Literature & Cinema

First edition, one of 170 numbered copies on pure rag paper.

Shadowed endpapers; a small loss at the head of the upper board of the original front cover.

A pleasant copy, preserved in its double wrapper.

New edition, illustrated with 111 drawings by Neuville and Riou. 7 plates some of which in color.
Publisher's gilt Globe binding, upper plate signed Blancheland, Engel relieur, spine with lighthouse, second plate of Engel H type, publisher's catalogue Y at end of volume.
Fine copy despite the last endpaper hinge partly split.
Undoubtedly the most famous of Jules Verne's novels, featuring the mythical figure of Captain Nemo and his legendary submarine, the Nautilus.

First trade edition, one of only 50 numbered copies printed on alfa paper, the only deluxe issue.
Rare and very attractive copy in original condition.

First edition printed on ordinary paper.

A pleasing copy.

Affectionate signed presentation inscription from Jean Echenoz to his friend, the writer, screenwriter and filmmaker Jérôme Beaujour, also a specialist of Marguerite Duras’s cinema: "Pour Jérôme je t'embrasse, Jean. 6.XI.15"

First edition of the French translation prepared by Michel Vaucaire, who would later write the lyrics to the famous song Non, je ne regrette rien, singed by Édith Piaf. One of the rare named copies printed on japon. 

Vertical creasing to spine, minor corner losses to spine and boards, traces of erasure to first two leaves, as issued.

Illustrated with 9 black-and-white photographs, including one on the cover.

First edition on ordinary paper.

A pleasing copy.

Fine signed presentation inscription from Jean Echenoz to the writer, screenwriter, and filmmaker Jérôme Beaujour, also a specialist in Marguerite Duras’ cinema: "Pour Jérôme (qui m'a donné quelque chose p.109 à Pondichéry) et pour Elisabeth avec toute mon affection, Jean."

First edition, printed on thick wove paper.
Bound in contemporary half brown shagreen, smooth spines decorated with black typographic motifs, marbled paper boards, hand-marbled endpapers and pastedowns, modern slipcase edged in brown morocco with matching marbled paper sides and olive-green felt lining. 
Some occasional foxing, the note "Henri Beyle" in black ink at the upper corner of the title page of the first volume, final catalogue leaf present at the end of the second volume, small corner restorations to four leaves of the first volume.
"Very rare and extremely sought after. Usually quite simply bound at the time. Often foxed" (Clouzot). "This work is of great rarity in fine condition" (Carteret).
A handsome and very rare copy, large-margined and attractively bound at the time, of this masterpiece by Stendhal—rarer still than Le Rouge et le Noir.

 Second issue of the first illustrated edition of Victor Hugo’s masterpiece, distinguished by the small bat vignette on the title-page.

Publisher’s neo-Gothic binding in full brown polychrome cloth, the smooth spine gilt-stamped with an allegory of Notre-Dame de Paris, the boards adorned with an extensive gilt and polychrome design (red, blue, and pink) depicting scenes from Notre-Dame de Paris, yellow endpapers and pastedowns, shaded white flyleaves, all edges gilt, a characteristic Romantic publisher’s cloth binding. Spine evenly faded. Minute split at the head of the upper joint. One leaf detached, two others working loose. Occasional marginal foxing.

Work embellished with illustrations by Charles François Daubigny, Valentin Foulquier, Thoedor Josef Hoffbauer, Tony Johannot, Aimé de Lemud, Ernest Meissonier, Célestin Nanteuil, Camille Roqueplan, Louis Henri de Rudder, and Louis Steinheil...

A handsome copy of Victor Hugo’s timeless masterpiece, preserved in its polychrome Romantic cloth binding.

New edition of the French translation.

Half saffron percaline Bradel binding, smooth spine slightly sunned and decorated with a central gilt motif and double gilt fillet at foot, brown shagreen title label with a few scuffs, marbled "cat’s-eye" paper boards, preserved wrappers, lightly rubbed corners, contemporary binding.

First French edition, one of 25 numbered copies on Hollande paper, deluxe issue.

This second volume of La comédie américaine was first published in English as The Ski Bum.
Fine copy.

A fine set of the first four volumes of the French intégrale edition, identical to the original American structure. Volume 1 is housed in a metal case with embossed lettering and a folding map of Westeros. It is a copy of the highly sought-after very first French collector's edition of the series published in 2012. Volumes 2 and 3 followed in 2013, and volume 4 in 2014. 

