The Bridge of San Luis Rey.  New York: Albert & Charles Boni, 1927

The Bridge of San Luis Rey.  New York: Albert & Charles Boni, 1927   In 8s (8 x 5 in.; 203 x 127 mm).  Frontispiece and 9 plates by  Amy Drevenstedt.  Publisher's black- and green-stamped tan cloth, cartographic endleaves.  Original pictorial dust-jacket; minimal wear at spine ends.  Green buckram folding case, green morocco gilt spine.                                                                   

wilder, thornton

The Bridge of San Luis Rey. New York: Albert & Charles Boni, 1927

The Bridge of San Luis Rey. New York: Albert & Charles Boni, 1927 In 8s (8 x 5 in.; 224 x 128 mm). Illustrations by Amy Drevenstedt. Original mauve cloth, top edges stained green. Pictorial dust jacket. Green half-morocco slipcase.

The Library of an English Bibliophile Part VII

8vo (198 x 144mm.), first English edition, DENNIS WHEATLEY'S COPY, original blue cloth lettered in gilt, dust-jacket, minor foxing to fore-edge and preliminaries and end-leaves

the bridge of san luis rey. london: longmans, green and co. ltd, 1937

wilder, thornton. a collection of twelve volumes by or relating to wilder...

wilder, thornton: collection of letters with six books, four being signed

Three good autograph letters signed (“Thornton Wilder”), to Simon Blow, responding at length and with enthusiasm to questions about his work (including The Eighth Day and The Bridge of San Luis Rey), first for a Guardian profile of him by Blow (to coincide with the publication in 1973 of Theophilus North), then for an article in Books and Bookmen (1974), 7 closely written pages, small 4to, headed writing paper of 50 Deepwood Drive, Hamden, Connecticut, autograph envelopes, 12 December 1973, 11 March and 17 May 1974

wilder, thornton.

wilder, thornton. autograph manuscript of a wartime radio broadcast for the bbc, the...

The Library of an English Bibliophile, Part V

8vo (205 x 125mm.), ISABELLA THORNTON WILDER'S COPY WITH NOTE IN THE AUTHOR'S HAND LOOSLEY INSERTED ("Mother's | Copy | Her signature") on Harvard University stationery, ONE OF 21 PRELIMINARY COPIES (on heavier paper stock, title page printed in black only, lettered on the spine only), illustrations by Amy Drevenstedt, original pale brown cloth, top edge mauve, map endpapers, pictorial dust-jacket, collector's green chemise and morocco backed slipcase, very light wear to head and foot of spine, dust-jacket slightly worn around spine at extremities with neat adhesive tape repairs on verso

the bridge of san luis rey. new york: albert and charles boni, 1927

Space Exploration

DIRECTLY FROM THE PERSONAL COLLECTION OF APOLLO 9 LUNAR MODULE PILOT RUSSELL SCHWEICKART

DIRECTLY FROM THE PERSONAL COLLECTION OF APOLLO 9 LUNAR MODULE PILOT RUSSELL SCHWEICKART FLOWN ON APOLLO 9 COMPLETE GROUP OF TWENTY-THREE FAMOUS QUOTATIONS FLOWN group of 23 famous quotations, organized by Schweickart into 6 identified subsets, printed on onionskin paper, ranging in size from 3 by 4 to 3 ¾ by 8 inches, each SIGNED and INSCRIBED by RUSTY SCHWEICKART: "Flown on Apollo 9." Subset 1: Elizabeth Barrett Browning, Robert Nathan, Bishop John A. J. Robinson, Thornton Wilder. Subset 2: Truman B. Douglass, Julian Huxley, William James, Bertrand Russell. Subset 3: Winston Churchill, Lao-tse, John F. Kennedy, Thornton Wilder. Subset 4: Martin Buber, Fredreich Nietzche, Bertrand Russell, Alfred Lord Tennyson. Subset 5: Anonymous, Isiah 43.19, Robert Kennedy, Bertrand Russell. Subset 6: John Evelyn, Mimi Lee, Thornton Wilder "There is only one way to know what one knows and that is to risk one’s convictions in an act, to commit them in a responsibility." — Thornton Wilder This set of inspirational quotations spent ten days in space aboard Apollo 9, from 3-13 March 1969. Schweickart assembled this selection prior to launch over months of Sunday nights reading at home. He carried these quotations with him aboard Apollo 9 with the intention to honor a representation of human history and wisdom beyond his individual experience. In a credo written shortly after Schweickart's space flight, he elaborated on his motivation for bringing these quotations into space: "I suppose that this statement of Julius Caesar’s [quoted above] caught my eye because it says something about the way I’d like to view myself. I suppose that that’s why all of us adhere to whatever religious or philosophic credo we espouse. Somehow, by recognizing and acknowledging the “glimpse” of truth within the idea we absorb into our beings another brick to become a part of the highly individual structure of our ideals." For Schweickart's complete statement, please refer to our online catalogue.

