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An extensive photo album compiled by and documenting the career of aviation pioneer Wilhelm Heinrich Evers.<ul><li>Wilhelm Heinrich Evers (German).</li><li>80 black paper leaves with approximately 367 black and white photographs (all but a few gelatin silver prints) mounted to rectos and versos in dry corner mounts, 3 additional prints laid-in.&nbsp;</li><li>Prints frequently annotated in white album pen in both English and German.</li><li>Commercial album, black textured strong-tied leather over flexible stiff card wrappers.&nbsp;</li></ul> Evers was among the first wave of intrepid pilots to take to the skies following the Wright Brothers' 1903 flight. Active in both Germany and the United States, Evers's Fédération Aéronautique Internationale license number was 190, and he was a member of the Early Birds of Aviation (founded in 1928, limited only to the first 600 or so pilots who flew prior to December 16, 1916). Within the first decade of flight, Evers not only designed, built and flew his own planes in Germany, but was a pilot for the first commercial airline in the United States (The St. Petersburg–Tampa Airboat Line, 1913). Later, he would help develop some of the first high altitude aircraft (for Fokker Aircraft and others), held a number of aviation patents, and was among the main designers of the Junkers Ju 88—one of the most important German fighters of the Second World War. Most of these portions of his career are documented in this album with more than 350 original photographs. The album spans about 1910 through 1929 and covers his earliest flights in Germany (1910-1911); his foundational work with Thomas W. Benoist on the world's first passenger airline in Tampa, Florida (1913-1914); his work with Fokker in the 1920s and more. The first approximately 85 photographs document different iterations of Evers's early German flyers of his own design, designated E-I through E-VI and dated 1910-1913. The album then moves to Evers's close work with early aviators Tony Janus and Thomas W. Benoist in St. Louis, Missouri, including another about 85 photographs focusing on Benoist's St. Petersburg-Tampa Airboat Line, for which Evers was one of three original pilots. Roughly the final half of the album provides a highly technical glimpse into his work, largely in New Jersey with the Fokker Aircraft Corporation on various projects—including its failed F-32.

Photo Album of Aviator Wilhelm Heinrich Evers

This first edition doll booklet features all the beloved characters from the landmark 1937 animated film, as well as key set pieces and a whole host of forest creatures.<ul><li>Hollywood, California:&nbsp;Walt Disney Enterprises and Whitman Publishing Co, 1938.&nbsp;</li><li>Illustrated in color.</li><li>With 4 leaves of pinch-out characters and scenery, printed one side only.&nbsp;</li><li>Bound in the original color pictorial wrappers with die-cut punch-out figures.</li></ul>

Snow White and the Seven Dwarfs Cut-Out Booklet

Disney's Alice in Wonderland paper doll booklet, with characters and set pieces to make five scenes.<ul><li>Walt Disney Productions.</li><li>Racine, Wisconsin:&nbsp;Whitman Publishing Company,&nbsp;1951.&nbsp;</li><li>Illustrated in color, including six leaves with die-cut elements, printed on one side only.&nbsp;</li><li>Color pictorial wrappers with die-cut elements.</li><li>This punchout book was released in the same year as the film.</li></ul>

Alice in Wonderland Punchout Booklet

An early Pinocchio-themed paper toy with Disney's iconic illustrations.<ul><li>Carlo Collodi (Italian).</li><li>Illustrated by Walt Disney Studios.</li><li>Racine: Whitman Publishing Company, 1939.</li><li>There are 6 leaves of clothing and objects for the reader to cut out and use to recreate the story of Pinocchio.</li><li>The covers have die-cut doll figures to punch out and use with the cut-outs, including a figure of Pinocchio.</li><li>Flexible pictorial card wrappers.</li></ul>

Pinocchio Doll Cut Out Booklet

A signed watercolor used in Tudor's Caldecott Honor book, Mother Goose.<ul><li>Tasha Tudor (American, 1915-2008).</li><li>This image appears on page 63 of the book.</li><li>It accompanies "Sing a Song of Sixpence" and depicts the King, Queen, three other adults and two little children seated at a feast with the birds just coming out of the pie.</li><li>This work is presented unframed.</li></ul>

Sing a Song of Sixpence Watercolor Illustration

An apparently unpublished letter by Darwin regarding a new American edition of Origin.<ul><li>Charles Darwin (English).</li><li>Down, Beckenham, Kent: November 26, [1869].</li><li>3 pages.</li><li>Octavo.</li><li>Bifolium of Down, Bromley, Kent, stationery, with "Bromley" crossed out and corrected to Beckenham.</li></ul> Charles Darwin (1809-1882) writes to Charles Layton, London agent for Appleton, about bringing out a revised and expanded second American edition of On the Origin of Species. The letter is a reply to Layton's of the day before, in which he'd inquired after stereotyped plates of the English edition. In part: "The last or 5th Edit. of the Origin was printed off some months ago &amp; it is impossible to supply stereotypes. I hope that you will inform Mr. Appleton of what I have said of the increased size of this last &amp; 5th Edit. As 2000 copies of this Edit were printed, there will not be a new Edit. for a considerable time ... If Mr. Appleton will reprint this 5th Edition ... I will pledge myself to endevour to persuade Mr. Murray to supply stereotype plates of my new book on the Descent of Man; but as I never before heard of such such a scheme, I have no idea whether he will comply. At any rate I will please myself, on the above conditions &amp; on the terms suggested in your letter, to send over the sheets as printed &amp; stereotype casts of the woodcuts. But please remember my new book will not got to press for many months." Appleton had published the first American edition of Origin in 1860, from Murray's second English edition. In keeping with the terms of the present letter, Appleton published the second American edition, based on the 5th English edition, in 1870, followed by the first American edition of The Descent of Man in 1871.