Each volume signed by George R.R. Martin on the title page. The signatures were obtained during the author's only public signing session for French readers, held in Dijon on July 3, 2014. (Volume 5 was not published until 2015.)

Colour pictorial wrappers with flaps. Slight rubbing to corners, minor handling wear to spines of vols. 2 and 3, crease marks to upper board of vol. 3, lower board of vol. 4, and front flap of vol. 3; edges of volumes 2, 3 and 4 lightly toned. Light rubbing to spine and boards of metal case.

First edition dedicated to Louis Jouvet, one of 108 numbered copies on Lafuma Navarre laid paper, reimposed in quarto tellière format, deluxe issue.
Half red morocco-backed marbled boards, spine with five raised bands framed with blind fillets, date gilt at foot, marbled paper sides, comb-marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, binding signed by D.H. Mercher.
Premiered by Louis Jouvet at the Comédie des Champs-Élysées on 14 December 1923. The actor also oversaw the staging and set design; in 1933, the play was later adapted for the screen by Roger Goupillières, again starring Louis Jouvet in the leading role.

First edition on ordinary paper.

Small defects skillfully restored at the head and tail of the spine.
Rare inscribed presentation copy signed by Albert Cohen to Denise Mercier.

First edition, one of the review copies stamped "M.F." on the front cover and numbered in the colophon.

Small restored tears to the spine and upper part of the front cover, slight traces of creasing to the margins of the front cover.

Precious inscribed copy signed by Louis Pergaud to J.H. Rosny jeune, one of the historic members of the Goncourt Prize jury. Pergaud had won the 1910 Goncourt for his collection of short stories De Goupil à Margot.

Pirate edition of 1812, imprint dated 1796. It features the exact pagination of the genuine 1796 edition, as well as the 13 plates and 2 frontispieces by Monnet, Mlle Gérard and Fragonard fils engraved by Baquoy, Duplessi-Bertaux, Dupréel, Godefroy, Langlois, Lemire, Lingée, Masquelier, Patas, Pauquet, Simonet and Trière. The pirate edition is identified by the letters “R. p. D.” in the plates' lower margins, as they have been retouched by Delvaux. In addition, the fillet preceding the date on the title-page is wavy, and the title is presented in seven lines rather than eight.

Bound in full morocco, slight rubbing on the corners, all edges gilt, splendid binding signed by Hardy.

A very fine copy in a magnificent decorated full morocco binding by Hardy.

New "À la bannière" edition with bevelled boards, violet on a red background, illustrated with 154 drawings by Férat engraved by Barbant.

Publisher’s decorative cloth binding "à la bannière" of type 6 signed by Lenègre, upper cover plate signed by Souze, lower cover of type e1 with central medallion on a black ground, framed with geometric motifs.
Attractive upper cover, with glossy percaline and sharp gilt, small black spots on the spine, head- and tailcaps collapsed as usual, some occasional foxing, small dark and light stains on the lower cover.
L’Île mystérieuse is linked, though not a sequel, to two other novels by Jules Verne, Vingt mille lieues sous les mers and Les enfants du capitaine Grant.

The author notably drew inspiration from Robinson Crusoe for the castaways’ life on a deserted island.

This work, one of Jules Verne’s most celebrated, was adapted eight times for cinema and television.

First French edition, no deluxe paper copies issued.

Minor, insignificant spotting to the edges.

A handsome copy.

First edition of the French translation, one of 51 numbered copies on pure wove paper, the only copies printed on deluxe paper.
Spine and boards slightly and marginally sunned, as often.
Rare and handsome copy of this work, splendidly adapted for the screen in 1967 by Richard Brooks, with Robert Blake, Scott Wilson, John Forsythe, and John MacLiam in the leading roles.
Richard Brooks even went so far as to film in the actual house where the crime took place, as well as in the same courthouse, where 7 of the 12 jurors played their own roles.

Exhibition catalogue of paintings by Tony Curtis, presented at the Center Art Galleries in Hawaii.

Catalogue illustrated with reproductions of works by Tony Curtis.

A very good copy. The original mailing envelope for the catalogue is included.

Signed by Tony Curtis in blue felt-tip pen on the front cover of the catalogue.