[apollo 9]. flown on apollo 9. group of twenty-three famous quotes from the collection of russell schweickart

Important Modern Literature from the Library of an American Filmmaker

Hemingway, Ernest Autograph letter draft, to Josephine Ketcham Piercy, an instructor in the English Department at Indiana University, responding to her request for advice for her students about the principles of good writing 3 pages (280 x 217 mm) on 3 leaves of poor-quality typing paper, numbered [1-] 3, [Key West, ca. after 23 January 1929]; lightly browned, some marginal dampstaining and chipping, second page about 50 mm short at bottom, likely the result of Hemingway tearing away a rejected passage. Josephine Ketcham Piercy was on the faculty of the English Department at Indiana University from 1926 until 1966. In 1929 she and Hemingway corresponded about his possibly contributing to the anthology she was compiling, Modern Writers at Work (New York: Macmillan, 1930), which collected samples illustrating the writing process, with commentaries, from authors including, in addition to Hemingway, Sherwood Anderson, Edith Wharton, Thornton Wilder, and Virginia Woolf. The present draft represents Hemingway’s initial response to her inquiry. "I do not know any valuable advice to give your pupils about writing except to continue. I do not know of anyone who wrote prose well to start with; although there is a sort of completely articulate writing that is done by, usually, very young English writers. I should think that the danger of this would be that the young writer puts everything he or she knows into the first book and because he or she is able to express themselves it all the book, with the freshness of youth, is a success—. The young writer then becomes a professional writer and continues to write books although he or she never sees or learns anything more; being too busy writing to have anything happen to himself or herself. So perhaps it is good that it is usually very hard to learn to write. "About practical advice; the only practical advice that I know is to write with pen or pencil and try to have each sentence make sense, to yourself at least. If it makes sense to you, and you are honest, it will eventually make sense to some one else. If you write by hand you will write slower. "Some things are written at great speed but they need to be gone over slowly." Hemingway then describes a personal experience with writing something "at great speed": "I wrote a book called The Sun Also Rises in six weeks—starting it on my birthday the 21st of July [1925] in Madrid and continuing on the train to Valencia, in Valencia each day during a week of bullfights, on the train again to Madrid, on the train to Hendaye, in a hotel there and finishing it the 6th of September in Paris. I did not look at it again until I re-wrote the first half of it in Austria in December. Took a trip to N.Y. and re-wrote the last half when I came back. The re-writing took six weeks. I was never satisfied with the book but could do nothing more about it. Two short stories The Killers and Today Is Friday I wrote on two summer days in Madrid during the 15th of May of one year [1926] when there was a snow storm and the bullfights were called off[.]" A final version of this letter was sent to Piercy, along with a manuscript page of A Farewell to Arms, which Hemingway described as "an attempt to get a sentence right"; the letter and manuscript are both at the Lilly Library (Hanneman F19 & F73). Hemingway told Piercy that she could "use any story of mine you want," and she included "Cat in the Rain" in Modern Writers at Work, together with a long excerpt from the letter she received. The sent letter is quite different from the present draft, not mentioning the writing of The Sun Also Rises nor the two stories and with a number of revisions and changes of emphases—for instance, the draft endorses writing by hand, while the sent letter excoriates the typewriter. The present draft (and the final letter) are dated by the editors of The Letters of Ernest Hemingway on the basis of his having cancelled in the final letter the comment that he has been "finishing the rewriting of book" as well as a reference to his "new book." This indicates that he wrote to Piercy after completing A Farewell to Arms, the revisions of which he completed on 22 January 1929, as he reported to other correspondents. REFERENCE: Letters, ed. Spanier, et al., 3:513-14; cf. 514-15 for the final letter as sent PROVENANCE: Antony Mason (Christie’s New York, 19 May 2000, lot 288)

View 1 of Lot 22: Hemingway, Ernest | Autograph letter draft, about the principles of good writing; "I wrote a book called The Sun Also Rises in six weeks"

hemingway, ernest | autograph letter draft, about the principles of good writing; "i wrote a book called the sun also rises in six weeks"

A Life & Legacy: The Joanne Woodward & Paul Newman Collection

Nine books from the library of Paul Newman and Joanne Woodward

Nine books from the library of Paul Newman and Joanne Woodward Thornton Wilder, The Bridge of San Luis Rey, Albert & Charles Boni, 1928 (17th printing & in a Grosset & Dunlap binding), signed on a front blank by Newman's father, "Arthur S. Newman Jan 22, 1931" — Maxim Gorky, Bystander (trans. B. G. Gurney), The Literary Guild, 1930, signed on a front blank by Newman's father, "Arthur S. Newman September 1930" — Robert Stone, A Hall of Mirrors, Houghton Mifflin, 1967 (2nd printing), inscribed on the half-title by the author to Newman and Woodward with a quotation from Virgil; in 1970, Stone adapted the novel into a movie called WUSA, starring Newman and Woodward — Glendon Swarthout, The Tin Lizzie Troop, Doubleday, 1972, underlined throughout in pencil by Newman, with occasional annotations, evidently in anticipation of making a film of the novel — Richard Russo, Empire Falls, Alfred A. Knopf, 2001, with a few underlinings and other reader's marks by Newman, evidently in preparation for his appearance in the 2005 HBO miniseries based on the novel — Allan Gurganus, Blessed Assurance: A Moral Tale, North Carolina Wesleyan College Press, 1990, no. 382 of 2,000 signed copies, with a further effusive inscription to Newman and Woodward signed by Gurganus on a front blank, "Some artists are born. Some artists are made. The greatest artists are both. …" — Allan Gurganus, The Practical Heart, North Carolina Wesleyan College Press, 1993, no. 936 of 1,000 signed copies, with a further inscription to Newman and Woodward signed by Gurganus on the half-title, "From a fellow laborer who knows and loves their work. …" — Elliott Baker, A Fine Madness, G. P. Putnam's Sons, 1964, inscribed by the author on the front free endpaper, "To Joanne—'I understand a lot of your stuff.' with love, Elliott, Oct. 1965"; Baker's novel was made into a comedic film in 1966 starring Woodward and Sean Connery — Damon Runyon, More Guys and Dolls, Garden City Books, 1951, inscribed by a friend to Newman as a birthday gift. Together 9 volumes, various sizes. Various publisher's bindings and conditions. (Sold as a group — not subject to return.)

