Books, Manuscripts and Music from Medieval to Modern

J.D. Salinger The Catcher in the Rye. Boston: Little, Brown and Company, 1951 FIRST EDITION, 8vo (198 x 133mm.), original black cloth, spine gilt-lettered, DUST-JACKET, illustration by Michael Mitchell on upper cover and spine, author photo by Lotte Jacobi on lower cover, extremities slightly rubbed,dust-jacket professionally restored with tissue repairs to spine and extremities and section supplied at front panel First edition of Salinger's enduring classic. One of the great adolescent novels, it follows young Holden Cauldfield's Manhattan adventures after he escapes from Pencey Prep (modeled on the military academy attended by Salinger). The novel originally received mixed reviews and generated controversy owing to the protagonist's "obscene" language (tame by modern standards). Such language, coupled with Holden's desire for rebellion against adult "phonies", has contributed to the novel being periodically banned from some school reading lists to this day.

View 1 of Lot 305: J.D. Salinger | The Catcher in the Rye, 1951, first edition

j.d. salinger | the catcher in the rye, 1951, first edition

Fine Books and Manuscripts, Including Americana

Salinger, J.D The Catcher in the Rye. Boston: Little, Brown and Company, 1951 8vo. Publisher's black cloth, spine gilt-lettered; edges very lightly bumped. Original dust-jacket with $3.00 price on front flap, illustration by Michael Mitchell on upper cover and spine, photographic portrait of the author by Lotte Jacobi on the rear panel extending to top edge; slightest chipping to head and foot of spine, expertly restored at head. First edition of this contemporary American classic, exploring the failures of the adult world. The Book-Of-The-Month Club picked up The Catcher in the Rye just after it was set in galleys. Salinger, ever averse to publicity of any sort, felt the portrait photo on the back cover, as seen in this copy, was too big. He later lobbied to have the photograph removed, and it has not been reprinted since. Salinger worked on Catcher, chronicling Holden Caulfield’s escape from Pencey Prep—reportedly modeled on the Valley Forge Military Academy that Salinger himself attended—to his personal New York City underground, on and off for ten years. It was finally published to mixed reviews, which praised Salinger’s brilliance and insight but condemned the pervasiveness of obscenities in the novel. It continues to provoke the “phonies” to the present day and is often the target of overly concerned parents when spotted on school reading lists. "This novel is a key-work of the nineteen-fifties in that the theme of youthful rebellion is first adumbrated in it, though the hero, Holden Caulfield, is more a gentle voice of protest, unprevailing in the noise, than a militant world-changer... The Catcher in the Rye was a symptom of a need, after a ghastly war and during a ghastly pseudo-peace, for the young to raise a voice of protest against the failures of the adult world. The young used many voices — anger, contempt, self-pity — but the quietest, that of a decent perplexed American adolescent, proved the most telling" (Anthony Burgess, 99 Novels, pp. 53-54.) REFERENCE: Burgess 99

View 1 of Lot 1142: Salinger, J.D |  Catcher in the Rye; an exceptional example

salinger, j.d | catcher in the rye; an exceptional example

Important Modern Literature from the Library of an American Filmmaker

Salinger, J. D. The Catcher in the Rye. Boston: Little, Brown and Company, 1951 8vo. Publisher's black cloth, spine gilt-lettered; gilt bright and unrubbed. Original dust-jacket, with $3.00 price on front flap, illustration by Michael Mitchell on upper cover and spine, with the photographic portrait of the author by Lotte Jacobi on the rear panel extending to top edge; tiny nick at tail along upper spine fold, trace of rubbing to flap folds, but red remains strong with just some of the usual toning to white, but evenly so. Red case. A handsome first edition of this contemporary American classic – the failures of the adult world The Book-Of-The-Month Club picked up The Catcher in the Rye just after it was set in galleys. Salinger, ever averse to publicity of any sort, felt the portrait photo on the back cover, as seen in this copy, was too big. He later lobbied to have the photograph removed, and it has not been reprinted since. Salinger worked on Catcher, chronicling Holden Caulfield’s escape from Pencey Prep—reportedly modeled on the Valley Forge Military Academy that Salinger himself attended—to his personal New York City underground, on and off for ten years. It was finally published to mixed reviews, which praised Salinger’s brilliance and insight but condemned the pervasiveness of obscenities in the novel. It continues to provoke the “phonies” to the present day and is often the target of overly concerned parents when spotted on school reading lists. "This novel is a key-work of the nineteen-fifties in that the theme of youthful rebellion is first adumbrated in it, though the hero, Holden Caulfield, is more a gentle voice of protest, unprevailing in the noise, than a militant world-changer... The Catcher in the Rye was a symptom of a need, after a ghastly war and during a ghastly pseudo-peace, for the young to raise a voice of protest against the failures of the adult world. The young used many voices — anger, contempt, self-pity — but the quietest, that of a decent perplexed American adolescent, proved the most telling" (Anthony Burgess, 99 Novels, pp. 53-54.) REFERENCE: Burgess 99