Provenance: from the collection of the distinguished autograph collector Claude Armand.

Later print of a black and white photograph of Joan Crawford, taken in the 1950s.

A fine copy.

Inscribed and signed by Joan Crawford to the renowned autograph collector Claude Armand: "Dear Claude thnak you for your warming letter. Bless you Joan Crawford."

First edition of this program of events organized by the Centre National d'Art Contemporain from 16 October to 23 December 1974, presenting the works of Christian Boltanski and Jacques Monory.
The December date has been modified in green felt pen at the foot of the program.
Presentation of photographic, cinematographic and book-based works by Christian Boltanski and pictorial works by Jacques Monory.

A very rare document.

First roneo edition of the prospectus for the exhibition organized by the A.R.C. (Animation Recherche Confrontation) cinema section at the instigation of Christian Boltanski.
Signs of folding due to having been placed in an envelope.

The event was attended by Edmund Alleyn, Gianni Bertini, Christian Boltanski, Guðmundur Guðmundsson said Erró, Gérard Fromanger, Ipousteguy, Jean Le Gac, Tamas Zanko, Bruce Nauman, Pesce, Martial Raysse, Peter Stämpfli.

A rare document.

First edition, one of 25 numbered copies on bouffant vellum paper from the Salzer mills, ours being No. 1, the only deluxe paper issue.
Handsome copy of this work awarded the Grand Prix du Roman of the Académie française. 
 

First edition, one of 20 numbered copies on vélin de cuve paper reserved for the “XX” bibliophile group, the tirage de tête.
A good copy complete with its double covers by Albin Michel and the “XX” bibliophile group.
Joints of chemise rubbed, modern slipcase, tiny insignificant worming to endpapers.

Signed by the author on justification page.

Original autograph manuscript by Antoine de Saint-Exupéry, one page in black ink on a yellow paper sheet, numerous corrections, and rewritings.

Exceptional working manuscript of a passage from the original French version of Wind Sand and Stars [Terre des Hommes] from chapter VI "Dans le désert", a magnificent ode to the barren wilderness of deserts doomed to disappear due to the inevitable development of the industrial age. This section from the original French novel was removed for the English version translated by Galantière and remains unpublished in English. Moreover, the final two paragraphs of the manuscript are unpublished in the original French version. Saint-Exupéry recalls magnificent memories of liberating adversity and cherished "dissidence" he experienced in the heart of Mauritanian and Libyan deserts.
This heavily corrected state of the text is the true genesis of Saint-Exupéry's Pulitzer Prize winning masterpiece: he reworked and rearranged here his memories published as articles (reportages) in Paris-Soir magazine in 1938. Some sentences ("What does it matter what you find at the pole if you walk in a state of enchantment") remaining in the published version are variants of one of his reportages, present in the manuscript among redacted and unpublished sentences obscured by pen strokes.

This manuscript indicates an early writing stage not mentioned in the “Notes et variantes” of the comprehensive Pléiade edition.
The passage is originally from his fifth article for Paris-Soir, entitled "La magie du désert c'est ça" ("This is the magic of the desert ") from November 14, 1938 published with some of the changes made in this manuscript and other later corrections at the end of the sixth chapter of Terre des Hommes. The central theme of the text, dissidence, is mentioned in the very first sentence of the manuscript and would later become the title of the passage indicated on the typed proofs. This leitmotiv is steeped in nostalgia, with vivid descriptions of fleeting moments of freedom during the writer's escapades in the desert: "The horizons [crossed out : places] towards which we ran one after the other faded away ['died out one after the other' in the published text], like those insects once trapped by lukewarm hands ['which lose their color once trapped in lukewarm hands ' idem]. But there was no illusion ['he who pursued them was not the victim of illusion' idem]. We were not mistaken, when we walked like this from miracle to miracle ['we were after these discoveries' idem]. Nor was the Sultan of the Thousand and One Nights, who ran one morning ['pursued a matter so subtle' idem] [sentence deleted], that his beautiful captives, one by one, died at dawn in his arms, having lost, scarcely touched, the gold of their wings"