View 1 of Lot 199: Nine books from the library of Paul Newman and Joanne Woodward

nine books from the library of paul newman and joanne woodward

Our Town Thornton Wilder. Our Town: A Play in Three Acts. New York: Samuel French, Inc. [no date]. 8vo. Numerous lines underlined by Joanne Woodward. Pink wrappers, upper wrapper boldly signed by Woodward.

View 1 of Lot 30: "Our Town" | Play Signed by Joanne Woodward 

"our town" | play signed by joanne woodward

spiral bound, the first a red Grumbacher All-Technique Sketch Book with 51 pencil and ink drawings and 4 watercolors depicting self-portraits, portraits, lighthouses and boat scenes; the second a yellow Aquabee Quickie Sketch Pad with 52 pencil and ink drawings depicting self-portraits, portraits, still-lifes and animals, with a draft for a letter handwritten by Miss Hepburn in black ink congratulating Thornton Wilder on his new book, dated 2-22-1967; together with two loose pencil sketches of women. Minor water stains and cover wear.

two sketch pads with drawings, circa 1965

A group of 14 dramatic and comedic plays, comprising:  Anderson, Maxwell.  Key Largo. Washington, 1939  —  Behrman, S. N.  No Time for Comedy.  New York, 1939  —  Kaufman, George S. & Moss Hart.  The Man Who Came to Dinner.  New York, 1939  —  Kesselring, Joseph.  Arsenic & Old Lace.  New York, 1941  —  Odets, Clifford.  Golden Boy.  New York, 1937  —  O’Neill, Eugene.  Dynamo.  New York, 1929.  No. 597 of  775 signed  —  Rice, Elmer.  The Subway.  New York, 1929.  Soiled dust jacket  —  Shaw, Irwin.  Bury the Dead.  New York, 1936. Inscribed  —  Sherwood, Robert E.  Idiot’s Delight.  New York, 1936  —  Stein, Gertrude.  Operas & Plays.  Paris, 1932  —  Thurber, James.  The Male Animal.  New York, 1940  —  Vassar Experimental Theatre.  Can You Hear Their Voices?  Poughkeepsie, 1936  —  Walinsky, Louis.  Heil Hitler.  New York, 1936.  Lacks dust jacket  —  Wilder, Thornton.  Our Town. New York, 1938.  Lacks dust jacket.

A group of 14 dramatic and comedic plays, comprising:  Anderson, Maxwell.  Key Largo. Washington, 1939  —  Behrman, S. N.  No Time for Comedy.  New York, 1939  —  Kaufman, George S. & Moss Hart.  The Man Who Came to Dinner.  New York, 1939  —  Kesselring, Joseph.  Arsenic & Old Lace.  New York, 1941  —  Odets, Clifford.  Golden Boy.  New York, 1937  —  O’Neill, Eugene.  Dynamo.  New York, 1929.  No. 597 of  775 signed  —  Rice, Elmer.  The Subway.  New York, 1929.  Soiled dust jacket  —  Shaw, Irwin.  Bury the Dead.  New York, 1936. Inscribed  —  Sherwood, Robert E.  Idiot’s Delight.  New York, 1936  —  Stein, Gertrude.  Operas & Plays.  Paris, 1932  —  Thurber, James.  The Male Animal.  New York, 1940  —  Vassar Experimental Theatre.  Can You Hear Their Voices?  Poughkeepsie, 1936  —  Walinsky, Louis.  Heil Hitler.  New York, 1936.  Lacks dust jacket  —  Wilder, Thornton.  Our Town. New York, 1938.  Lacks dust jacket. Together, 14 items

(comedy and drama)