Autograph letter signed ("Ch. Darwin") to Charles Layton, Appleton's London agent, about a second American edition of On the Origin of Species

Subway Drawings by Keith Haring&nbsp;exhibition catalogue, published for the occasion "Keith Haring / New York City Subway Drawings 1983," June 5—August 7, 1983.<ul><li>Keith Haring (American).</li><li>Text by Andrea Miller-Keller (American).</li><li>Photographs by Tseng Kwong Chi (American).</li><li>Hartford, Connecticut: Wadsworth Atheneum, 1983.</li><li>6 pages.</li><li>Part of an unsigned edition of unknown size.</li><li>Includes a blue foldout insert featuring four illustrations.</li><li>Includes an exhibition checklist and selected exhibition bibliography.</li><li>Hole-punched pages are original to the pamphlet.</li></ul>

Keith Haring Subway Drawings 1983

Advertisement for the&nbsp;play The Vampire, an English adaptation of John Polidori's story The Vampyre.<ul><li>James Robinson Planché (English).</li><li>"The Vampire" Or, The Bride of The Isles. First Time. Theatre Royal, English Opera House, Strand. This Evening, Monday, August 7th, 1820.&nbsp;</li><li>London, 1820.</li><li>Single sheet of paper with black-and-white print.</li></ul> According to the Huntington Library's Larpent collection, the play was licensed June 25, 1820.&nbsp;Though scheduled to be performed on the 7th&nbsp;it was delayed 2 days out of respect for the death, the previous day, of The Duchess of York and opened on Aug. 9. Opening night reviews were enthusiastic and "was honored with unusually long continued applause." An interesting link between The Vampire and Frankenstein is that Peter Thomas Cooke who played the title role in The Vampire at the Theatre Royale in 1820, was also the first actor to play the Frankenstein Monster in the London staging of Presumption. In fact, in 1826, a theatre-goer in London could take in a double bill and be treated to both monsters.

The Vampire 

A first edition catalog of an important exhibition by a group of student artists at Goldsmiths College, later identified as the Young British Artists, organized and curated by provocateur Damien Hirst.<ul><li>Damien Hirst (English).</li><li>Ian Jeffrey (English).</li><li>Photography by Edward Woodman, with the exception of Sovereign and Untitled.</li><li>London:&nbsp;The Artists and Ian Jeffrey, 1988.</li><li>Unpaginated.</li><li>Illustrated with color and black and white plates.</li><li>Features artists Steven Adamson, Angela Bulloch, Mat Collishaw, Ian Davenport, Angus Fairhurst, Anya Gallaccio, Gary Hume, Michael Landy, Abigail Lane, Sarah Lucas, Lala Meredith-Vula, Stephen Park, Richard Patterson, Simon Patterson and Fiona Rae.</li><li>Presented in original printed bronze wrappers.</li></ul> In his essay "Platonic Tropics," Ian Jeffrey (then head of art history at Goldsmiths) circles and spins around the idea of a generational "collective imagination," what had become of it, and what it had come to in 1988: "Perhaps '88 works and makes in terms of difference, that it begins from an idea of polarity and of the complementary, and works towards totalization." Perhaps. Coherent or not, Freeze was important for what it was, what it did and what it represented. It was a DIY show organized outside the gallery system in a disused Port Authority building by largely middle-class art students with impressive corporate sponsorship—the retroactively mythic origin point of a movement and a highly successful machine for turning seeming outsiders into art world insiders.

Freeze

Archived ephemera from Gentlemen Prefer Blondes and Happy Birthday.<ul><li>Sold as a set of 4.</li><li>Anita Loos (American).</li><li>Set includes book, playbill, copy of script with notations, and autographed letter.</li></ul> Book: A copy of Gentlemen Prefer Blondes for the original production.<ul><li>New York: Grosset and Dunlap, 1925.</li><li>217 pages.</li><li>Octavo.</li><li>First photoplay edition, seventeenth printing.</li></ul> Playbill: From the original production of Gentlemen Prefer Blondes at the Ziegfield Theatre.<ul><li>Original running: December 8, 1949 to September 15, 1951.</li><li>This playbill is for the week of January 15, 1951 and starred Carol Channing as Lorelei Lee.</li></ul> Script: A copy of the script for Happy Birthday from Anita Loos’s personal collection, with extensive annotations apparently in her hand, along with an autographed letter signed by Loos about preparations for a production of the play.<ul><li>Happy Birthday: A Play in Two Acts.</li><li>New York: Samuel French, 1947.</li><li>132 pages.</li><li>Stamped on front cover and half title “From the estate of Anita Loos.”</li><li>Paperback with stapled and glued binding.</li></ul> Autographed letter signed by Anita Loos regarding Happy Birthday. The text of the letter reads: “Dear George. The enclosed is tentative (naturally), but I have tried to keep the psychological processes straight and to define correctly the character of the heroine and her father. Their relationship is the interesting and complex one and the exploration of it should be done gradually, and by progressive steps until, when Addie blows up at the climax, not only her father but the audience itself should feel like cheering.I am now in the hands of 5 producers--Cohn--Simon--Bressler--Detlugen[?] and Sam Marks. Cohn and Bressler side with me 100%. Cohn has even gone so far as to tell the others to leave me alone. But, just the same, they all read the stuff and put their diversified fingers in the pie. I presume Cohn wishes them to earn their salaries.Monday I am to take the floor and make my stand against turning Addie Bemis into Little Orphan Annie. Believe me I am going to be tough and stubborn.You are a darling to take an interest. How I would relax were I sure you were to be in charge!All love dearest George, Anita.”