View 1 of Lot 76: Salinger, J. D. | The Catcher in the Rye, first edition 

salinger, j. d. | the catcher in the rye, first edition

Fine Books and Manuscripts

Salinger, J. D. The Catcher in the Rye. Boston: Little, Brown and Company, 1951 8vo. Publisher's black cloth, gilt-lettered spine; gilt somewhat faded, one corner lightly bumped, small dampstain to top of textblock. Original dust-jacket, illustration by Michael Mitchell on upper cover and spine, with the photographic portrait of the author by Lotte Jacobi on the rear panel; lightly toned, particularly the spine panel, head of spine frayed, a few minor chips to edges, surface abrasions to inside flaps old jacket protector. First edition of this contemporary American classic, exploring the failures of the adult world. The Book-Of-The-Month Club picked up The Catcher in the Rye just after it was set in galleys. Salinger, ever averse to publicity of any sort, felt the portrait photo on the back cover, as seen in this copy, was too big. He later lobbied to have the photograph removed, and it has not been reprinted since. Salinger worked on Catcher, chronicling Holden Caulfield's escape from Pencey Prep—reportedly modeled on the Valley Forge Military Academy that Salinger himself attended—to his personal New York City underground, on and off for ten years. It was finally published to mixed reviews, which praised Salinger's brilliance and insight but condemned the pervasiveness of obscenities in the novel. It continues to provoke the "phonies" to the present day and is often the target of overly concerned parents when spotted on school reading lists. "This novel is a key-work of the nineteen-fifties in that the theme of youthful rebellion is first adumbrated in it, though the hero, Holden Caulfield, is more a gentle voice of protest, unprevailing in the noise, than a militant world-changer... The Catcher in the Rye was a symptom of a need, after a ghastly war and during a ghastly pseudo-peace, for the young to raise a voice of protest against the failures of the adult world. The young used many voices—anger, contempt, self-pity—but the quietest, that of a decent perplexed American adolescent, proved the most telling" (Anthony Burgess, 99 Novels, pp. 53-54.) REFERENCES: Burgess 99

View 1 of Lot 1062: Salinger, J. D. | "The Catcher in the Rye," first edition of this contemporary American classic

salinger, j. d. | "the catcher in the rye," first edition of this contemporary american classic

Fine Books & Manuscripts, Including Americana

8vo (7 7/8 x 5 1/4 in.; 200 x 133 mm). Small light stain on front free endpaper, not affecting inscription. Publisher's black boards, spine gilt-lettered. Original pictorial dust-jacket; minimal wear.

the catcher in the rye.  boston: little brown, ca. 1975

Books &amp; Manuscripts

8vo. Publisher's gilt-stamped black cloth. Original illustrated dust-jacket printed in red, black and yellow; priced $3.00, author photo on rear panel not cropped, spine panel faded, one short closed tear at top of upper flap fold, trace of wear to lower corners. Cloth folding case.

the catcher in the rye. boston: little, brown & company, 1951

The Library of an English Bibliophile, Part II

8vo (184 x 121mm.), first English edition, original blue cloth, dust-jacket, some slight edge-wear to the jacket

the catcher in the rye. london: hamish hamilton ltd., 1951

Fine Books & Manuscripts

8vo (7 7/8 x 5 1/4 in.; 200 x 133 mm).  Publisher's black cloth, spine gilt-lettered; minimal wear.  Original dust-jacket, illustration by Michael Mitchell on upper cover and spine, author photo by Lotte Jacobi on lower cover; minimal wear. Half red morocco gilt slipcase and chemise.

the catcher in the rye.  boston: little, brown, 1951

The Emily Fisher Landau Collection: An Era Defined | Online Auction

Steve Wolfe 1955 - 2016 Untitled (The Catcher in the Rye) signed and dated 1990 (on the reverse) lacquer, silkscreen and oil on maple 7 by 4⅛ in. 17.8 by 10.5 cm. Executed in 1990, this work is number 1 from an edition of 2.

