Fine Books & Manuscripts Online

MITCHELL, MARGARET Gone With the Wind.New York: Macmillan, 1936 8vo. Original gray cloth; shaken, spine crease with some rubbing to joints and spine ends. A later printing signed by Mitchell, "Margaret Mitchell Atlanta Ga Nov 17 1936". Affixed to the rear endpapers is a November, 1936 TLS on Georgia Power Company letterhead from Mitchell's husband John Marsh, notifying the recipient that a signed copy was on its way, but oddly speculating that the work might disappoint some new readers as it has been so highly praised.

mitchell, margaret | gone with the wind. new york: macmillan, 1936

Vivien: The Vivien Leigh Collection

2 volumes, 8vo, FIRST EDITION THUS, NUMBER 36 OF 1000 COPIES, WITH AN FOUR LINE AUTOGRAPH VERSE ADDRESSED TO VIVIEN LEIGH ("To Vivien Leigh | 'Life's Pattern pricked with a scarlet thread | where once we worked with a gray, | to remind us all how we played our parts | in the shock of an epic day' | Margaret Mitchell") on a folded card laid down to the front pastedown endpaper, original brown and pale blue-green cloth, top edges gilt, patterned endpapers, gilt on spines slightly faded, some minor soiling to boards of volume one

gone with the wind. new york: the macmillan company, 1939

Fine Books & Manuscripts

8vo. Owner's inscription in black in to half-title, author's inscription in blue ink to title. Publisher's gray cloth, cover and spine lettered in blue, original pictorial dust-jacket; rubbing to head and foot of spine with some fraying, dust-jacket present but separated at folds.

8vo. Owner's inscription in black in to half-title, author's inscription in blue ink to title. Publisher's gray cloth, cover and spine lettered in blue, original pictorial dust-jacket; rubbing to head and foot of spine with some fraying, dust-jacket present but separated at folds. [with]: Black and white photograph (4 1/2 x 3 9/16 in.; 115 x 90 mm). Members of Mitchell's freshmen class at Smith College, with "Peg" kneeling in foreground. — 2 Confederate bills (6 5/8 x 2 15/16 in.; 168 x 75 mm and 7 1/16 x 3 1/4 in.; 178 x 80 mm). Georgia note signed by Mitchell in blue ink on the verso: "To Robin | from | Margaret Mitchell | Atlanta, GA | Dec. 14, 1936".

gone with the wind. new york: macmillan, 1936

Fine Books & Manuscripts, Including Americana

8vo. Publisher's gray cloth, lettered in blue; tiny snag to head of spine, tiny abrasion to front cover. Publisher's dust-jacket; price-clipped, lightly soiled, rubbed with some minor chipping at extremities. 

gone with the wind. new york: the macmillan company, 1936

Books & Manuscripts

Gone with Wind.  New York: Macmillan, 1936

Gone with Wind.  New York: Macmillan, 1936 In 8s (8  1/2  x 6 in.; 216 x 153 mm).  Publisher's gray cloth lettered in blue; spine and top edges trifle darkened, slight wear to spine ends and extremities.  Original dust jacket; minimal wear.

mitchell, margaret

Books &amp; Manuscripts

6 pages (11 1/8 x 7 1/8 in.; 282 x 181 mm), with a few corrections in ink, Atlanta, 18 March 1936; horizontal folds, joints starting, some light browning and soiling.

typed letter signed ("margaret mitchell marsh (mrs. j. r. marsh)"), to dr. charles warren everett

The Library of an English Bibliophile, Part II

8vo (215 x 147mm.), first edition, first issue, publisher's grey cloth, lettered and decorated in blue, original dust-jacket, minimal wear to binding, minimal wear and soiling to jacket

gone with the wind. new york: macmillan, 1936

N08811

Gone with the Wind. New York: Macmillan, 1936. (with the "May" copy-right date).

Gone with the Wind. New York: Macmillan, 1936. (with the "May" copy-right date). 8vo (8 1/4 x 5 7/8 ins; 215 x 150 mm). Publisher's blue-titled gray cloth in illustrated dust-jacket; cloth a trifle rubbed at extremities, crisp, unfaded jacket with front flap rubbed along fold, small chip at head of lower spine fold. In custom calf box embossed with Confederate flag on front.