Vivien: The Vivien Leigh Collection

i) Jaroslav Hasek. The Good Soldier Schweik. London: Heinemann, 1930, 8vo, presentation copy inscribed to Vivien Leigh (“Dear Vivien | I hope you | will have some fun | with this book, but | please believe me | the struggle for liberty | is now going on in | our country in much | less humourous forms. | Love | [XXXX]”) on the front free endpaper, original red cloth; ii) Thornton Niven Wilder. The Bridge of San Luis Rey. London: Longmans, Green, and Co., 1931, 8vo, with Vivien Leigh’s ownership inscription on the front endpaper, original maroon cloth; iii) Nora Waln. The House of Exile. Hamburg: The Albatross, 1934. 8vo, ONE OF 12 COPIES PRINTED FOR THE AUTHOR, PRESENTATION COPY EXTENSIVELY INSCRIBED BY THE AUTHOR (“…given to her neighbour and friend Vivien Leigh with the hope it may give to her some measure of return for the pleasure, he inspiration, and the wisdom her talents have given me…”) beneath the limitation, half green calf over marbled boards, spine bumped at foot;  iv) Cecil Lewis. Sagittarius Rising. London: Peter Davies, 1936, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“To Vivien Leigh - | fascinating actress | From Cecil Lewis - | fascinating author. | 13.8.36”) on a preliminary blank, original buckram; v) Axel Munthe. The Story of San Michele. London: John Murray, 1936, large 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“To Vivien Leigh | from a new admirer | Axel Munthe”) on the front free endpaper, with a note from John Murray paperclipped in (“It must be rare for promises, made in the late hours, to be fulfilled…”), original buckram, some soiling;  vi) John Brophy. Gentleman of Stratford. New York and London: Harper & Brothers, 1940, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“For Vivien Leigh | whom Shakespeare (unless | this book is nonsense) would | have been delighted to | applaud. | John Brophy | 7.iv.42”) on the front free endpaper, original red cloth;  vii) Norman Collins. Anna. London: Collins, 1942, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“To Vivien Leigh | from | Norman Collins | September | 1942”) on the front free endpaper, original blue cloth, cloth soiled, spine faded; viii) John Brophy. The Human Face. London: George G. Harrap, 1945, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“For | Vivien Leigh | To wish her everything good in the world. | John Brophy | 7th November 1945”) on the front free endpaper, original red cloth; ix) John Brophy. Portrait of an Unknown Lady. London: Collins, 1945, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“For Vivien Leigh | and Laurence Olivier | To wish them well. | John Brophy | 2nd March 1945”) on the front free endpaper, scattered authorial corrections throughout, original red orange cloth; x) John Brophy. The Mind’s Eye. London: Arthur Baker, 1949, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“For Rachel and Michael Redgrave | with much affection | and admiration | John Brophy | October 1949”) on the front free endpaper, original red cloth, binding a little worn, some spotting;  xi) Ginette Spainer. Nothing Really Happened to Us. c.1950, typescript of a unpublished novel, 372pp., rectos only, title written in ink on a preliminary blank, original wrappers; xii) Mary MacLaren. The Twisted Heart. New York: Exposition Press, 1952, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“August 3, 1960 | To Vivien Leigh: | with the profound | admiration of the | author - | Mary MacLaren”) on the front free endpaper, original teal cloth;  xiii) Peter Viertel. White Hunter, Black Heart. New York: Doubleday & Company, 1953, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“To Vivien | Once you get in | the habit of delivering | books, you never | know where to stop | love | Peter”) on the front free endpaper, his ownership inscription crossed through, original black cloth, dust-jacket, dust-jacket a little worn;  xiv) Paul Gallico. Ludmila. London: Michael Joseph, 1955, 8vo PRESENTATION COPY INSCRIBED BY THE AUTHOR (“Christmas greetings and love to | Larry and Vivien | Paul Gallico”) on the front free endpaper, original red cloth over marbled boards;  xv) Gerald Kersh. Fowlers End. New York: Simon and Schuster, 1957, 8vo, SIGNED BY THE AUTHOR (“Greetings - | Gerald Kersh”) on the front free endpaper, original red cloth over blue boards, dust-jacket, dust-jacket browned on verso;  xvi) Christine Arnothy. Those Who Wait. London: Collins, 1957, 8vo PRESENTATION COPY EXTENSIVELY INSCRIBED BY THE AUTHOR IN FRENCH (“A Vivien Leigh, la grande actrice qu’admire et aime le monde entire…”) on the front free endpaper, original black cloth, dust-jacket, jacket a little worn with some tears;  xvii) Garson Kanin. Blow up a Storm. London: Heinemann, 1960, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“Dearest Vivien, Baba | Puss - | and this is | the mocking bird! | With old new love | and new old love | across the too many, | too few years. | Garson | NYC | 6.8.60”) on the front free endpaper, original black cloth;  xviii) Kay Dick. Sunday. London: Hutchinson, 1962, 8vo, PRESENTATION COPY EXTENSIVELY INSCRIBED BY THE AUTHOR (“Dear Miss Vivien – I meant to send you this immediately […] but I found I had no spare copies at the time. This is a rather ‘faded’ copy…”) on the front free endpaper, original blue cloth, dust-jacket;  xix) Alpha de Monte. O’Hara. Bayreuth: Hestia, 1963, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“To Miss | Vivien Leigh | of whom I though | as the heroine when | I wrote this novel. | Affectionately | Alpha de Monte”) on the front free endpaper, original white cloth, dust-jacket, lower panel of dust-jacket worn;  xx) Wolf Mankowitz. Cockatrice. New York: G.P. Putnam’s Sons, 1963, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“For my dearest Vivien | with love & love from | Wolf Mankowitz”) on the title page, original blue cloth;  xxi) Paul Horgan. Things as they are. New York: Farrar, Straus and Company, 1964, 8vo, fourth printing, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“For Vivien Leigh | with gratitude and affection | for her many superb | creations in theatre | Paul Horgan | 1966”) on the front endpaper, original black cloth, dust-jacket;  xxii) Garson Kanin. Remembering Mr. Maugham. New York: Atheneum, 1966, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“NYC | Nov [?] 66 | This one is for my | beloved Vivien - | with thanks for | so many years and | hopes for so many | more. And a kiss. | Gar | (Please try to like | you part in this!)”) on the front free endpaper, original blue cloth (22)

a collection of novels, comprising:

S/O Astor

including The Collected Poems of W. B. Yeats; Thornton Wilder, Three Plays: Our Town, The Skin of Our Teeth, The Matchmaker; The Poems of Mao Tse-Tung; Famous Songs: Soprano; and other titles.  Approximately 237 volumes.

a group of miscellaneous books related to poetry, music and prose

Modern American literature. A collection of 6 volumes, Limited Editions Club:

Modern American literature. A collection of 6 volumes, Limited Editions Club: Warren, Robert Penn. All the King's Men. [New York]: Heritage Printers, 1989, 2 volumes, limited to 600 copies, photogravure plates by Hank O'Neal-Miller, Arthur. Death of a Salesman. [Hadley (Mass.)]: Wild Carrot Letterpress, 1984, 5 etched plates by Leonard Baskin-Wilder, Thornton. Our Town. Meriden: Meriden Gravure Co., 1974, coloured plates and plain illustrations by Robert J. Lee-Sinclair, Upton. The Jungle. Baltimore: Garamond Press, 1965, coloured plates and other illustrations by Fletcher Martin-Cowley, Malcolm. Exile's Return. Hadley (Mass.): Wild Carrot Letterpress, 1981, photographic illustrations by Berenice Abbott and others; 8vo and 4to, all but the first limited to 1500 or 2000 copies, all signed by the author and artist, original bindings, slipcases (6)

modern american literature. a collection of 6 volumes, limited editions club:

Twentieth-Century American Literature. A collection of 27 volumes, Limited Editions Club:

Twentieth-Century American Literature. A collection of 27 volumes, Limited Editions Club: Allen, Hervey. Anthony Adverse. New York: Walpole Printing Office, 1937, 3 volumes, illustrated by Edward A. Wilson-Hemingway, Ernest. For Whom the Bell Tolls. Princeton: University Press, 1942, illustrations by Lynd Ward-Wilder, Thornton. The Bridge of San Luis Rey. New York: Thistle Press [et al], 1962, original lithographs by Jean Charlot-Mitchell, Margaret. Gone with the Wind. Connecticut: Sign of the Stone Book, 1968, illustrations by John Groth-Steinbeck, John. The Grapes of Wrath. 1940, 2 volumes, illustrated by Thomas Hart Benton; Of Mice and Men. New York: A. Colish, 1970, illustrations by Fletcher Martin-London, Jack. White Fang. Vermont: Stinehour Press, 1973, illustrations by Lydia Dabcovich-Anderson, Sherwood. Winesburg, Ohio. Vermont: Stinhour Press, 1978, illustrations by Ben F. Stahl-O'Neill, Eugene. The Iceman Cometh. Vermont: Stinehour Press, 1982, illustrations by Leonard Baskin, including one original lithograph-Fitzgerald, F. Scott. Tender is the Night. Vermont: Stinehour Press, 1982, illustrations by Fred Meyer-Faulkner, William. Hunting Stories. North Carolina: Heritage Printers, 1988, illustrations by Neil Weaver; together with 13 other works similar; 8vo or 4to, the majority limited to 1500 copies, most signed by the artist, original bindings, slipcases, some slipcases slightly worn (27)

twentieth-century american literature. a collection of 27 volumes, limited editions club:

English Literature, History, Children’s Books and Illustrations

John Galsworthy, letter signed, to William Heinemann, 12 July 1918, about 'Reveille' (the quarterly dedicated to disabled servicemen then edited by Galsworthy); Thornton Wilder, letter to [Kurt] Maschler, 5 November 1958, about a birthday tribute to Erich Kästner; Israel Zangwill, letter to his agent, William Colles, 10 April [1893], regarding the publication of a number of his works, including The King of the Schnorrers; Anthony Blunt, noting his thoughts on a book by Walter Friedlander; Roger Casement, letter with autograph envelope, c. 16 February 1916, concerning the safe arrival of a letter, written from Germany; together with a fragment by Thomas Carlyle ("It never smokes but there is fire"), 12 July 1869, a typed letter by Herbert Samuel, 4 November 1927, and a facsimile note of thanks from Winston Churchill; 7 items in all, some creasing and browning, hinge of letter from Zangwill splitting

a collection of five autograph letters, comprising:

Music, Continental and Russian Books and Manuscripts

GALSWORTHY, John. Letter signed, to William Heinemann, 12 July 1918, about 'Reveille' (the quarterly dedicated to disabled servicemen which Galsworth edited between 1918 and 1919; contributors included Rudyard Kipling, Joseph Conrad and J.M. Barrie); WILDER, Thornton. Letter to [Kurt] Maschler, 5 November 1958, about a birthday tribute to Erich Kästner; ZANGWILL, Israel. Letter to his agent, William Colles, 10 April [1893], regarding the publication of a number of his works, including The King of the Schnorrers; BLUNT, Anthony. Noting his thoughts on a book by Walter Friedlander; CASEMENT, Roger. Letter with autograph envelope, c. 16 February 1916, concerning the safe arrival of a letter, written from Germany