untitled

Salinger, J.D. The Catcher in the Rye. Boston: Little, Brown, 1951 8vo (200 x 133 mm). Publisher's black cloth, spine gilt-lettered; one spot to fore-edge, a few stray spots to endpapers. Original dust-jacket, illustration by Michael Mitchell on upper cover and spine, with the photographic portrait of the author by Lotte Jacobi on the rear panel. In quarter red morocco slipcase with folding chemise. An exceptional, bright copy of this contemporary American classic ﻿The Book-Of-The-Month Club picked up The Catcher in the Rye just after it was set in galleys. Salinger, ever averse to publicity of any sort, felt the portrait photo on the back cover, as seen in this copy, was too big. He later lobbied to have the photograph removed, and it has not been reprinted since. The dustjacket on the present copy is remarkably pristine—examples with the photo are already scarce, and ones in the condition seen here are even more so. Salinger worked on Catcher, chronicling Holden Caulfield’s escape from Pencey Prep—reportedly modeled on the Valley Forge Military Academy that Salinger himself attended—to his personal New York City underground, on and off for ten years. It was finally published to mixed reviews, which praised Salinger’s brilliance and insight but condemned the pervasiveness of obscenities in the novel.

View 1 of Lot 108: Salinger, J.D. | A strikingly fresh first edition of Salinger's essential novel