EBKS S/O Semac Collection

Gone With the Wind. New York: Macmillan, 1936

Gone With the Wind. New York: Macmillan, 1936 8vo (8 1/2 x 5 1/2 in.; 218 x 150 mm). Publisher's blue-titled gray cloth in illustrated dust-jacket; minor creasing to jacket folds and spine ends, rear panel very slightly soiled and minor dust-soiling to edges.

Mitchell, Margaret. Borte med Blaesten [Gone With the Wind]. Copenhagen, Steen Hasselbalachs Forlag, 1937

Mitchell, Margaret. Borte med Blaesten [Gone With the Wind]. Copenhagen, Steen Hasselbalachs Forlag, 1937 8vo, first Danish edition of "Gone With the Wind"' the first illustrated edition of this novel, presentation copy inscribed by the author to her danish publisher ("To Georg Jervin with great appreciation Margaret Mitchell Atlanta, Ga. U.S.A. Sept 6, 1937"), map of the American South at the beginning, special binding of brown morocco, lettered in gilt on the spine, decorated endpapers, top edge gilt For a letter by Margaret Mitchell to Georg Jervin about this edition and its illustrations, see the previous lot. It may be noted that the mistake in the map which she noticed was rectified: the map in this edition does not show Decatur at all. This copy may be one of a small number bound for presentation. Gone With the Wind was first published in American the year before, in May 1936.

mitchell, margaret. borte med blaesten [gone with the wind]. copenhagen, steen hasselbalachs forlag, 1937

Mitchell, Margaret. fine typed letter signed ("Margaret Mitchell Marsh"), about "gone with the wind"

Mitchell, Margaret. fine typed letter signed ("Margaret Mitchell Marsh"), about "gone with the wind" with four lines of autograph postscript, to her Danish publisher Georg Jervin in Copenhagen, discussing the publication of Gone With the Wind in Denmark and its promotion ("...I shall look forward with much excitement to the illustrations you mentioned. As you perhaps know, neither the American nor the English edition was illustrated..."); she explains what she knows about John Born and her friend Wilbur Kurtz, who will help in a tour of the South by a Danish competion prize-winner ("...We will all do our best to make the winner's stay in Georgia a pleasant one...") ...if the winner expects to see the scenes I depicted in "Gone With the Wind" just exactly as I depicted them, he will be very disappointed. Seventy years have brought great changes to the South...Due to the growth of the city practically all of the landmarks of the days of Scarlett O'Hara have been obliterated...If I may offer a suggestion, it is that the tour of your prize-winner include a visit to Savannah, where Gerald O'Hara lived when he first came to America and where he married Ellen. That is a charming old city... with repect to promotion in Denmark, she asks if Jervin would "prevent the circulation of the untrue story" that she wrote the novel "while bedridden"' a story which circulated in England and caused her much embarrassment ("...I did not write a line of my book while bedridden...I compose entirely by typewriter and find it impossible to compose in longhand...in 1925 I had a sprained ankle...I find it very annoying to be depicted as an invalid... she agrees to "autograph" ten sheets for charity, thereby breaking her own rule ("...I have not autographed a copy of 'Gone With the Wind' since last December and it was my intention never to autograph another...requests come in to me by thousands...People called at my home with their volumes all day long...I was so overwhelmed by the volume of requests that I was having no rest, no time to eat, to sleep or to handle my heavy correspondence..."); in a postscript she reports that she has discovered an error in the map at the front of the novel, even though it is too late to correct it, since Decatur is shown 200 miles away in Alabama whereas the Decatur she meant, near where "Scarlett's sawmill" was located, "is a very small town five or six miles east of Atlanta"' adding in her own hand in yet another postscript that her family agrees that the illustrations "could not be better" 4 pages, 4to, on headed stationery of "Margaret Mitchell"' stamped envelope, 4 East 17th Street, N.E., Atlanta, Georgia, 30 August 1937 together with a printed patriotic poem (on the back of a reproduction Georgia $5 bill) signed in ink by Margaret Mitchell, and a Confederate $20 bill

mitchell, margaret. fine typed letter signed ("margaret mitchell marsh"), about "gone with the wind"