It conveys an acute awareness of the end of an era, marked by the bankruptcy of Aéropostale and his grave plane accident in Guatemala. Saint-Exupéry takes refuge in the memory of the rebel-filled deserts of Mauritania whose charm wore off with the passing of time: "But there is no more dissidence. Cap Juby, Cisneros, Puerto Cansado, Dora, Smarra, there is no longer any [word struck out] mystery." It is followed by descriptions of the lands he and his fellow aviators flew over: "For the pure shell powder sand and the forbidden palm groves, gave us their most precious gift: they offered only an hour of fervor, and we were the ones who dwelled in it" The story is told in plural, honoring the memory of Guillaumet and Mermoz, his friends and famous aviators who fell from the sky. The manuscript also contains a prophetic remark on the deserts soon to be exploited for their resources: "We fed on the magic of the sands, others perhaps will dig their oil wells there, and benefit from their [deleted: this] goods." We can already see the businessman character in The Little Prince, an early manifestation of his opinion on the excesses of human progress.

These words on a thin sheet of yellow paper represent a crucial early stage of his masterpiece. Saint-Exupéry first assembled the work under its original title, Etoiles par grand vent, published in France as Terre des Hommes in February 1939. We know of another sheet of paper in this color with the same types of corrections, also not mentioned in the Pléiade edition of the complete works. It shows the more direct handwriting of a first draft - the sheet undoubtedly dating from the first combination of his journalistic reportages that would later become the novel. Virtually every sentence is modified (words crossed out, words or expressions rearranged in the sentence) not systematically appearing in the published version: "What we see here is a very subtle work of reworking texts that function in very different ways depending on the subject and are clearly oriented towards that recreation of Man to which the book invites us" (Saint-Exupéry. Œuvres complètes, Gallimard, Bibliothèque de la Pléiade, 1994, vol. I, p. 1009)

A precious extract from Terre des Hommes unpublished in the English version Wind, Sand and Stars - Saint-Exupéry's great humanist adventure and novel which brought him international renown. This rare folio riddled with erasures, rewrites, and corrections bears witness to the various stages of his writing process.

Black and white photograph depicting a smiling Tony Curtis.

A handsome example, with slight ink smudging affecting the last two letters of 'Curtis.'

Bold blue ink autograph by Tony Curtis in the left margin of the image.

Provenance: from the collection of renowned autograph collector Claude Armand.

Reprint of a photograph showing a young Shirley Temple lying on a bed.

A fine copy.

Inscribed and signed in black felt-tip pen by Shirley Temple, dated 1988, to the renowned autograph collector Claude Armand.

Oblong color postcard depicting Charles Aznavour with his hands crossed under his chin.

A fine copy.

Signed by Charles Aznavour in black felt-tip pen in the right-hand margin of the card.

Provenance: from the collection of renowned autograph collector Claude Armand.

Black-and-white photograph showing a young Melina Mercouri lying in straw and chewing on a blade of it.

A handsome example. Press clippings mounted on the verso.

Signed by Melina Mercouri in blue ink.

Provenance: from the collection of the noted autograph collector Claude Armand.

Black and white photograph of Micheline Presle, circa 1950s.

A fine example.

Inscribed and signed by Micheline Presle to the prominent autograph collector Claude Armand: "A Claude Armand mon amical souvenir. Micheline Presle."

Color postcard depicting a young Ginger Rogers wearing a hat.

A fine copy.

Boldly signed by Ginger Rogers in blue felt-tip pen.

Provenance: from the collection of renowned autograph collector Claude Armand.

Black-and-white photograph showing Debbie Reynolds smiling in profile.

A fine example. With the autograph envelope sent by Debbie Reynolds to the prominent autograph collector Claude Armand.

Signed autograph inscription from Debbie Reynolds to Claude Armand: "To Claude best wishes. Debbie Reynolds."

First edition on ordinary paper.

Paper slightly toned as usual, with a few insignificant spots on the edges.

Amusing and fine signed autograph presentation inscription from René Fallet to his friend Jean-Jacques Vaure; "Pour J.J. Vaure chantre mou d'Argenteuil 13 amicalemebt. René Fallet 16/11/51. Note de l'auteur : celui qui acceptera qu'on lui prête ce livre est un salaud. Pas tant que Vaure, mais presque."

Later print of an iconic 1950s photograph capturing "The look" in profile, with her right hand resting on her hip.

Signed in black felt-tip pen by Lauren Bacall.

Provenance: from the collection of renowned autograph collector Claude Armand.