Gentlemen Prefer Blondes Archived Ephemera

The first appearance in print of The Old Man and the Sea, preceding Scribner’s publication by 11 days.<ul><li>Ernest Hemingway (American).</li><li>Text illustrated with drawings by Noel Sickles.</li><li>Chicago:&nbsp;TIME, Inc,&nbsp;September 1, 1952.</li><li>88 pages.</li><li>Bound in photographically illustrated front wrapper.</li></ul>

The Old Man and the Sea LIFE Magazine

A photo postcard showing Twain smoking a pipe in a windowsill at Stormfield, flanked by his business advisor, Ralph Ashcroft, and his secretary, Isabel Lyon.<ul><li>Mark Twain [S.L.&nbsp;Clemens] (American).</li><li>[Stormfield, Redding, Connecticut], N.p: "Xmas Day", 1908.</li><li>Inscription reads: "Dear Mr. Coe: I am smoking your health in your noble cigars. I wish you &amp; Mrs. Mai were here to assist. In the picture it is family worship. I am trying to do the Beatitudes, &amp; Ashcroft is prompting. With love to you both – SLC".</li><li>The photo was taken by William Ireland Starr just a few weeks earlier, and Twain had several postcards printed up using the image.</li></ul> William Robertson Coe (1869-1955) was a famous rare book collector (Coe Collection at Yale), insurance and railroad executive and American Studies pioneer. His wife, Mai Rogers Coe (1875-1924), knew Twain through his friendship with her parents, the wealthy industrialist Henry Huttleston Rogers and Abbie Palmer Rogers. Rogers was Twain's greatest friend towards the end of his life, and was at times believed to be the richest man in America, outdoing his partner John D. Rockefeller.

Mark Twain Autographed Postcard

A single-paged autograph letter signed by Samuel Clemens (Mark Twain).<ul><li>Mark Twain (American).</li><li>Dated January 10 with no year written, but with recipient note "1/16.72."</li><li>It is written on what appears to be a piece of notebook paper, as discerned by faint blue horizontal lines.</li><li>Letter reads in full: "Wheeling, Jan. 10. / Redpath and Fall - / Gentlemen - Enclosed please find N.Y. draft in your favor for $180.00 P. Ack. [Please acknowledge] - / Yours truly Samuel L. Clemens."</li></ul>

Handwritten Letter Signed Samuel Clemens

A first edition copy of the book that changed baseball — Bill James's second Baseball Annual, one of just 250 copies.<ul><li>Bill James (American).</li><li>1978 Baseball Abstract: The 2nd Annual Edition of Baseball's Most Informative and Imaginative Review.</li><li>Lawrence, KS:&nbsp;Bill James,&nbsp;1978.</li><li>115 pages.</li><li>Bound in original stab-stapled printed green wrappers, xerographically reproduced throughout.</li></ul> In 1977 when James published the first installment in his long-running series of abstracts, he would have seemed an unlikely candidate to change the very game he was writing about. A worker at a pork and beans factory, James photocopied a small edition of (the cover proclaimed) "Statistical Information That You Just Can't Find Anywhere Else." He offered them for sale via the classified ads of The Sporting News, and sold only about 75 copies. Of this seemingly inauspicious beginning, Michael Lewis would later write: "[H]ad he left off writing in 1977, James would have been dismissed as just another crank [...] It didn't occur to him to be disappointed by the sale of seventy-five copies; he was encouraged [...] In 1978, James came out with a second book [...] Word had spread this time: 250 people bought a copy [...] James's pen was now an unstoppable force." And though it took more than a decade, the force of James's writing and his sheer statistical might slowly gathered a group of adherents both inside and out of professional baseball. Outside pro ball, James's approach helped launch the fantasy sports era with the popularity of Rotisserie Baseball, a game almost impossible to imagine without James. More importantly, within baseball a small number of coaches, scouts, managers and executives began experimenting with James's almost pure reliance on statistics (and not baseball's more traditionally semi-superstitious ways). This embrace of his strategy culminated most famously in the Oakland A's GM Billy Beane's remarkable run utilizing James "sabermetric" methods—leading the team to the postseason for four consecutive years (2000 through 2003) on one of baseball's lowest total salaries—a story made famous by Michael Lewis's bestselling book Moneyball (and its subsequent film adaptation starring Brad Pitt, Jonah Hill and Philip Seymour Hoffman). James's approach would go on to have a huge impact even beyond the world of sports, with "moneyball" eventually entering the broader lexicon for any deeply statistical and evidenced-based approach that also runs counter to prevailing wisdom. As the new century progressed, a wide range of fields and figures—from those betting against the housing market (topic of another Michael Lewis book), to the political polling of figures like Nate Silver and the GTO strategies of professional poker, as well as a seemingly infinite number of Silicon Valley startups looking to "moneyball [fill in the blank]"—would evidence James's telltale fingerprints. He and Baseball Abstract have gone on to influence economists, physicists, mathematicians and other bestselling books like Freakonomics, which appeared just two years after Moneyball. As the Abstract became more popular in subsequent years, James did reprints of this and the 1977 edition (both with the word "REPRINT" prominently displayed on the covers). However, original printings of the first two installments remain truly rare. Indeed, the rarity of these early abstracts can be measured by the fact that not only does OCLC not show any holdings for either the 1977 or 1978 editions (including the reprints), but none for the 1979 or 1980 editions as well. It is not until the 1981 installment (the last James published himself before its acquisition by Ballantine) that we find a record in OCLC—a single copy at The Strong National Museum of Play.

