12mo. 301 pp. Red cloth stamped in black, head cap worn; illustrated map endpapers; previous owner's signature on half-title; dust-jacket wanting. An almost-very good copy. Rare.

Rogers, Ben
MURDER AT THE COFFEE STALL: A Story of Gang Vengeance
London: The Modern Publishing Company, no date (ca. 1930s). First edition. 12mo. 254 pp. Red cloth lettered in black, slightly cocked, uneven sunning to top of boards; ads on endpapers; vividly illustrated dust-jacket by G.P. Micklewright with assorted chips and tears. An almost-very good copy. Rare. 

There is great debate among our staff as to the exact whereabouts of the coffee stall—top or bottom of the cliff? Purchaser is encouraged to confirm its exact location.
"In the emotion-charged atmosphere of mid-nineteenth-century America Uncle Tom's Cabin exploded like a bombshell. To those engaged in fighting slavery it appeared as an indictment of all the evils inherent in the system they opposed; to the pro-slavery forces it was a slanderous attack on 'the Southern way of life.' ...Whatever its weakness as a literary work — structural looseness and excess of sentiment among them — the social impact of Uncle Tom's Cabin on the United States was greater than of any book before or since."
- Printing and the Mind of Man

Stowe, Harriet Beecher
UNCLE TOM'S CABIN; or, Life Among the Lowly
Boston: John P. Jewett & Company/Cleveland, Ohio: Jewett, Proctor & Worthington, 1852. First edition (with Hobart & Robbins on the copyright pages). 8vo. [iii]–x, [13]–312 pp.; iv, [5]–322 pp. Illustrated vignette on title-pages as well as six plates by Hammatt Billings. Publisher’s brown cloth (BAL binding B) stamped in blind and in gilt, wear to tips, head- and tail-caps, and rear joint of Volume II; some intermittent foxing and spotting throughout; enclosed in a quarter chestnut levant and brown cloth slipcase with matching chemises. From the library of Lucy Curtis, and with her ownership inscriptions on paste-downs of both volumes, "Lucy Curtis/Newton March 26, 1852", just six days after the book's publication. A very good set. BAL 19343; Wright 2401; PMM 332; Grolier American 100 61; Sabin 92457 

"Vicki is the kind of girl all readers would like to know. Charming, alert, and capable, her career as an air stewardess brings her glamorous friends, loyal roommates, and many thrilling experiences."

Wells, Helen
New York: Grosset & Dunlap, no date (ca. 1950s). Reprint. 8vo. 212 pp. Number 6 in the Vicki Barr Flight Stewardess series. Green cloth stamped in black; top edge stained blue, pictorial endpapers; illustrated dust-jacket, very lightly worn, with one tiny chip and a few closed tears, subtle uneven yellowing to rear panel and flaps. An almost near-fine copy. 

Williams, Clara Andrews
THE INDIAN WIGWAM: To Cut Out and Stand Up
No place: Frederick A. Stokes Company, 1915. Presumed first and only edition. Illustrated by George Alfred Williams. Eight colored triangular plates plus fold-out teepee in original illustrated envelope. Two of the eight plates have some scattered foxing (due to storage in envelope) and some very light surface abrasions; envelope foxed, with slight water damage to upper right corner of rear panel, and with a few small chips. 

An extraordinary survival. A child's paper toy consisting of 24 color images on eight triangular plates of stereotypically "Indian" imagery, including buffalo, feather headdresses, and buckskin-clad figures. Paper dolls, stands, and fold-out teepee all in their original state, uncut and unused. In their original envelope, which measures 13.25 x 15 inches, with printed directions to verso. Collates exactly with the 1915 entry in the Catalog of Copyright Entries, Part 1, Group 2.

OCLC locates no copies. The only recorded copy is in the extensive Robert Freidus Collection of Architectural Paper Models at the V & A Museum of Childhood. Rare. 
"Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion."
Williams, Tennessee
New York: Random House, (1945). FIRST PRINTING. 12mo. 124 pp. Red cloth stamped in black and in gilt; dust-jacket with a few small closed tears; contemporary owner's signature on front free endpaper. An almost near-fine copy of Williams’ first major play.