salinger, j.d. | a strikingly fresh first edition of salinger's essential novel

Salinger, J.D. The Graham Family archive, 1951-1989 4 letters (1 ALS and 3 TLS), all signed (“Jerry”), addressed to Mrs. Esther Graham or to Mr. J. Graham, with original mailing envelopes, 1953-1989; a signed and inscribed first edition of The Catcher in the Rye, 1951; a partial The Catcher in the Rye dust jacket, signed by the illustrator E. Michael Mitchell on the same date as the aforementioned first edition, 1951; a rare portrait photograph of Salinger, signed by the photographer Antony di Gesu and presented by Bett Graham to her niece, Pamela, 1952; all items either given or sent to members of the Graham family, documenting their longstanding and, until now, little known friendship with Salinger. In 1949, Salinger met a Canadian couple, Beth (“Bett”) Graham and Michael Mitchell, in Westport, CT, where he was living while finishing his groundbreaking novel, The Catcher in the Rye. The Mitchells had a house nearby and, though it is unclear how exactly they were introduced, they soon became close friends. Salinger would write in their guest house and then read recently written passages from Catcher to the married couple. Michael, a successful magazine illustrator, was asked to design the book’s dust jacket. His striking image of a red carousel horse remains one of the most iconic dust jackets ever created. Even Salinger, notorious for despising his books’ cover art, loved the design. After moving to Cornish, NH, Salinger continued to correspond with the Mitchells, and he occasionally visited them in New York or London. In one of Salinger’s letters to Michael, now at the Morgan Library, he informed the couple that he has “never had two dearer friends,” and refers to their “tri-cornered” friendship (Cowan, Alison Leigh. “Unsealed Letters Offer Glimpse of Salinger. New York Times. February 11, 2010). Bett Graham and Michael Mitchell divorced sometime in the 1960s. From then on, Salinger stayed in touch with them both separately. It is abundantly clear from this archive that the author had a special appreciation for his friendship with the Graham family, especially for Bett and her mother Esther, who he affectionately refers to as “Mother Graham.” Through these unexpectedly warm and revealing letters, spanning nearly forty years, Salinger shows his humor, introspection, and humanity — aspects of his personality which he oftentimes kept hidden. The archive contains: 1) Autograph letter signed “Jerry” to “Dear Mrs. Graham.” Windsor, VT: November 15, 1953 One-page letter (196 x 156 mm), in black ink; old horizontal fold. With postmarked autograph envelope. A short but sympathetic letter where Salinger sends his condolences to Esther soon after the passing of her husband, William. Salinger calls him “the gentlest and best kind of human being.” 2) Typed letter signed “Jerry” to “Dear Mrs. Graham.” Windsor, VT: June 16, 1959 Two-page letter typewritten on one side of a single folded sheet (210 x 271 mm), signed in black ink; old folds, very faint toning along the top edge at center. With postmarked typed envelope. An affable, funny letter from Salinger to Esther Graham, where he discusses Bett and Michael’s recent move to London. He expresses his sadness at not seeing his friends more often, and his desire to go visit them so that they can “all go see the Queen together.” Salinger mentions his grueling work schedule and laments his lonely automat lunches. He goes on to thank Esther for the clipping she sent him and says that the thought of her brother reading his fiction in Glasgow cheers him up. Near the end of the letter, Salinger mentions his 4-year-old daughter, Peggy. He wishes that she could meet Esther and bemoans the fact that his daughter never gets to see Bett and Mike. 3) Typed letter signed “Jerry” to “Dear Mother Graham.” Windsor, VT: March 3, 1971 One-page letter (270 x 210 mm), typed, signed in black ink; old folds. With postmarked typed envelope. Salinger recounts his recent trip to London where he saw Bett, who is now divorced from Michael. He mentions some of their amusing adventures together, including “the police-station stuff and the mixup at Battersea Park,” and praises Bett’s new apartment, her tiny car, and her friends. He goes on to discuss Michael and how, a little while back, he didn’t see him due to a bout of hypoglycemia. Salinger explains that he has been feeling much better recently, “like the gifted sportsman and Oujia player you knew in Westport.” He then updates Esther on his children, who he feels are happy and doing well. 4) Typed letter signed “Jerry” to “Dear J.” Cornish, NH: November 19, 1989 One page letter (270 x 210 mm) to James Graham, typed, signed in black ink; old folds. With postmarked typed envelope. In this heartfelt, yet somber letter, Salinger responds to news of the death of his friend Bett Graham. He writes back to her brother, James, and begins by saying that his memory isn’t what it used to be, before recounting a series of detailed memories. First, he remembers exactly who James is, despite having never met him. He goes on to eulogize Bett, praising her kindness, intelligence, and wit. With his characteristic acerbity, Salinger expresses disdain for the word “compassion,” which he finds overly sentimental. However, he admits that, when referring to Bett, he can make an exception for the word. After a brief digression to discuss Mike, who had already phoned him with the news, he responds to a remark that he thought was disparaging to Bett — a reference to her supposedly turbulent life. He vigorously defends her against this characterization, recalling her selflessness, and imagining her at a kitchen sink washing other people’s dirty dishes — “gloomy thoughts,” he adds. Salinger ends the letter by thanking James for being there with Bett during her last days, and he sends his love to the rest of the Graham family. He signs the letter “Jerry,” before adding “(Salinger)” in typescript. 5) J.D. Salinger. The Catcher in The Rye. Boston: Little, Brown and Company, 1951 8vo (195 x 127 mm). First edition, third printing, inscribed “To Esther and Willie Graham, / with love, / Jerry” and dated September 5, 1951, in blue ink on the front free endpaper; old smudge to the word “Willie” in the inscription. Publisher’s cloth; lacking dust jacket, a few minor spots of rubbing and wear to the extremities, spine title a bit dulled, a slight lean, front hinge cracked. 6) A partial The Catcher in the Rye dust jacket, signed and inscribed by the illustrator E. Michael Mitchell, “To Mother / and Father Graham / with love” and dated September 5, 1951 on the rear flap in light blue ink, the jacket from a Book-of-the-Month Club edition; front cover missing, front flap detached, some creasing, staining, and fraying along edges. 7) Antony Di Gesu. Portrait Photograph of J.D. Salinger reading The Catcher in the Rye. November 20, 1952 Silver gelatin print (216 x 317 mm), double matted and framed. Signed and dated by Di Gesu in gold ink in lower left corner, additionally inscribed in pencil on the frame’s verso, “To: Pamela from Aunt Beth / a portrait of an old friend Nov. 1989.” A studio portrait photograph of Salinger reading from The Catcher in the Rye while smoking a cigarette. This is from one of only two known studio sessions that the author sat for. This print was presumably gifted by Salinger to Bett Graham, who then gave it to her niece shortly before her death in 1989. Anthony di Gesu, the photographer, is known for his celebrity portraits, including Norman Mailer, Truman Capote, Irving Berlin, Margaret Mead, and Jonas Salk. He wrote about Salinger’s visit in his unpublished memoir: “On the 20th of November, 1952, J.D. Salinger (author of Catcher in the Rye) came to the studio and said he wanted a portrait of himself for his mother and his fiancée. Since I didn’t [know] as much then as I do now, I set up the camera and light and sat him right down. His expression was so rigid and self-conscious [that] I was at my wits end. Nothing happened. I decided on something I had never done before with an adult. I excused myself, went up to my apartment and came down with ‘Catcher in the Rye.’ I brought him a table and ashtray, set down the book (why the hell didn’t I ask him to autograph it?) and suggested he do anything he pleased. Read to himself. Read aloud or just smoke. “If I’d thought he was going to be so damned famous, I’d have written down everything we talked about to get the expression we did. I took 48 5 x 7 negatives. Serious, thoughtful, smiling, laughing, howling with laughter. White shirt, white background. Black suit, black background. But I don’t remember a thing. “He was pleased with the results, but asked me not to show the portraits publicly. When I asked why, he said when people recognized him, they usually behaved peculiarly because they thought he would write about them. I promised I wouldn’t and I kept that promise for thirty years.” (Anthony di Gesu. From his unpublished memoir. https://sandiegohistory.org/collection/photographs/digesu2/) For a book inscribed by Salinger to Bett Graham, The Complete Novels of Jane Austen, see following lot.