1978 Baseball Abstract

Correspondence of E.E. Cummings and his third wife, Marion Morehouse Cummings, items sent to Selden Rodman between 1945-1960.<ul><li>Sold as a set of 15.</li><li>E. E. Cummings (American).</li><li>Marion Morehouse Cummings (American).</li><li>N.p.: n..p., 1945-1960.</li><li>Set of 3 handwritten letters, 3 typed letters, 1 folded newspaper clipping, 1 greeting card, 1 times literary supplement, 3 postcards, 3 autographed letter signed on 4 sheets.</li></ul> A set of 3 letters, the first being an autographed letter signed from Marion to Rodman, dated July 27, '59 about having Seldon visit them. The second is a typed letter signed by Cummings to Rodman, dated September 4, '59, that reads in part: "when you suggested calling here with your little daughter, en route to friends in Maine, neither Marion nor I suspected that we might find ourselves entertaining a professional interviewer in disguise[.] now that (Via the book which you so kindly gave me) I realize who was our guest, or rather who he has become, let me make two things perfectly clear—1st, under no circumstances should I consent to be interviewed by him; &amp; 2nd, anything I said in his presence was said privately (id est:not for publication)" and is signed. The third is a carbon copy of Rodman's response, reading in part: "Your letter of September 4 hurt me deeply. I do not go anywhere, or do anything, "in disguise." Had I wanted to write an interview, I would have asked your permission, and taken verbatim notes on the spot, as I did in the case of each of the artists in the book I gave you...Had I had the underhanded intent you so unkindly suggest, surely the last thing I would have done would be to make a gift of a book capable of arousing such a fear...I did say that if ever in some remote future I become nostalgic enough about the past two write what used to me [to write what used to be] called 'memoires,' I would illustrate it with my photos, and would appreciate adding yours to those that such poets as Frost, Williams, Pound, Jeffers, Auden, et al seemed glad to have me take." 3 typed letters signed by Cummings: the first is dated September and reads "may I somewhat tardily but most sincerely salute your generosity and ask it to believe that the present writer is as sorry to disappoint you as he is delighted to learn that just for a change I'm expensive? —yours for living P.S. no poet is dead." The second is dated February 8, 194–, and tells Rodman to write Cummings' agent regarding him including poems in something Rodman is putting together. The third is dated August 20, 1945, and reads in part, "Now as for 'future plans,' never have plans of any sort; as as for 'this war's war poetry,' I feel that the undersigned (being a participant, however feeble, therein) should hold his peace." 1 folded newspaper clipping of Marion Morehouse Cummings' obituary. 1 greeting card with artwork based on a painting by E. E. Cummings, "greetings to you + B. from Cummings + Marion." 1 typed letter signed, dated Dec 3, from E. E. Cummings answering three questions posed to him, being how he writes his name and two corrections to his poems, with a note that they can correct any other mistakes in the proofs. 2 postcards, dated October 28 and Nov 14, '58, the first with greetings and asking for a copy of Rodman's "Mexican Journal" [Mexican Journal: The Conquerors Conquered], the second reading "Marion's now perusing (with delight) your Mexican Journal; while our unhero wrestles with his autumn-winter 'readings,' not to mention—ars longa," both signed with "eec" in red. 1 postcard, dated September 10, '59, with a line from Cummings poem "may my heart always be open to little…," reading in red ink "and even if it's sunday may i be wrong" and signed by him with "eec" in blue. 3 autograph letters signed on 4 sheets from Marion, dated 1959/1960.

Correspondence of E.E. Cummings and Marion Morehouse Cummings

Beautiful collection of souvenir programs of the Ballet Russes.<ul><li>Léon Bakst (Russian).</li><li>Jointly edited by Maurice de Brunoff (French) and Jacques de Brunoff (French).</li><li>Paris:&nbsp;M. de Brunoff,&nbsp;[1922].</li><li>Folio.</li><li>Profusely illustrated with full-color covers, mounted and full-page plates, and photographs, including 187 of 188 leaves.</li><li>Original cloth, with inlaid illustrated upper cover from The Firebird by Natalia Gontcharova.</li></ul> An outstanding visual record of Diaghilev's Ballets Russes and Ida Rubinstein's Galas Russes in their most influential years, lavishly illustrated with the works of Bakst, Gontcharova, Larionov, Picasso, Matisse, Massine, Derain, and others. The collection is comprised of special issues of the theatrical periodical "Comoedia Illustré" and souvenir programs devoted to Ballets Russes and Rubinstein's Galas Russes for the seasons 1909-1921, with introductory letterpress text for each season by V. Svetloff. With splendid color and gilt illustrations of costume and set designs, as well as numerous photographic portraits of dancers and production artists. Bakst is the most frequently represented artist in the group; the illustration inlaid to the upper cover is by Natalia Gontcharova.