Gone with the Wind. New York: Macmillan, 1936

Gone with the Wind. New York: Macmillan, 1936 8vo (8 1/2 x 5 1/2 in.; 218 x 150 mm); Publisher’s blue-titles gray cloth in illustrated dust jacket, $3.00 price in the lower corner. Creases, small tears, and losses to edges of paper dust jacket at front cover, at top and bottom of spine; some pages faded.  

Collection of 18 letters including 13 typed letters signed and 1 autograph letter 1936-1947( variously "Margaret Mitchell" "Peggy" or "Margaret E Bough")  a signed first edition  of Gone with the Wind (May 1936, origiinal cloth, dust-jacket backed), 5 programs and related promotional material. All housed in 10 custom morocco gilt slipcases.

Collection of 18 letters including 13 typed letters signed and 1 autograph letter 1936-1947( variously "Margaret Mitchell" "Peggy" or "Margaret E Bough")  a signed first edition  of Gone with the Wind (May 1936, origiinal cloth, dust-jacket backed), 5 programs and related promotional material. All housed in 10 custom morocco gilt slipcases. Mitchell on the reaction and her fame from the novel and then film: 24 March 1939, to David O Selznick on her opinion of Vivian Leigh: "Probably my letter would not have been written if it had not been preceded by a series of incidents which had gotten my nerves on edge... They began with the hundreds of newspaper items saying that I had "okayed," "endorsed" or "approved" the selection of Ms. Leigh... please tell her that I have never blamed her for getting entangled in my public problems...For your private ear and not for repitition, I am impressed by the remarkable number of different faces she has." 26 May 1937, to Juanita Ross on African American and Communist reactions to her novel: "I am most interested in the Negro reactions to my book. My interest in their reactions has been heightened by the recent outburst of the Communist Party. They said that my book vilified the Negroes and was an insult to the Race. I do not pretend to understand the workings of the Communistic mind, so I can only say that such was not my intent." 23 August 1943, to Red on her detractors and why she has not written another book: "These irresponsible newspaper and radio gossip commentators have been the bane of my life since 1936. When people ask me why I haven't written another book I don't even try to explain. Between so-and-sos who have me blind, in a plaster cast, pregnant with twins, divorced, remarried, in jail, and on a yacht in Miami and dying of leukemia, I lead such a busy life denying all." [With:] Macconnell, Franclien, "Gone With the Wind, Comments on Continuity Outline." Circa 1939. 43 pages on various colored paper, typed wrappers.

In 8s (8 1/2 x 5 5/8 in.; 216 x 142 mm). Tiny bit of foxing to fore-edges. Publisher's gray cloth, lettered in blue; lightest rubbing to head and foot of spine. Publisher's dust-jacket; price-clipped, lightly soiled, and worn at extremities. 

Fine Books & Manuscripts Including Americana

In 8s (8 1/2 x 5 5/8 in.; 216 x 142 mm). A bit of foxing to fore-edges. Publisher's gray cloth, lettered in blue; some light marginal foxing, one light crease to spine. Publisher's dust-jacket; relined and professionally restored with minor loss.

mitchell, margaret.

Fine Books and Manuscripts Including Americana Online

'gone with the wind'. new york: the macmillan company, 1936

Hyde Park Antiques: Past, Present and Future Part II

American Literature Works Include: (The International Collectors Library). Garden City, New York: International Collectors Library, various dates. 8 vols, 8vo. Titles include: Margaret Mitchell, Gone with the Wind; Kenneth Roberts, Northwest Passage; Booth Tarkingtonton, Alice Adams; Nathaniel Hawthorne, The Scarlet Letter; Edna Ferber, So Big; Edna Ferber, Show Boat; Irving Stone, Lust for Life; and Kenneth Roberts, Lydia Bailey. — James Fenimore Cooper. The Works. 22 vols, 8vo. ﻿(Sold as a group—not subject to return.)