GALSWORTHY, John. Letter signed, to William Heinemann, 12 July 1918, about 'Reveille' (the quarterly dedicated to disabled servicemen which Galsworth edited between 1918 and 1919; contributors included Rudyard Kipling, Joseph Conrad and J.M. Barrie); WILDER, Thornton. Letter to [Kurt] Maschler, 5 November 1958, about a birthday tribute to Erich Kästner; ZANGWILL, Israel. Letter to his agent, William Colles, 10 April [1893], regarding the publication of a number of his works, including The King of the Schnorrers; BLUNT, Anthony. Noting his thoughts on a book by Walter Friedlander; CASEMENT, Roger. Letter with autograph envelope, c. 16 February 1916, concerning the safe arrival of a letter, written from Germany together with a fragment by Thomas Carlyle ("It never smokes but there is fire"), 12 July 1869, a typed letter by Herbert Samuel, 4 November 1927, and a facsimile note of thanks from Winston Churchill 7 items in all, mostly London, Munich and Connecticut, some creasing and browning, hinge of letter from Zangwill splitting

a collection of five autograph letters by galsworthy, roger casement and others, and an autograph sentiment by thomas carlyle, comprising:

The John Golden Library: Book Illustration in the Age of Scientific Discovery

Thornton, Robert John New Illustrations of the Sexual System of Carolus Von Linnaeus … The Temple of Flora, or Garden of Nature. London: for the Publisher, by T.Bensley [1799-] 1807-[1812] Folio (575 x 460mm). 31 finely colored aquatint, mezzotint and etched botanical plates sumptuously depicting flowers and 5 colored portraits of: Linnaeus, "Linnaeus in his Lapland Dress," "Flora dispensing Her Favours on the Earth," "Aescapulius, Flora, Ceres and Cupid honouring the Bust of Linnaeus" and "Cupid inspiring Plants with Love" and with 12 engraved calligraphic titles, half-titles, dedications, contents leaves, etc., 6 engraved plates and tables, 9 uncolored engraved portraits of Thornton, Linnaeus, Queen Charlotte, etc.; but for some offsetting most noticeably to text, the colors fresh and vibrant. Contemporary English light green straight-grained morocco, ornately gilt, plum endpapers; scuffing, wear to edges. The magnificent Doheny Copy of the greatest English Flower Book and a defining work of the period. One of the grandest and most sumptuous of English botanical books, couched in the Romantic idiom. A lovely copy apparently bound from the original parts, with first or early issues of many of the plates and one in proof state. Conceived on a grandiose scale, New Illustration was to comprise three parts: a dissertation on the sexual reproductive cycle of plants; an explanation of Linnæus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and "The Temple of Flora," which was to have no less than 70 large plates of exotic plant species arranged according to the classification system of Linnæus. Each species was to appear in its native environment. The production of the plates for "The Temple of Flora" involved a variety of techniques—aquatint, mezzotint, stipple engraving, and stippling with line engraving, or etching, which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle, who executed most of the preparatory drawings; Abraham Pether, known for his moody quasi-Gothic landscapes; Sydenham Edwards and Peter Henderson; and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom. In spite of using a host of artists and engravers, Thornton managed to "maintain a remarkable homogeneity of style throughout" (Oak Spring Flora), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: "[M]ore or less coeval with Redouté in France came the production of the greatest English colour-plate flower book. … What Redouté produced under the patronage of L'Héritier, Marie Antionette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. … The result was almost total failure. … His fortune was engulfed and his family reduced to penury. … It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing … but he produced … the most strikingly beautiful set of flower plates ever to be printed in England [and] one of the loveliest books in the world" (Great Books and Book Collectors, pp. 142–144). Yet, as its enduring appeal proves, Thornton's vision transcends the genre. That a book of botanical illustration could come to summarize the Age of Romanticism is a tribute to imaginative genius in aesthetic crossed with scientific inquiry. "To arrive at Thornton is to boil down all the diversities of the time in architecture, poetry, painting, fiction, music, from Walpole and Sir William Chambers to Shelley and the music of Weber, by way of Chatterton writing in Gothic or African mood of Medieval Bristol or reeking tigers, by way of the wild imaginings of Turner, or Martin or Francis Danby, by way of elements even in Blake, in Coleridge, in Wordsworth. An age is packed into these folio plates which Thornton directed" (Geoffrey Grigson in Thornton's Temple of Flora, p. 12). REFERENCE: Dunthorne 301; Grigson and Buchanan, Thornton's Temple of Flora (1951); Nissen 1955; Stafleu TL2 14.283. PROVENANCE: Estelle Doheny (leather book label; her sale Christie's New York, 21 February 1989, lot 2196)