Collection des plus Beaux Numéros Comoedia Illustré et des Programmes consacrés aux Ballets & Galas Russes depuis le Début à Paris 1909-1921

A first edition copy of the story of Rockefeller Center, as told at the ceremony in which John D. Rockefeller Jr. drove the last rivet of the last building, on November 1, 1939.<ul><li>New York: Columbia University Press, 1940</li><li>With photographs by Berenice Abbott, Margaret Bourke-White, Brown Brothers, J. Walker Grimm, Fritz Henle, Wendell Macrae, Newspictures Inc., New York Herald Tribune, Edward Ratcliffe and Paul J. Woolf.</li><li>45 pages.</li><li>Quarto.</li><li>Includes a letter from Nelson Rockefeller.</li><li>With black-and-white photographs printed in relief halftone, and illustrated endpapers.</li><li>Bound in green flock-covered boards, brown cloth spine, titles stamped in silver on spine, inlaid "rivet" in silver card on upper side, illustrated dust jacket printed in silver</li></ul> While copies are often accompanied by a standard letter from John D. Rockefeller, this copy has a letter from Nelson Rockefeller apologizing on his father's behalf for not inviting the recipient to the rivet-driving ceremony.

The Last Rivet

A typed letter by former President Roosevelt to former American ambassador to France Jesse Straus.<ul><li>Franklin Delano Roosevelt (American).</li><li>New York: 1932.&nbsp;</li><li>One-page typed letter on "Executive Mansion" stationary signed by FDR in black ink.</li><li>Letter thanks Mr. Straus for his service and friendship and mentions "the serious problems that lie ahead."</li><li>Jesse Isidor Straus (June 25, 1872 – October 4, 1936) was the son of Isidor Straus (1845–1912) and Ida Straus (1849–1912), both of whom died in the sinking of the RMS Titanic.</li></ul>

Typed Letter To Jesse Straus

A card containing the signatures of Arthur Conan Doyle along with 17 others.<ul><li>Signed at top of card by Arthur Conan Doyle.</li><li>Other signatures include: writer Eugene Field, Doyle's brother John Francis Innes Hay Doyle, writer Alice French alias Octave Thanet, Melville E. Stone, the founder of the Chicago Daily News and his son Herbert Stuart Stone of Stone and Kimball, publishers, actor Joseph Jefferson and preacher Frank W. Gunsaulus.</li><li>On verso is written a poem by attendee Alice A. Russell incorporating the names of the guests, beginning "Why this joyous turmoil? / 'Tis to greet Dr. Doyle! / Oh, who would not hustle / To see Mr. Russell . . . ."</li><li>Signed for the occasion of Doyle's first series of lectures in America, organized by Major Pond, which commenced in early October 1894.</li></ul>

Autographed Card Honoring Arthur Conan Doyle

Typescript for the stage play The Better Half: A Comedy in One Act with envelope.<ul><li>Sold as a set of 4.</li><li>Noel Coward (English).</li><li>25 sheets including cover page.</li><li>Two pages (8, 21) with pencil changes and eleven (11, 12, 15-23) with pen, possibly in Coward's hand.</li><li>Housed in a cut-open envelope (never mailed) with "M.S.S. of The Better Half by Noel C" written in his hand.</li></ul>

The Better Half: A Comedy In One Act

A letter from Charles Dickens to his servant John Thompson.<ul><li>Charles Dickens (English).</li><li>London: December 17, 1865.</li><li>Written on a single sheet of Dickens’s Gad's Hill Place letterhead. </li><li>With the original envelope addressed in his hand and signed within the address. </li><li>With a recent letter regarding provenance, as well as typescript transcription.</li></ul>

Autographed Letter by Charles Dickens

A deluxe edition of the book Word Shadows of the Great: The Lure of Autograph Collecting, which includes a handwritten manuscript leaf from Mark Twain's A Speech in Praise of Women.<ul><li>Thomas F. Madigan (American).</li><li>New York: Frederick A. Stokes, 1930.</li><li>Numbered 298 of 300 copies.</li><li>Twain's manuscript leaf is written in ink on paper and is matted within the book.</li><li>Bound in original Japan vellum spine and boards and slipcase, with original glassine.</li><li>Accompanied by two typed letters, signed, from Madigan to a New York collector.</li></ul> It is well known that Mark Twain was extraordinarily devoted to his wife and daughters, and this is a remarkable testimony to his great love of women throughout history and literature. Only one other leaf of this manuscript is known to have survived.

Word Shadows of the Great with A Speech in Praise of Women Manuscript Leaf 

A single leaf from Mark Twain and Charles Dudley Warner's work The Gilded Age.<ul><li>Single manuscript leaf, taken from a set.</li><li>Written in Mark Twain's hand.</li><li>This page is from chapter 34.</li><li>Removed from binding.</li><li>Embossed stamp at top left.</li></ul> Written by Mark Twain and Charles Dudley Warner, The Gilded Age was hatched over the dinner table when Clemens and Warner were challenged by their wives to write a work that would be better than those they were busy complaining about. Clemens wrote the first eleven chapters, based on members of his family including his father and mother, while Warner wrote the next twelve chapters, purely fictionally. The remaining chapters were generally written by one or the other, while the resolution was written in tandem.