View 1 of Lot 455: American Literature, a Group of Works

american literature, a group of works

Original Film Posters

Gone with the Wind / Autant en Emporte le Vent (1939) Poster, French, Re-release 1953

Gone with the Wind / Autant en Emporte le Vent (1939) Poster, French, Re-release 1953 Artist: Roger Soubie (1898-1984) Unframed: 63 x 47 in. (160 x 119 cm) This film did not get released in France until 1951, and owing to its popularity it was re-released in 1953. This stunning poster by Roger Soubie was designed for the 1953 re-release of the film. Following the publication of Margaret Mitchell's best-selling novel, the competition to obtain screen rights for its cinematic adaptation was ferocious and the creation of the screenplay a massive task undertaken by several writers including F. Scott Fitzgerald. The result was an unprecedented commercial success, a staggering representation of Hollywood glamour of the 30s, which overwhelmed audiences with lavish sets and costumes.

View 1 of Lot 46: Gone with the Wind / Autant en Emporte le Vent (1939) Poster, French, Re-release 1953

gone with the wind / autant en emporte le vent (1939) poster, french, re-release 1953

Original Film Posters Online

GONE WITH THE WIND (1939) POSTER, AUSTRALIAN

GONE WITH THE WIND (1939) POSTER, AUSTRALIAN unframed: 39¾ x 15 in. (101 x 36 cm) framed: 45½ x 20¾in. (115.5 x 52.7 cm) Following the publication of Margaret Mitchell's best-selling novel, the competition to obtain screen rights for its cinematic adaptation was ferocious and the creation of the screenplay a massive task undertaken by several writers including F. Scott Fitzgerald. The result was an unprecedented commercial success, a staggering representation of Hollywood glamour of the 30s which overwhelmed audiences with lavish sets and costumes. This poster was printed with the area at the top of the piece left blank. This was for the individual cinemas to write or stencil the name of their cinema, and the days that the film would be shown. The Roxy theatre is in New South Wales, Australia. It is a magnificent Art Deco building that is still open today, and is on the Heritage Register. All original release Gone with the Wind posters are scarce. Fewer than ten have surfaced over the past twenty years. To view shipping calculator, please click here

gone with the wind (1939) poster, australian

Gone with the Wind (1939) original preliminary artwork, US

Gone with the Wind (1939) original preliminary artwork, US Artist: Howard Terpning (b.1927) Original preliminary artwork, gouache on art paper, for the US one sheet poster for the re-release of the film in 1968 Framed Dimensions: 27 3/4 x 32 1/4 in. 70.3 x 82 cm) Unframed Dimensions: 19 x 24 in. (48 x 61 cm) Following the publication of Margaret Mitchell's best-selling novel, the competition to obtain screen rights for its cinematic adaptation was ferocious and the creation of the screenplay a massive task undertaken by several writers including F. Scott Fitzgerald. The result was an unprecedented commercial success, a staggering representation of Hollywood glamour of the 30s which overwhelmed audiences with lavish sets and costumes. All original artworks are very hard to find, and anything on this legendary title is exceptionally desirable. Please see shipping calculator here.

gone with the wind (1939) original preliminary artwork, us

Gone with the Wind (1939) Poster, US Unframed: 36 x 14 in. (91 x 36 cm) Framed: 42 1/2 x 19 5/8 in. (108 x 49.7 cm) Original posters for the first release of the film in 1939 do not surface very often, and are highly sought-after. Following the publication of Margaret Mitchell's best-selling novel, the competition to obtain screen rights for its cinematic adaptation was ferocious and the creation of the screenplay a massive task undertaken by several writers including F. Scott Fitzgerald. The result was an unprecedented commercial success, a staggering representation of Hollywood glamour of the 30s which overwhelmed audiences with lavish sets and costumes.