View 1 of Lot 1065: Salinger, J.D. | The Graham Family archive, including autographed letters, an inscribed Catcher, a rare studio photograph of the author, and more

salinger, j.d. | the graham family archive, including autographed letters, an inscribed catcher, a rare studio photograph of the author, and more

The Hoarder IV: Now or Never

Richard Prince b. 1949 Wipe Out signed R Prince, titled, dated 2013 and numbered 1/2 (on the first blank page); signed R Prince and dated 2013 (on the back cover) rubber bands and staples on a hardcover copy of the Catcher in Rye 8½ by 6 in. 21.6 by 15.2 cm. Executed in 2013.

wipe out

Fine Books & Manuscripts Online

AVATI, JAMES Original Cover Art for The Hoods, [New York]: Signet Books, [1953] Oil on board (22 x 25 in.; 56 x 63 cm), signed "Avati" upper right corner, verso stamped "New American Lib.", matted and framed. [together with] Harry Grey [Pseudonym of Herschel Goldberg]. The Hoods, [New York]: Signet Books, [1953], first paperback edition, first printing. "James Avati is the chiaroscuro master of paperback realism — part Goya, part Cassavetes." (Jonathan Lethem) James Avati (1912-2005) was an influential American paperback cover illustrator, whose work with The New American Library had a lasting impact on the art of the paperback. The cover of The Hoods presents a frenetic and lurid composition of beiges and greens, with "Noodles" and his accomplices in the midst of perpetrating a robbery. A 1954 article in Harper's articulated the genius of Avati's work: "His accomplishment is not just to reproduce the real ... but to frame it emotionally, in a way that defines the book inside without letting a prospective reader feel it is defined too completely to bother with." The Hoods is perhaps his best work after his paperback cover for Catcher in the Rye (which sold at Heritage Auctions in 2010 for $21,510). Written by Hershel Goldberg (under the pseudonym Harry Grey), The Hoods was marketed as a semi-autobiographical account of gangster life in New York, which Goldberg allegedly began while serving time in Sing Sing. It's unclear how much of the narrative is fictionalized, but the reader would be wise to treat much of Goldberg's account with a healthy amount of skepticism (the author admitted as much: "As a factual, biographical piece? Nah, no good. The actual facts would land me and everybody else in jail."). The mystery surrounding the author and the particulars of his life and crimes fit neatly into the lurid world of mid-century pulp, and the paperback was indeed a commercial success. The Hoods would later serve as the textual inspiration for Sergio Leone's film epic Once Upon a Time in America (1984). In his adaptation, Leone wanted “to reconstruct the America of Harry Grey exactly as it was, through his eyes. Speakeasies, synagogues, opium dens and everything”. Goldberg's character, "Noodles' was played by Robert De Niro in a career-defining performance.

avati, james | original cover art for the hoods, [new york]: signet books, [1953]

Fine Books and Manuscripts, Including Americana. Part 2

Salinger, J.D. The Catcher in the Rye. Boston: Little, Brown and Company, 1951 8vo (200 x 133 mm). Publisher's black cloth, spine gilt-lettered; hinges slightly loose, light fading to gilt-lettering. Original dust-jacket, illustration by Michael Mitchell on upper cover and spine, with the photographic portrait of the author by Lotte Jacobi on the rear panel; lightly toned, one or two creases, tiny nicks at head and tail of the spine, abrasion to head of the spine panel and foot of the rear panel, the latter affecting the portrait. In a red slipcase with folding chemise. First edition of this contemporary American classic The Book-Of-The-Month Club picked up The Catcher in the Rye just after it was set in galleys. Salinger, ever averse to publicity of any sort, felt the portrait photo on the back cover, as seen in this copy, was too big. He later lobbied to have the photograph removed, and it has not been reprinted since. Salinger worked on Catcher, chronicling Holden Caulfield’s escape from Pencey Prep—reportedly modeled on the Valley Forge Military Academy that Salinger himself attended—to his personal New York City underground, on and off for ten years. It was finally published to mixed reviews, which praised Salinger’s brilliance and insight but condemned the pervasiveness of obscenities in the novel. PROVENANCE: Lesley Holmes (ownership inscription to front free endpaper)