Later print of a portrait photograph showing a young Gloria Swanson facing the camera.

A handsome copy.

Boldly signed by Gloria Swanson in blue ink.

Provenance: from the collection of the noted autograph collector Claude Armand.

Black-and-white photographic portrait of Glenn Ford, dating from the 1930s–1940s.

A handsome print.

Boldly signed by Glenn Ford in black felt-tip pen in the upper left margin of the image.

Provenance: from the collection of noted autograph collector Claude Armand.

Black-and-white photograph depicting Shirley Temple as a child.

A fine copy.

Inscribed and signed by Shirley Temple in 1988, with an autograph dedication to the noted autograph collector Claude Armand.

Black and white photograph depicting a young Alice Faye.

A fine copy.

Signed by Alice Faye in silver ink in the right margin of the photograph.

Provenance: from the collection of renowned autograph collector Claude Armand.

First edition, of which no copies were printed on deluxe paper.

A handsome copy, despite a very slight nick at the foot of the spine.

Black-and-white photographic promotional portrait for Disney studios, depicting Walt Disney. A minute black line is visible near the hair.

Rare and striking manuscript signature by Walt Disney in black ink, signed directly within the image.

First edition, one of 15 copies printed on japon impérial, most limited deluxe issue.

Bradel binding with grey box spine, front board in plexiglass revealing the original cover, back board in grey box, original wrappers and spine preserved, housed in a soft grey paper chemise lined with light grey felt; unsigned binding by Mercher.

Illustrated with three original lithographs, including the original colour illustration on the cover.

Discreet repairs to the head of the front wrapper, which also shows slight sunning along the left margin.

A very rare and beautiful deluxe copy of this major scenario for an imaginary Dadaist film by Picabia: "

I ask each of my readers to stage and film for themselves on the screen of their imagination [...] record for yourselves while reading La Loi d'accommodation chez les borgnes; all seats are the same price, and you can smoke without bothering your neighbors.

" (Picabia, preface). This work related to his celebrated Dada piece L’Œil Cacodylate, directly references the theme of distorted vision – a significant inspiration for Picabia, who suffered from ophthalmic shingles: "The title of the scenario itself (La Loi d’accommodation chez les borgnes) can be seen as an (ironic or humorous) echo of the visual processes explored in his latest works. Depth perception requires two eyes. The lack of stereoscopic vision in monocular vision results in a flat image, and the brain must work harder to construct a sense of relief." (Bernard Marcadé, Francis Picabia Rastaquouère, p. 390)

Our copy includes an autograph letter by the publisher confirming to the recipient that the work is complete and does indeed include two illustrations by Francis Picabia (in addition to the cover), contrary to what Skira indicated in his bibliography.

Autograph letter signed by Jean Cocteau, marked with his famous star, addressed to his great love, the actor Jean Marais. One page penned in black ink on a single sheet.
Traces of folds, horizontal creases inherent to mailing, two ink spots on the blank verso not affecting the text.
A magnificent love letter from Cocteau to Marais, who together formed one of the most iconic artistic couples of the 20th century. Set against the backdrop of turmoil and the German Occupation, their unbreakable bond is embodied in this letter of the writer, filled with desperate tones.

First edition, one of 100 copies numbered on pur fil du Marais, the deluxe issue.
A handsome copy, despite a few insignificant foxing spots at the head of the upper cover.

In 1955, the book was splendidly adapted for the screen by Jean Delannoy, starring Jean Gabin, Robert Dalban, Serge Lecointe, Anne Doat and Jimmy Urbain.

First edition, with no copies issued on deluxe paper.

Two unobtrusive creases to the front cover, a well-preserved copy.

Illustrated content.

Original vintage photograph, signed and dated by Jeanne Moreau, showing her alongside Raymond Pellegrin during the filming of "Les hommes en blanc" as part of the Caméra du lundi series.

Black and white vintage print, with printed stamp and notations on the verso.

Manuscript signature by Jeanne Moreau, dated, at the foot of the image.

Second French edition, published one month after the first, with no copies printed on deluxe paper.

A handsome copy.

Inscribed, dated and signed by Elia Kazan to Jean-Pierre Damase.

First French edition of the translation, with no copies printed on deluxe paper.

A handsome copy complete with its illustrated dust jacket, which shows minor tears to the head of the spine and panels.