View 1 of Lot 144: Gone with the Wind (1939) Poster, US

gone with the wind (1939) poster, us

Fine Books and Manuscripts, Including Americana. Part 2

(Gone with the Wind) Lydia Schiller — Selznick International Pictures Final shooting script for the second part of the film. February-June, 1939 Mimeograph typescript, 176 pages (279 x 216 mm), comprising the final shooting script for the second half of Gone with the Wind, issued to script clerk Lydia Schiller, with extensive annotations and emendations in pencil, printed on pink and cream paper, and interleaved with over a dozen carbon-copy inter-office communications on blue paper with Selznick International letterhead, from producer David O. Selznick and script continuity director Barbara Keon, giving changes and production instructions, plus set list, staff list, chart of seasons, and advance schedule comprising 10 pages bound in at end, front wrapper dated 27 February 1939, final inserted inter-office memorandum dated 9 June 1939; substantial marginal fraying, creasing, and finger soiling, a few leaves loose. Blue wrappers bound with two brass split clasps; upper wrapper detached, creased and soiled. [With:] Pictorial souvenir program from the theatrical run, inscribed with viewing dates at the Astor Theatre, NYC (9 June 1940), and the College Theatre, New Haven (June 1941); light soiling. [And:] Perspex display case. “Frankly, my dear, I don’t give a damn.” — The annotated final shooting script of Gone with the Wind, with censorship-protection alternate endings to the most iconic line in film history. Production on Gone with the Wind officially began on 26 January 1939 and concluded principal photography on 1 July 1939, though second-unit and retakes continued into autumn. The film was produced by David O. Selznick for Selznick International Pictures, directed primarily by Victor Fleming. The screenplay was based on Margaret Mitchell’s 1936 novel and underwent multiple drafts by Sidney Howard. The film’s production is widely documented as one of the most logistically complex and tumultuous in Hollywood history, marked by frequent rewrites, directorial changes, and intense on-set oversight by Selznick himself. This copy begins with the scene of Suellen and Carreen picking cotton and complaining bitterly about Scarlett. Throughout, the script bears extensive annotations in pencil, including camera directions, scene corrections, and continuity adjustments. Of particular note is a typed memo dated 9 June 1939, from continuity supervisor Barbara Keon to script clerks Lydia Schiller, Connie Earle, and Tillie Thompson, instructing the preparation of two alternate versions of Rhett Butler’s parting line in scene 681 for censorship protection: Rhett: (very slowly) “Frankly my dear I just don’t care.” “I wish I could care what you do or where you go—(he opens the door) but frankly my dear I just don’t care.” These variants were produced in anticipation of potential Hays Code objections to the word “damn.” Fortunately, Selznick’s lobbying resulted in a formal amendment to the Code in November 1939—permitting limited use of words like “hell” and “damn” when justified by historical or literary context—and the original line remained intact, cementing its place as one of the most quoted in American film history. As was Selznick’s custom, shooting scripts were closely guarded and often destroyed after production—making annotated working scripts like the present example, used on set by a core member of the production team, exceptionally rare. This copy was later presented by Selznick to a colleague working in a neighboring sound stage. A remarkable production-used script from one of the most iconic films of Hollywood’s Golden Age. PROVENANCE: Lydia Schiller, script clerk — subsequently presented by David O. Selznick to the father of the previous owner, a fellow crew member on a neighboring stage — Sotheby's New York, Fine Books and Manuscripts Including Americana. Property of the Estate of James H. Heineman, 26 June 1998, Lot 486

View 1 of Lot 1062: (Gone with the Wind) | Final shooting script of the second half of the film