The Gilded Age Manuscript Leaf

Archive of the Crucible Furniture Corporation's product photographs, internal documents, and marketing materials: a treasury of American furniture design.<ul><li>Sold as a set of 3.</li><li>David Weinstock (Polish-American).</li><li>[New York]:&nbsp;n.p,&nbsp;[circa 1960-1970].</li><li>Three original smooth white printed folders with Crucible printed to exterior; versos matte red.</li><li>Folder 1 contains. several dozen items, including a stapled catalogue of public area multiple seating; hand-annotated design specs and full folded blueprints for a signature Crucible table; news articles and clippings from design industry publications; double-page advertisement for Republic Steel's Merchant Pig Iron, featuring Weinstock.</li><li>Folder 2 contains four leaves of chair design sketches on various company stationery; advertising mock-ups and logo design; small notebook of design sketches followed by handwritten notes; 16-page catalogue; [48] page catalogue, unbound but with three-hole punches to left side; additional loose pages of catalogue photography and specs.</li><li>Folder 3 contains 42 original 8'' x 10'' glossy black and white photographs; 16 smaller original photographs of assorted sizes, one in color; and 7 additional 8'' x 10'' photographs with printed specs and Crucible logo, apparently intended for catalogue use.</li></ul> Weinstock's Crucible Corporation supplied seating to many iconic locations, including the 5th Avenue Revlon Salon, the Kennedy Airport, and San Francisco's Fairmount Hotel, among many other public buildings. As a supplier to architectural, institutional, and commercial interior designers for over 50 years, Crucible was a significant contributor to the 'look' of the public-facing 20th century: not only showpieces like the aforementioned lobbies and lounges, but the everyday stools, chairs, and tables of of theaters, classrooms, and restaurants; the shapes one sees and touches every day that form the greater shape of contemporary life. Born in 1924, the Polish-born Weinstock was most active in the 1940s through the 1970s, and by the later decades of his career was one of the last furniture designers and manufacturers remaining in New York City. This archive includes original product photographs, magnificently alone or staged on plush carpeting, set off by marble busts; sales brochures, design specs, advertising materials, clippings from industry publications (among them: Furniture Production Magazine's tech report on secret developments in Rigid Foam; an article on the special requirements of psychiatric ward design with photo credits to Crucible, alongside Herman Miller and Knoll); and advertisements featuring Weinstock or other Crucible personnel and products. A curious inclusion is one small notebook of design sketches followed by handwritten notes: various puns, quotations, and aphorisms, possibly intended for advertising use, along with a series of apparently original observations on city scenes and the passers-by who sooner or later would sit in a Crucible chair (e.g., "She wore her martyrdom &amp; her goodness like jewelry (woman on a bus)"; "To the world he contributed nothing but demands &amp; complaints"). A fascinating collection from a firm whose craftsmanship and conception of public space helped form the essential experience of waiting in comfort or anticipation, in liminal spaces; from gleaming white hotel lobby barrel chairs like cushioned bathtubs, to the vast connected rows of lecture hall seating, to the imperceptibly nervous-making lines of airport lounges: a smooth silhouette with a core of iron in the bustling heart of the city and the century.

Crucible Furniture Design Archive

A&nbsp;scrapbook and associated ephemera relating to the lives and deaths of Isidor (February 6, 1845-April 15, 1912) and Ida (February 6, 1849-April 15, 1912) Straus, who died aboard the Titanic.<ul><li>The scrapbook is debossed with the phrase “News Clippings,” the name of Beatrice N. Straus, and the year 1912.</li><li>Noted items include:</li><li>An autographed letter signed by Ida Straus to her granddaughter Beatrice, dated March 18, 1912.</li><li>A letter from Jewish educator Julia Richman (1855-1912), the first female district superintendent of schools for New York City.</li><li>An 8-page holograph copy of Julia Richman’s speech from the May 12 memorial for Isidor and Ida Straus.</li><li>Three programs from memorial services held honoring the Strauses.</li><li>News clippings pasted into the scrapbook, totaling 36 pages of clippings.</li><li>One page bearing pressed flowers, presumably from a funeral or memorial bouquet.</li></ul> Isidor was, with his brother Nathan, co-owner of Macy’s department store and a U.S. Congressman; both he and his wife were prominent and wealthy members of New York City’s Jewish community and philanthropists particularly interested in questions of education. The Strauses took passage aboard the Titanic to travel back to New York following a winter spent largely in southern France, and both died when the ship struck an iceberg on April 15, 1912. Famously, Ida was offered a seat in one of the lifeboats, but refused to be separated from her husband. Their deaths, and particularly Ida’s love of and loyalty to her husband, became a subject of numerous newspaper pieces, poems and songs in the months that followed the Titanic disaster, and the story continues to be regularly depicted in film and other media more than one hundred years later.