View 1 of Lot 1102: Salinger, J.D. | A landmark in post-war American literature

salinger, j.d. | a landmark in post-war american literature

Fine Books and Manuscripts Online

BURNS, ROBERT Poems, Chiefly in the Scottish Dialect. London: A. Strahan, T. Cadell, and W. Creech, 1787 8vo (9 1/8 x 5 3/4 in.; 205 x 130 mm). Half-title, frontispiece portrait, glossary at end; front free endpaper renewed, some foxing, one or two instances of minor offsetting. Original gray paper covered boards, manuscript title to spine; spine repaired preserving original backstrip, overall rubbed with some loss of paper. Custom navy morocco Riviere slipcase. The Terry copy. First issue of the first London edition, with "stinking" instead of "skinking" on pg. 257, in original boards Robert Burns' influence was—and remains—wide-reaching. As a proto-Romantic, his verse greatly impacted the giants of that movement, to include William Wordsworth, Samuel Taylor Coleridge, and Percy Bysshe Shelley. The title of one of the 20th century's most influential literary works, The Catcher in the Rye (1951), was even drawn from Burns' poem "Comin' Thro' the Rye". REFERENCES Egerer 5 PROVENANCE Seth Sprague Terry and Ward E. Terry (morocco label; sale, AAA-Anderson, 4 December 1935, lot 58)

burns, robert | poems, chiefly in the scottish dialect. london: a. strahan, t. cadell, and w. creech, 1787

(Salinger, J.D.) — Jane Austen The Complete Novels of Jane Austen. New York: The Modern Library, [1940] 8vo (195 x 130 mm). Second Modern Library edition. Signed and inscribed by Salinger in ink on the front free endpaper, “To Bett / hoping that these Austen novels will mean something important to you. / With affection, / Jerry Salinger;” the contents with occasional light toning and soiling, a small loss to the lower corner of the title page, the front free endpaper and half title are separated from the text block but still attached to the upper board. Publisher’s green cloth boards, with Modern Library logo; wear to boards, the spine missing, the front hinge cracked, the upper board holding to the linen cloth “cords,” a well-read copy. Housed in a custom clamshell case. A presentation copy of The Complete Novels of Jane Austen, one of J.D. Salinger’s favorite reads, gifted to his longtime friend Bett Graham. Though the inscription is undated, he may have given it to Bett soon after her separation from Michael Mitchell to provide some much-needed entertainment, consolation, or inspiration from one of Austen’s strong-willed heroines. Salinger was a voracious reader throughout his life – he had a rotating bookcase next to his bed where he kept his favorite books within arm’s reach morning and night (the bookcase and its contents were exhibited at the New York Public Library in 2019). One of his favorite authors was undoubtedly Jane Austen. It is interesting to note that, though their lives were separated by over a century, Austen and Salinger both wrote coming of age novels whose protagonists search for a way to live authentically in conventional adult society, a society that they perceive as inherently hypocritical. Both authors regularly use satire to criticize this hypocrisy or, as Holden would call it, “phoniness.” In addition to this connection, Salinger mentions Jane Austen at least three times in his short stories – first in “Uncle Wiggily in Connecticut” (The New Yorker, March 20, 1948, and then twice in “Hapworth 16, 1924,” (The New Yorker, June 19, 1965). In “Uncle Wiggily,” his unhappily married protagonist, Eloise, is asked by an old friend why she married her husband. Eloise replies, "He told me he loved Jane Austen. He told me her books meant a great deal to him. That's exactly what he said. I found out after we were married that he hadn't even read one of her books." Hapworth, takes the form of a long letter sent from summer camp by seven-year-old, Seymour Glass, to his parents. At one point, the precocious child describes Miss Overman, an old-fashioned librarian,– “In her heart of hearts, she would zestfully live out her remaining years as a charming, intimate neighbor of Elizabeth and Jane Bennett, continually being approached by those equally delicious heroines of Pride and Predjudice for sensible and worldly advice.” Later on, while listing books that he would like Ms. Overman to send him, along with Cervantes, Tolstoy, Dickens, and De Balzac, is a plea for, “Jane Austen, in entirety or in any shape or form, discounting Pride and Prejudice, which is already in possession. I will not disturb this incomparable girl’s genius with dubious remarks; I have already hurt [the librarian] Miss Overman’s feelings inexcusably by refusing to discuss this girl, but I lack even the slight decency to regret it very much. Quite in a pinch, I would be willing to meet someone at Rosings, but I cannot enter into a discussion of a womanly genius this humourous, magnificent, and personal to me; I have made some feeble, human attempts, but nothing at all meritorious.” While inscribed copies of Salinger’s own books come up with some regularity, this is the first time that another author’s novel with an inscription by Salinger has been offered at auction. It provides a revealing glimpse into Salinger’s personal relationships and literary tastes, calling attention to certain oftentimes overlooked aspect in his biography – his friendships with women and his longstanding appreciation of Jane Austen. For an archive of letters, a rare studio photograph, and more, all given to Bett and members of her family, see previous lot. RFERENCES Sanford, Jaclyn M. "The Bildungsroman and the Theme of Authenticity in Jane Austen’s Emma and J.D. Salinger’s The Catcher in the Rye." Master's thesis, Harvard University, 2019