(gone with the wind) | final shooting script of the second half of the film

[GONE WITH THE WIND] Script Clerk's Annotated Shooting Script, February 27, 1939 Mimeograph typescript, 251 pages (11 x 8¾ inches). Script A 771, blue wrappers, with numerous colored script change pages and memos on Selznick International Pictures letterhead inserted throughout, extensive annotations and dialogue changes in pencil; wear commensurate with use, a few pages folded and torn, a few paperclips and rust marks; wrappers somewhat toned and discolored. "Frankly, my dear, I don't give a damn" — a shooting script for Gone With the Wind with extensive annotations, and alternate versions of the most famous movie quotation of all time David O. Selznick acquired the film rights to Margaret Mitchell's novel Gone With the Wind in early 1936 before the novel became a runaway bestseller. Three years, three directors, and several screenwriters later, his film adaptation became the highest-grossing film ever made, and held onto that record for years to come. This heavily annotated shooting script demonstrates exactly how much of a herculean task bringing Mitchell's Civil War epic to the big screen was. The script is replete with colored script changes, memos, and revisions, especially to the final scene of the film, which has extensive dialogue changes to Rhett and Scarlett's discussion of Ashley ("I never really loved Ashley" "Then you certainly gave a good imitation of it -- up till this morning..." are penciled in on page 247). What is perhaps of greatest interest are the changes inserted after page 248, which include two handwritten alternatives to Rhett Butler's iconic parting shot at Scarlett O'Hara: "Frankly, my dear, I don't give a damn." Script clerk Tillie Thompson lists them as follows: Alternatives: 1. Rhett: (very slowly) "Frankly my dear I don't care." 2. I wish I could care what you do or where you go -- (he opens the door) But frankly my dear I don't care. Two versions of this exchange were shot, one with the more muted "Frankly, my dear, I don't care", and the other as audiences would come to see it. These alternatives were in anticipation of censors' objections to the use of the word "damn" in the film, which was prohibited by the infamous Hays Code enacted in 1930. The final scene of the film was shot in June, and in the months that elapsed between shooting and the December premier, Selznick was in active negotiations with the Hays office, resulting in a November amendment to the Code allowing the use of the words "hell" or "damn" when deemed essential in historical or literary context. This amendment allowed Selznick to move forward with his preferred version, one that would stick in the mind's and heart's of moviegoers for decades to come. REFERENCES: Gavin Lambert, The Making of Gone With The Wind, The Atlantic, February 1973 PROVENANCE: Tillie Thompson (uncredited script clerk)

[gone with the wind] | script clerk's annotated shooting script, february 27, 1939

Gone with the Wind (1939) Poster, US, Roadshow

Gone with the Wind (1939) Poster, US, Roadshow Unframed: 22 x 14 in. (56 x 36 cm) Framed: 28 x 20 1/4 in. (71.1 x 51.5 cm) This size poster was designed with a blank area at the top, to allow each cinema to personalise it with the details of the film's screening. Pieces on this epic film are always highly prized and collected. Following the publication of Margaret Mitchell's best-selling novel, the competition to obtain screen rights for its cinematic adaptation was ferocious and the creation of the screenplay a massive task undertaken by several writers including F. Scott Fitzgerald. The result was an unprecedented commercial success, a staggering representation of Hollywood glamour of the 30s which overwhelmed audiences with lavish sets and costumes.

gone with the wind (1939) poster, us, roadshow

A group of  17 modern first editions, variously bound, some inscribed, comprising:  Barnes, Djuna.  Night Wood. London, 1936. —   Cain, James M.  Mildred Pierce.  New York, 1941. Advance copy in wrappers. —  Cabell, Branch.  These Restless Heads.  New York, 1932.  Large paper copy. —  Cobb, Humphrey.  Paths of Glory.  New York, 1935. — Fitzgerald, F. Scott.  Taps at Reveille.  New York, 1935.  No dust jacket. —  Josephs, Bertrand.  This New Madness.  New York, 1935. —  McKay, Claude.  Banjo.  New York, 1929. — Marquand, John P.  The Late George Apley.  Boston, 1937. Signed. —  Mitchell, Margaret. Gone with the Wind.  First edition, signed. Lacks dust jacket.  —  Nathan, Robert.  Portrait of Jennie.  New York, 1940. — Parker, Dorothy.  Here Lies.  New York, 1939. No dust jacket.  —  Porter, Katherine Anne.  Flowering Judas.  New York, 1939. No dust jacket. — Rollins, William, Jr. — The Obelisk.  New York, 1930. — Saroyan, William.  The Daring Young Man on the Flying Trapeze.  New York, 1934. — Tarkington, Booth.  Young Mrs. Greeley.  New York, 1929.  Inscribed. — Wharton, Edith. Hudson River Bracketed.  New York, 1929.  No dust jacket. —  White, E. B.  Quo Vadimus. New York, 1939.