Isidor And Ida Straus Titanic Passengers Scrapbook And Ephemera

Complete first-edition, 10-issue run of this elaborately produced and hugely influential artists' magazine, one of the defining publications of the 1960s.<ul><li>Sold as a set of 10 volumes.</li><li>Edited by Phyllis Johnson.</li><li>New York: Roaring Fork / Aspen Magazine, 1965-1971.</li><li>Also includes: original 1965 subscriber's letter and nine clipped advertisements for Aspen.</li></ul> Intricate and ornate, Aspen appeared irregularly over the second half of the 1960s and through 10 issues assembled one of the most impressive rosters of writers and artists to appear in any magazine of the time: J.G. Ballard (an excerpt from Crash), Roland Barthes ("Death of the Author"), Samuel Beckett, William Burroughs, John Cage, John Cale, Merce Cunningham, Willem De Kooning, Duchamp, Allen Ginsberg, Philip Glass, Dan Graham, Al Hansen, David Hockney, Jasper Johns, John Lennon, Sol LeWitt, Roy Lichtenstein, George Maciunas, Angus MacLise, Marshall McLuhan, Jonas Mekas, Charlotte Moorman, Yoko Ono, Nam June Paik, Robert Rauschenberg, Lou Reed, Ed Ruscha, Richard Serra, Susan Sontag, The Velvet Underground, Andy Warhol and La Monte Young, to name only a fraction. Yet where Aspen truly excelled was in its innovative design: "Commissioning contemporary artists to design and guest-edit the magazine, [Johnson] transformed Aspen into a miniature traveling gallery [that attested] to the potential of the magazine as a new kind of artistic medium" (Allen 43). Johnson described Aspen as "the first three-dimensional magazine"; issues came in a variety of enclosures and formats, and included numerous flexi-disks of both spoken word and music (13 in all), puzzles and other elements for readers to assemble, die-cut inserts, flip books and even a Super-8 movie. While never a financial success (what little advertising was sold was relegated to entirely separate portions of each issue and hence were easily overlooked by readers), ASPEN has gone on to wield enormous influence on subsequent publications, from Nest, to Avalanche, to McSweeney's. It remains an important document of "minimalism, conceptual art, and related practices" (ibid). A quintessential magazine of the era.

ASPEN: The Magazine in a Box

An excerpt from the second folio edition of Shakespeare's&nbsp;The Tragedy Of Titus Andronicus.<ul><li>William Shakespeare (English).</li><li>London: J. Smethwick, W. Aspley, Richard Hawkins and Richard Meighan, 1632.</li><li>One leaf extracted from the second folio: pages 75-76.</li></ul>

The Tragedy of Titus Andronicus Excerpt

An excerpt from the second folio edition of Shakespeare's The Tragedy Of Titus Andronicus.<ul><li>William Shakespeare (English).</li><li>London: J. Smethwick, W. Aspley, Richard Hawkins and Richard Meighan, 1632.</li><li>One leaf extracted from the second folio: pages 77-78.</li></ul>

The Tragedy Of Titus Andronicus Excerpt

A first-edition copy of the catalog for Keith Haring's exhibit at Tony Shafrazi Gallery, featuring the iconic neon Haring Three Eyed Smiling Face cover.<ul><li>Forward by Tony Shafrazi (American).</li><li>Includes texts by Keith Haring, Jeffrey Deitch, Robert Pincus-Witten and David Shapiro.</li><li>Includes photographs of Haring's subway drawings by Haring’s close friend Tseng Kwong Chi.</li><li>Designed by Dan Friedman.</li><li>New York: Tony Shafrazi Gallery, 1982.</li><li>144 pages.</li><li>Softcover.</li><li>Includes 15 double-sided lithographic inserts.</li><li>Part of a limited edition of 2,000 copies.</li><li>Metal wire bound.</li></ul>

Keith Haring at Tony Shafrazi Gallery Catalog

A copy of Yale University's undergraduate literery publication The Yale Vernacular, with cover art by Keith Haring.<ul><li>Cover art by Keith Haring.</li><li>Includes an interview with Haring by Melissa Biggs and Jonathan Wright.</li><li>New Haven: Yale University Press, 1987.</li><li>31 pages.</li><li>Staplebound.&nbsp;</li><li>Printed signature along the right side of cover.</li></ul>

The Yale Vernacular

24 Nights is a limited-edition book and CD box set commemorating a record twenty-four nights of performances by Eric Clapton at the Royal Albert Hall in 1991, a unique collaboration between Eric Clapton, Peter Blake, Derek Taylor and Genesis Publications.<ul><li>Eric Clapton (English).</li><li>Peter Blake (English).</li><li>London: Genesis Publications, 1991.</li><li>Number 1,095 of 3,500 copies.</li><li>Signed by Eric Clapton and Peter Blake.</li><li>Accompanied by a sixty-four page volume of commentary by Derek Taylor, a two-CD set of live recordings, four guitar picks, a back-stage laminate pass and a guitar string.&nbsp;</li><li>Quarter bound in bonded leather and housed in a solander box.</li></ul>

24 Nights

A bizarre and notable letter from Ludwig Bemelmans in the late 1940s, when for a time his relationship with Viking was on uncertain terms, and with a remarkable self-caricature on New Yorker letterhead.<ul><li>Sold as a set of 3.</li><li>Ludwig Bemelmans (Austrian-American).</li><li>New York: [n.d., ca. 1947-48].</li><li>Quarto.</li><li>Loose sheets.</li></ul> “here comes some weird nightmusic again — I withdraw ‘Holdiady in Europe’ for a very logic reason and one that will relieve your production department. S&amp;S are equipped for that kind of a Rainbowproduction, they have a subsidiary color outfit called Sandpeper Press and they are going to do it, first printing 150 000, they asked for additional illustrations beside the ones in Holiday, will be able to manufacture the book for about 60 cents, and have offered me a plan, simple and foolproof, whereby I can keep some money (Capital Gains setup). I am greedy enough to like all that very much. … I am telling you this, so that you know, I am thinking of you. On Dirty Eddy’s part, I will not venture my suggestions for advertising, there is a dark rumor going around, to the effect that a publisher has offered me fifteen thousand advance on an unpublished book and a guarantee of 10 000 in advertising, don’t believe that when you hear it, the truth is 25 000 advance, and 15 000 for advertising, But I love you all, and if Dirty Eddie sells 100 000 copies or over, I’ll stay. I’m working … on a new novel, called ‘The One I Loved the Best.’” Holiday magazine had commissioned several illustrated travel pieces from Bemelmans around this time, and “Holiday in Europe” almost certainly refers to The Best of Times, An Account of Europe Revisited, which was published by Simon &amp; Schuster in 1948. Yet Marshall Best and Bemelmans must have resolved their differences, for Dirty Eddie was published in 1947 and Viking continued to publish Bemelmans for years to come. Best was an editor at Covici-Friede and then at Viking, and during a career that stretched into the 1970s, he edited Steinbeck and Bemelmans, Nadine Gordimer, the Viking Portable Library, as well as many other notable authors.&nbsp;With three additional letters, dated early 1962:&nbsp;1) Autograph note, signed, 11 January 1962, concerning a Bemelmans picture “not very happily framed” with suggestions for reframing it with a velvet Marie Louise or mat2) Typed note, signed, 27 February 1962, concerning the proofs for Noah's Ark [On Board Noah’s Ark], “I think this will be a real good sail, all the stars are in their good places for us …”3) Autograph note, signed, March 1962, “I think it’s all right to leave that Picture in that Bar and grill frames with its phony wormholes for the summer.”