View 1 of Lot 1066: (Salinger, J.D.) — Jane Austen | Inscribed copy of Austen’s Complete Novels, given to his close friend Bett Graham

(salinger, j.d.) — jane austen | inscribed copy of austen’s complete novels, given to his close friend bett graham

Escape Artists: The Non-Conformists Online

each signed in Cyrillic and dated '68-69', '70' and '71' respectivelytwo collage and spray-paint on card; one collage, spray-paint, felt and woodcut on cardWhen Brusilovsky moved to Moscow in the early 1960s and joined the non-conformist movement, he was at the height of his successful career as a book and magazine illustrator, having designed the first Russian edition of J.D.Salinger’s 'Catcher in the Rye'. It was at this time that he started experimenting with Surrealist-inspired collages, and is credited with introducing the term to a wide audience in a 1962 newspaper article. His collages and assemblages from the 1960s and 1970s often failed to pass censorship of the puritan Soviet art authorities due to their erotic and absurdist nature and were routinely banned from official exhibitions. He lives and works between Moscow and Cologne.

'lobster carousel', 'parade of complexes' and 'two brides' [three works]

The Catcher in the Rye. Boston: Little, Brown, 1951

salinger, j. d.

English Literature, History, Children’s Books & Illustrations

Salinger, J.D. The Catcher in the Rye. Hamish Hamilton, 1951. 8vo, first English edition, original blue boards lettered in silver, browning to endpapers, slightly bumped

Salinger, J.D. The Catcher in the Rye. Hamish Hamilton, 1951. 8vo, first English edition, original blue boards lettered in silver, browning to endpapers, slightly bumped WITH AN ORIGINAL DUST-JACKET BY BRUCE INGMAN, 193 by 492mm., Indian ink, acrylic, coloured pencil and collage, signed and dated by the artist ("Bruce Ingman October 2017") with note by the artist

the "first editions: re-covered" copy of:

Books & Manuscripts

The Catcher in the Rye.  Boston: Little Brown, 1951

The Catcher in the Rye.  Boston: Little Brown, 1951 8vo (8 x 5  1/2  in.; 203 x 140 mm).  Some marginal browning.  Full black morocco gilt by Brentano's, spine gilt-lettered, top edges gilt, marbled endpapers; some wear and rubbing, front joint starting, lower right corner of front free endpaper chipped.  

The Catcher in the Rye.  Boston: Little, Brown, c. 1951

The Catcher in the Rye.  Boston: Little, Brown, c. 1951 8vo (8 x 5 3/8 in.; 203 x 138 mm).  Publisher's black cloth, spine lettered; spine ends worn and with small chips.  Modern dust-jacket with barcode on blank lower cover; price clipped from front inner flap.  Half red morocco gilt clamshell case.

Waldorf Collection

The Catcher in the Rye. Boston: Little, Brown, & Co., 1951

The Catcher in the Rye. Boston: Little, Brown, & Co., 1951 8vo. Publisher's gilt-stamped black cloth. Original first issue dust-jacket printed in red, black and yellow with cropped photograph of Salinger on rear cover, flap priced at $3.00; edges of rear panel very slightly creased, one short closed tear at top of rear spine fold and a trace of rubbing to one corner of front panel, but the paper is crisp and colors unfaded.  In a cloth folding case.

N08811

The Catcher in the Rye. Boston: Little Brown, 1951.

The Catcher in the Rye. Boston: Little Brown, 1951. 8vo ( 7 7/8 x 5 1/4 ins; 196 x 133mm). Publisher's black cloth with gilt-lettered spine in illustrated dust-jacket (first issue with lower panel crediting Jacobi on Salinger's photo);  first ten pages creased at upper corner, minor spotting to fore-edge, pastedowns browned, white portion of unclipped jacket spine panel barely faded as usual and rubbed at head with two small chips at tail, tiny chips at front panel corners, rear fold a little rubbed, but generally a handsome copy.

The Catcher in the Rye. Boston: Little Brown, 1951

The Catcher in the Rye. Boston: Little Brown, 1951 8vo (7 7/8 x 5 1/4 ins; 196 x 133mm). Publisher's black cloth with gilt-lettered spine in illustrated dust-jacket (first issue with lower panel crediting Jacobi on Salinger's photo) minor spotting to edges, crisp, unrubbed and  unrestored jacket  with light fading to white background in spine panel but with reds remaining bright overall, faint spots of  minor dampstain along lower edge of rear panel mostly noticeable on verso, rear flap fold with tiny, intermittent spotting. Red calf folding case with embossed carousel horse motif from jacket to box front.