A group of  17 modern first editions, variously bound, some inscribed, comprising:  Barnes, Djuna.  Night Wood. London, 1936. —   Cain, James M.  Mildred Pierce.  New York, 1941. Advance copy in wrappers. —  Cabell, Branch.  These Restless Heads.  New York, 1932.  Large paper copy. —  Cobb, Humphrey.  Paths of Glory.  New York, 1935. — Fitzgerald, F. Scott.  Taps at Reveille.  New York, 1935.  No dust jacket. —  Josephs, Bertrand.  This New Madness.  New York, 1935. —  McKay, Claude.  Banjo.  New York, 1929. — Marquand, John P.  The Late George Apley.  Boston, 1937. Signed. —  Mitchell, Margaret. Gone with the Wind.  First edition, signed. Lacks dust jacket.  —  Nathan, Robert.  Portrait of Jennie.  New York, 1940. — Parker, Dorothy.  Here Lies.  New York, 1939. No dust jacket.  —  Porter, Katherine Anne.  Flowering Judas.  New York, 1939. No dust jacket. — Rollins, William, Jr. — The Obelisk.  New York, 1930. — Saroyan, William.  The Daring Young Man on the Flying Trapeze.  New York, 1934. — Tarkington, Booth.  Young Mrs. Greeley.  New York, 1929.  Inscribed. — Wharton, Edith. Hudson River Bracketed.  New York, 1929.  No dust jacket. —  White, E. B.  Quo Vadimus. New York, 1939. Together, 17 items   

(modern first editions)

i) James Agate. Ego 8. London: George G. Harrap, 1946, 8vo, presentation copy inscribed to Vivien Leigh (“To Vivien | Hoping she will let Larry | cock an eye, but not | a snook, at it. | Ever | their good friend | [?]Jimmie | April 11th 47”) on the front free endpaper, original blue cloth, spine faded;  ii) Richard Brinsely Sheridan. The School for Scandal. London: The Folio Society, 1949, 4to, with an introduction by Laurence Olivier, plates, original red cloth, some spotting;  iii) William Shakespeare. The Tragedy of Anthony and Cleopatra. London: The Folio Society, 1952, 8vo, with an introduction by Laurence Olivier, colour plates, full purple morocco by Sangorksi and Sutcliffe, slipcase; iv) Felix Barker. The Oliviers. London: Hamish Hamilton, 1953, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“For Mr and Mrs Hartley | in appreciation of all their help, | and in the hope that I have done | right by them and their daughter. | Felix Barker | II.VI. 53”) on the front free endpaper, with Gertrude Hartley’s ownership signature, photographic plates, original red cloth, dust-jacket, dust-jacket worn;  v) Ben Hecht. Charles MacArthur. A Eulogy. 23 April 1956, original wrappers;  vi) John Huston. Humphrey Bogart…as read…at the memorial services, Beverley Hills, California, January 17, 1957. Los Angeles: The Seiler Press, 1957, small 8vo, original navy cloth; vii) Margaret Mitchell. Gone with the Wind. New York: Macmillan, 1961, 8vo, presentation copy inscribed to Vivien Leigh (“To “Katie Scarlett” herself […] with every good wish - | Robert Rosterman | 61”) on the front free endpaper, original patterned boards, with accompanying commemorative booklet, publisher’s slipcase;  viii) Katherine Anne Porter. Ship of Fools. London: Secker and Warburg, 1962, 8vo, with Vivien Leigh’s ownership signature on the front endpaper, original blue cloth, some spotting to foreedge;  ix) Tarquin Olivier. Eye of the Day. London: Heinemann, 1964, 8vo, PRESENTATION COPY INSCRIBED BY THE AUTHOR (“Vivien | Wishing so much I could be | there to give it to you. | Tarquin”) on the half-title, photographic plates, original green cloth, dust-jacket, dust-jacket a little worn at edges (9)

Results for "Margaret Mitchell"