The book was adapted for the screen in 2006 by Tom Tykwer, starring Ben Whishaw and Dustin Hoffman.

First edition, untrimmed with wide margins, very rare and highly sought-after (see Clouzot, "Le manuel du bibliophile français", p. 257).

Some occasional foxing.

Illustrated on the title pages of both volumes with two engraved vignettes by Porrêt. This copy contains the publisher’s notice leaf in the first volume and the author’s note leaf in the second volume.

Contemporary red half calf over marbled boards, calf corners, spines ruled in gilt with double gilt panels decorated with typographic gilt tooling, black calf title and volume labels, some minor rubbing to joints, marbled endpapers and pastedowns, lower corners a bit worn, bookplate pasted on the front pastedown of volume one, contemporary bindings.

A very rare and desirable copy, entirely untrimmed and preserved in a handsome contemporary binding - an even rarer feature. As noted by Clouzot: "les reliures de l'époque sont le plus souvent assez simples. Donc ne pas se montrer difficile sur la qualité."  ['Contemporary bindings are most often rather plain; one should not be overly particular regarding their quality.']

First edition on ordinary paper of the French translation by Philippe Jaccottet.

A handsome copy of this work, which was adapted for the screen by Volker Schlöndorff in 1966.

First edition in French, of which there were no deluxe copies.

Foxing to spine and margins of boards, retaining the dust jacket which has small marginal tears.

Rare dated autograph inscription signed by William Styron to journalist Paule Villers.

First edition, one of 120 numbered copies on Lafuma pure wove paper, the only large-paper issue.

Endpapers very slightly and marginally toned, two small tears at foot of spine.

A rare and much sought-after copy in original state.

"A cause du mécanisme moderne, qui permet de reproduire le rare à d'innombrables exemplaires, le rare se meurt et, entre autres, on fait du mot merveilleux un emploi abusif [mot biffé].
Le merveilleux cesse de l'être s'il se désingularise, et l'on a une tendance à le confondre avec tout ce qui nous étonne encore : la radio, la vitesse, la bombe atomique.

Or, le merveilleux se trouve beaucoup plus en nous que dans les objets qui nous surprennent. Le véritable merveilleux, c'est la faculté d'émerveillement, qui s'émousse si vite chez l'homme. L'enfance le quitte. Il se blinde contre elle. Il juge, il préjuge. Il repousse l'inconnu [phrase biffée]. S'il laisse agir en lui cette faculté atrophiée, c'est pour fuir les fatigues qu'il s'impose. Il en use comme d'une drogue et se plonge, pour quelques heures, dans un livre ou dans un film.

First edition printed by "Cercle nouveau du livre" before the deluxe edition by Julliard a few months later, one of the numbered copies, the only printing.

Very handsome copy complete with its rhodoid.

Publisher's binding in full green cloth, smooth spine, title and author's name stamped in gilt on the front cover.

 

First edition, printed in a small run of numbered copies.

With two photographic portraits: one of Charles Pathé and the other of his brother Émile, and a view of the Kodak-Pathé and Pathé-Cinéma factories.
3/4 beige sheepskin binding, spine with four raised bands decorated with black typographical motifs, date at foot of spine, marbled paper boards, endpapers and flyleaves.
Discrete restorations to spine, some rubbing to upper corners of boards.

Signed by Charles Pathé on his photographic portrait.

Rare first edition of this manual on film development.
Illustrated with 54 figures in the text and 6 folding plates at rear, containing 107 interest­ing samples of films negatives and celluloid.

With a frontispiece photographic portrait of Charles Pathé.

Skilfully restored brown half sheepskin pub­lisher's binding, smooth spine decorated with golden arabesques, small gaps filled at head of spine, marbled endpapers and past­edowns.

"In the early years of the twentieth century, the largest film production company was the Société Pathé Frères (Pathé Brothers Com­pany). Founded in 1897, the company was at its height in 1920s when it unveiled the first home movie projector, the Pathé Baby. [Le Film vierge Pathé] is one of the company's first publications explaining the secrets of processing 'virgin' film. Plates offer incredi­ble images of the mass production of thou­sands of silent movies, including the first newsreels, sports films, and animation. 107 examples of actual celluloid color film have been mounted in each volume." (Princeton University Library, Julie L. Mellby)