American Literature. A collection of 47 volumes, including:

American Literature. A collection of 47 volumes, including: Capote, Truman. Breakfast at Tiffany's, first english edition, Hamish Hamilton, 1958-Fitzgerald, F. Scott. Tender is the Night, Grey Walls Press, 1953-Hemingway, Ernest. To Have and Have Not, first edition, New York, Scribners, 1937, without jacket, some wear; For Whom the Bell Tolls, first english edition, Cape, 1941; The Old Man and the Sea, first english edition, Cape, 1952-Lee, Harper. To Kill a Mockingbird, first english edition, Heinemann, 1960-Mitchell, Margaret. Gone With the Wind, first english edition, Macmillan, 1936, dust-jacket chipped-O'Neill, Eugene. The Iceman Cometh, first english edition, Cape, 1947; A Moon for the Misbegotten, first english edition, Cape, 1953; Long Day's Journey into Night, first english edition, Cape, 1956-Salinger, J.D. The Catcher in the Rye, first english edition, Hamish Hamilton, 1951-Steinbeck, John. The Grapes of Wrath, first english edition, Heinemann, 1939, all in original cloth with dust-jackets except where noted, some signs of wear, ownership inscriptions and so on, together with 35 others similar (47)

american literature. a collection of 47 volumes, including:

The Catcher in the Rye. Boston: Little, Brown, 1951  

The Catcher in the Rye. Boston: Little, Brown, 1951   In 8s (195 x 135 mm).  Publisher's black cloth; spine very faintly rubbed.  Original dust jacket; price clipped.

The Catcher in the Rye. Boston: Little, Brown and Company, 1951

salinger, j.d.

Cather, W.S. The Troll Garden. New York: McClure, Phillips & Co., 1905, first edition--Hall, R. The Well of Loneliness. London: Cape, 1928, first edition--Barker, P. Regeneration. London: Viking, 1991, first edition; Ibid. The Eye in the Door. London: Viking, 1993, first edition; Ibid. The Ghost Road. London: Viking, 1995, first edition, signed by the author on the title-page--Brookner, A. A Friend from England. London: Cape, 1987, first edition; Ibid. Hotel du Lac. London:  Cape, 1984, first edition; Murdoch, I. The Sea, The Sea. London: Chatto & WIndus, 1978, first edition--Munro, A. The Progress of Love. New York: Knopf, 1986, first American edition, signed by the author; Ibid. Who do you think you are ? Toronto: Macmillan, 1978, first edition, dust-jacket with several closed tears; Ibid. Dance of the Happy Shades. Toronto: The Ryerson Press, 1968, two copies, both first editions, both signed by the author on title;, one dust-jacket rubbed with some loss at head of spine; Ibid. Friend of My Youth. New York: Knopf, 1990, first American edition, original wrappers, slipcase, signed by the author; Ibid. Hateship, Friendship, Courtship, Loveship, Marriage.Toronto: McClelland & Stewart, 2001; first edition, signed by the author--Atwood, M. The Animals in That Country. Toronto: Oxford University Press, 1968, first edition, signed by the author, dust-jacket slightly chipped and soiled; Ibid. Lady Oracle. New York: Simon and Schuster, 1976, first American edition, signed by the author; Ibid. Bodily Harm. Toronto: McClelland and Stewart, 1981, first edition, signed by the author, owner's inscription on front endpaper; Ibid. Bodily Harm. [Toronto: McClelland & Stewart, 1981] two copies, uncorrected advance proof, one signed by the author, original wrappers; Ibid. The Handmaid's Tale. Boston: Houghton, Miffflin, 1986, advance reading copy, original wrappers, page numerals supplied in ink; Ibid. The Handmaid's Tale. Toronto: McClelland and Stewart, 1985, first edition, inscribed by the author to Robin Skelton on title; Ibid. Cat's Eye. New York: Doubleday, 1989, first American edition, signed by the author; Shields, C., The Stone Diaries, . London: Fourth Estate, 1993, first English edition--Melville, P. The Ventriloquist's Tale. London: Bloomsbury, 1997, first edition; Ibid. The Migration of Ghosts. London: Bloomsbury, 1998, first edition, signed by the author--Lurie, A. Love and Friendship. London: Heinemann, 1962, first edition, dust-jacket slightly frayed and with several closed tears--Byatt, A.S. Possession. London: Chatto & Windus, 1990, first edition, all original cloth in dust-jackets except where noted

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