Letter from Bemelmans to Viking Publisher

A first-edition catalog published for the occasion of Herbert G. Ponting's photographic exhibition at the Royal Society of Artists Gallery.<ul><li>Photographs by Herbert G. Ponting (English).</li><li>London: The Fine Art Society, 1914.</li><li>24 pages.</li><li>Octavo.</li><li>Includes a portrait frontispiece and seven further photographic plates.</li><li>Bound in original wrappers printed in red, with ads to rear and inner covers.</li></ul>

The British Antarctic Expedition 1910-1913 Exhibition Catalog

Merde 3/4&nbsp;literary journal, with a hand-signed lithograph by Christopher Wool.<ul><li>Christopher Wool (American).</li><li>Edited by Kyle Void (American).</li><li>Journal features contributions by Wool, Richard Hell and others, with cover art by Richard Hell.</li><li>New York: Letterpress, 2017.</li><li>50 pages.</li><li>Lithograph is from a limited edition of 26, this being letter "S."</li><li>Includes a signed lithograph by Christopher Wool that is affixed by two staples within the mid-area of the journal.</li><li>Softcover bound in original wrappers.</li></ul>

Merde 3/4 Literary Journal

This is Mansfield's first Hollywood contract, coming on the heels of her appearance in 1955 as Playmate of the Month for February 1955, and her portrayal of Rita Marlowe in the Broadway play Will Success Spoil Rock Hunter? in 1956, for which she received a Theatre World Award.<ul><li>Jayne Mansfield (American).</li><li>Twentieth-Century Fox.</li><li>Los Angeles: May 2, 1956.</li><li>17 pages, with a 6-page photocopy of the studio's Synopsis of Employment Contract through October 1960.</li></ul> Signed on May 2, 1956, the terms of the one-year contract began on September 17, 1956, in time to allow Mansfield to star as the blonde bombshell Jerri Jordan rock 'n roll classic, The Girl Can't Help It, released at the end of the year, featuring musical appearances by Fats Domino, Little Richard, Gene Vincent, The Platters, Eddie Cochran, et. al. The studio offered her $1,250 per week for the year, with a multi-year options for renewal. The film, a box-office success, was one of the first to feature black artists, and is now a cult classic.

Contract with Jayne Mansfield and Twentieth-Century Fox

First edition of this remarkably intact large-format Winnie the Pooh paper doll set, depicting the characters from the stories in a style much closer to the original stuffed animals that inspired the stories.<ul><li>After A.A. Milne (English).</li><li>New York:&nbsp;Stephen Slesinger,&nbsp;1935.</li><li>[6] leaves of doll outfits to cut out, printed one side only.</li><li>Bound in original color pictorial wrappers with perforated punch-outs.</li></ul> The characters of the Hundred Acre Wood have a long and fascinating merchandising history, even before the brand-conscious Disney adaptation. A.A. Milne sold the US trade rights for the characters to literary agent and licensing pioneer Stephen Slesinger in 1930. With Slesinger's marketing prowess, "Pooh [became] an industry in the thirties," writes Ann Thwaite; by that time, "Eeyore, Tigger, Piglet and the rest were on their way to being lodged permanently... in the folk-memories of the English-speaking people, part of our common language and frame of reference." (Slesinger's widow in turn licensed Pooh to Disney in 1961.) This paper doll book is an excellent example of Slesinger's merchandising prowess: Christopher Robin's design reflects the style and stance of a boy from the thirties. Exceedingly rare complete in this original edition, put into perspective by the much later facsimile more commonly seen. Ann Thwaite, Goodbye Christopher Robin.

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Walt Disney

Walt Disney

Walt Disney, Carlo Collodi

Tasha Tudor

Charles Darwin

Andrea Miller-Keller

James Robinson Planché

Damien Hirst , Ian Jeffrey

Anita Loos

Ernest Hemingway

Mark Twain

Mark Twain

Bill James

E.E. Cummings, Marion Morehouse Cummings

Léon Bakst

Franklin Delano Roosevelt

Sir Arthur Conan Doyle

Nöel Coward

Charles Dickens

Mark Twain, Thomas F. Madigan

Mark Twain

David Weinstock

William Shakespeare

William Shakespeare

Keith Haring

Keith Haring

Peter Blake, Eric Clapton

Ludwig Bemelmans

Herbert G. Ponting

Christopher Wool

Jayne Mansfield

After A.A. Milne