View 1 of Lot 46: Thornton, Robert John | The Age of Romanticism fully blooms

thornton, robert john | the age of romanticism fully blooms

Travel, Atlases, Maps & Natural History

Imperial Trans-Antarctic Expedition, 1914, and later—Alexander Hepburne Macklin

Imperial Trans-Antarctic Expedition, 1914, and later—Alexander Hepburne Macklin A collection of autograph letters, documents, photographs, etc., of Ernest Shackleton's Antarctic Expeditions, comprising: i. Typed letter signed from Shackleton to Macklin, dated 16 May 1914, responding to Macklin's letter of April 23rd, requesting that Macklin sees him "in London on my return from Norway" for an interview, and asking whether he has any hobbies or skill as a photographer, 1p, 4to, on paper headed "The Imperial Trans-Antarctic Expedition | 4, New Burlington Street, | Regent Street, | London, W."; ii. Autograph letter signed from Shackleton to Macklin, dated 30th May 1914, composed "further to my letter of May 16th", informing Macklin of Shackleton's return from Norway, asking Macklin to set a date for visiting him in London for a "preliminary interview" and requesting that Macklin gives "the longest possible notice" before arriving, since "at the present moment it is one constant rush", 1p, 4to, headed paper; iii. Macklin's contract of employment for the Imperial Trans-Antarctic Expedition. Typed "Agreement made on the 21st day of July 1914 between Sir Ernest Henry Shackleton [...] and Alexander Hepburn Macklin", dated in manuscript and signed by Shackleton and Macklin, and by James McIlroy as witness (the second surgeon on the expedition), 4pp, 4to, folded, creased at folds with one tape repair and slight dampstain at lower margin; iv. Autograph letter signed, from Macklin to his parents. pp.1-3 Addressed from "S.V. Endurance | Nr. South Georgia, November 3rd 1914" Macklin hopes that a "Whaler may take it [the letter] in good time to wish you a merry xmas", mentions a range of subjects including his duties handling dogs, praises Shackleton ("I like Sir E. very much & Wild also; the former is a very cheery chap & Wild seems a very thorough man. Sir E. is very thoughtful, & constantly brings little things to the man at the wheel... He seems very different to the man I saw ashore"); pp.3-14 dated November 27th 1914, recounting episodes from Macklin's diary; pp.14-19, dated November 19th, recounting Macklin's trip to a "magnificent glacier", his sightings of "sea elephants, & baby seals, & a few sea leopards", and bemoaning the fact that his parents will not receive the letters before Christmas; pp.18-19 dated November 21st, 19pp in all, 4to, previously folded, some creasing and staining; v. Autograph letter signed, from Macklin to his parents. pp.1-2 addressed from "Hospital | Grytviken | S. Georgia | Nov 30th 1914", declaring that "[t]his is absolutely our last peep at civilization" and noting that he has stocked up on plates and film for his camera; pp.2-3 dated December 3rd, expressing Macklin's optimism about resuming the expedition and declaring that "all the party so far are strong & in good health", 3pp in all, 4to; vi. Account of Wages for "Dr. A.H. Macklin" for the Trans-Antarctic Expedition, dated "this 1 day of Dec[ember] 1916", typed sheet with manuscript annotations, 2pp, 4to, previously folded, light spotting; with typed letter addressed to Macklin from Hutchison & Cuff Solicitors, dated "2nd December 1916", informing him of their intention to "forward [...] a cheque for £308.17.1. being the amount due in accordants with the particulars inserted in the enclosed Account", 1p, 4to, previously folded; vii. Macklin's account of the Trans-Antarctic Expedition. 7 stapled sections of typed prose, headings to each section ("Inception", "London-Buenos Aires", "S. Georgia", "The Pack Ice", "The Great Ice Barrier–New Land", "Preparing for Winter", "Winter"), a few minor corrections in pencil, 43pp in all, 4to, some light spotting at margins; 3 further autograph manuscript sections, with manuscript headings to each section ("The Spring", "Good-bye 'Endurance'", "A few extra notes"), 25pp in all, 4to, some light marginal staining; viii. Envelope of newspaper cuttings about the Trans-Antarctic Expedition, labelled in manuscript "Cuttings r.e. Shackleton's Antarctic Expedition | of 1914-15-16", a few dated in manuscript, staining and tears to envelope; ix. 14 photographs of the "Quest" on the Shackleton-Rowett Expedition. Comprising 8 images of the "Quest" moored in St Katherine's Dock, London, each 116 x 158mm., photograph labelled on verso "Ramsgate. The Pilot & his wife. Jeffrey. Visitors", plus unlabelled duplicate, each 153 x 92mm., photograph labelled on verso "Sir Ernest Shackleton, Mr Rowett, & Mr Williams, Plymouth", 73 x 93mm., 2 further photographs of the "Quest", and photographic negative of crew member sitting on boom, each c.152 x 92mm.; x. Macklin's contract of employment for the Shackleton-Rowett Expedition. Printed "Agreement made the sixteenth day of September One thousand nine hundred and twenty one Between Sir Ernest Henry Shackleton [...] and A.H. Macklin", dated and with Macklin's job description and salary in manuscript, signed by Shackleton, Alfred Hutchinson, and John Quiller Rowett, self-wrappers, 8pp, 4to, previously folded; with further typed document headed "SHACKLETON-ROWETT EXPEDITION" and dated "August 31st, 1921", addressed from Macklin to Shackleton, 1p, 4to, previously folded, small closed tears at extremities and rust mark from old staple; xi. Autograph manuscript of Macklin's "Influenza amongst the Lapps", which would later appear as an article in The British Medical Journal (April 3, 1920, pp. 465-466), 8 numbered pages, mostly folio, folded, residue from paperclip in upper margins; xii. Typed leaf headed "Dr. Macklin. References to him in: Frank Arthur Worsley: Endurance. An Epic of Polar Adventure", 1p, folio, folded xiii. Miscellaneous papers, some related to Macklin's time serving with the Royal Army Medical Corps, including typed medical orders, with envelope labelled in manuscript "Orders &c. from Major A.H. Macklin RAMC [Royal Army Medical Corps] | Italy and Russia", 3pp in all, folio, folded, wear to folds and small marginal tear to envelope; envelope with documents addressed to Thomas Thornton Macklin, dated June 1893, concerning his appointment as Medical Inspector of Seamen for the Port of Scilly, 13pp in all, 8vo and folio, folded, worming and staining; envelope containing printed list of examination results for "University of London. General & School Examinations for Matriculation, June 1904", including Thornton B. Macklin's name on pass list, 52pp., folio, self-wrappers, folded; papers related to the military careers of A.H. Macklin and T.T. Macklin, 18pp in all, between 8vo and folio, some wear A fascinating collection, held in private hands since the 1970s, which gives a deeply personal insight into two defining episodes in the history of polar exploration spearheaded by Sir Ernest Shackleton. In particular, the collection tells the story of how surgeon Alexander Hepburne Macklin OBE (1889-1967) participated in the Imperial Trans-Antarctic Expedition (1914-1917), an epic feat of human endurance which cemented the legends of Shackleton and his men through their stoical resolve in the face of adversity. It also gives a poignant glimpse into the ill-fated Shackleton-Rowett Expedition (1921-22), the tragic final chapter in the Heroic Age of Antarctic Exploration, upon which Shackleton himself would meet his untimely demise. This expedition's audacious goal was to attempt the first land crossing of the Antarctic continent, which remained, in Shackleton's own words, the "one great main object of Antarctic journeyings". According to the Scott Polar Research Institute, Macklin "travelled to London and presented himself at Shackleton's office" having failed to obtain a response from his initial application, and "was accepted as one of the two surgeons [...] after a typically random interview" (SPRI, "Meet the pioneers"). But the typed letter signed (dated 16 May 1914) and the autograph letter signed (dated 30 May 1914), included in this lot, both suggest that Shackleton did have a shrewd sense that Macklin could be an asset to his expedition. The autograph letter signed from Macklin to his parents, dated between November 3 and November 21 1914, gives a tantalising glimpse into Macklin's experience of the expedition in its early stages. In this letter, he retains a breezy optimism as he provides comic character portraits of the dogs under his care. Such an "unwaveringly positive attitude" (SPRI) would make Macklin a popular crew member later on in the expedition, when he and fellow surgeon Jim McIlroy had to tend to various afflictions—physical and mental—amongst the crew members stranded on Elephant Island, ranging from heart conditions to mental breakdowns and gangrenous toes. This letter is also notable for its expression of genuine respect for Shackleton, and for Macklin's sense of wonder towards the strange and forbidding landscape before him. Equally intriguing are Macklin's unpublished typed account of the Trans-Antarctic Expedition, and 12 photographs of the early stages of the Shackleton-Rowett Expedition, showing "The Quest" moored in St Katherine's Dock, at Ramsgate, at Plymouth, and at sea. Shackleton remained famously stoical, even brusque, after suffering a suspected heart attack in Rio de Janeiro, refusing a proper medical examination from Macklin. But the image of Shackleton standing between Rowett and Williams at Plymouth is not of a physically robust figure, hence foreshadowing the tragic events of 5 January 1922, when the great polar explorer suffered a fatal heart attack, brought about by overexertion.

View 1 of Lot 194: Imperial Trans-Antarctic Expedition, 1914—A.H. Macklin | Letters, documents, and photographs of Shackleton's expeditions

imperial trans-antarctic expedition, 1914—a.h. macklin | letters, documents, and photographs of shackleton's expeditions

The Library of Henry Rogers Broughton, 2nd Baron Fairhaven Part I

William Curtis Flora Londinensis: or plates and descriptions of such plants as grow wild in the environs of London: with their places of growth, and times of flowering: their several names according to Linnaeus and other authors: with a particular description of each plant in Latin and English. London: the author and B. White, 1777-1798 3 volumes, folio (468 x 277mm.), engraved vignette on title-page, list of subscribers, 432 (141+149+142) hand-coloured engraved plates each with facing letterpress description, manuscript plate numbering in each volume, later half morocco, small ink stain on plate 89 of volume 2 (Lysimachia nummularia) and previous text leaf, small tear at head of text leaf for plate 18 in volume 3 (Primula farinosa) FIRST EDITION. A substantial survey of native plants and fungi within a ten-mile radius of London, which paid close attention to the characteristics of each plant in order to classify them correctly. Many of the plates show the details of the plant at each stage of its growth and development, rather than a snapshot at one particular stage. Curtis (1746-1799) trained as an apothecary and was working at the Chelsea Physic Garden when he began publishing this monumental work on local flora. It was issued in parts from 1775 onwards and subsequently sold in volumes provided with title-pages, as here, either in two or three volumes. It proved something of a financial burden to Curtis so he then started his Botanical Magazine in 1787 which focussed on more ornamental and imported plants for gardeners. The fine plates are by Francis Sansom, James Sowerby, William Kilburn and Sydenham Edwards; Curtis specified that they should be drawn life size. LITERATURE: Cleveland Herbal 532; ESTC T83980; Henrey 595; Nissen BBI 440 PROVENANCE: John Thornton Rogers (1834-1900, son of the naturalist John Rogers), of Sevenoaks, armorial bookplate, and manuscript note "Given to J.T.R. by E. Herries 1897 from the St Julian's Library" (St Julian's is also in Sevenoaks)

View 1 of Lot 52: William Curtis | Flora Londinensis, London, 1777-1798, 3 volumes, later half calf

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