MARGARET MITCHELL The author writes to close friend and fellow author Edwin Granberry about his new play, and mentions several prominent US actors and writers, including Alexander Woolcott and the Lunts. Typed Letter signed: "Margaret", 2 pages (front and verso), 7¼x10½. Atlanta, Georgia, 1941 February 3. On personal letterhead to "Dear Edwin and Mabel" [Granberry], in full: "The combination of Bretaigne Windust and Roual Pene duBois gave us as much delight as it did you. The show can't hep being 120 proof with two such names. I was inclined to agree with Frank Sullivan to agree with Frank Sullivan, however, and will have to see these two gentlemen myself before I believe in their names. We were so happy and proud at the good news and hope you will have time to keep us posted on progress. Naturally, we are bursting to know what the Lunts think. I am sorry they are on tour now because that will probably delay their decision, as their time is pretty well occupied with long jumps and one-night stands. Do I understand that the interest of Mr. W. and Mr. DuB.

JOEL CHANDLER HARRIS.Scarce Cabinet Card Photograph signed: "Faithfully yours:/Joel Chandler Harris". Sepia, 4¼x6½ overall, image 4x5¾ (two surfaces). Photographer's imprint beneath image and on verso: "C.W. Motes/Photographer,/No. 34 Whitehall St./Atlanta/GA." In the 1880s, Harris, a former journalist for Georgia newspapers, became one of the first American writers to use original dialects in his stories rooted in Black folklore. His lead character was Uncle Remus, a servant who entertains the young son of his master with tales of Brer Rabbit, Brer Fox and Brer Bear, animals with distinctly human qualities. His books, which are credited with preserving the African-American heritage of the old South, include Uncle Remus, His Songs and His Sayings (1880), Nights with Uncle Remus (1883) and Uncle Remus and Brer Rabbit (1906). Fragile condition. The photo had split, touching the "d" in Chandler. It is repaired by conservator's tape on verso. Stained on verso. Upper corners chipped, edges worn. Pencil notes on verso (unknown hand).

HERMAN MELVILLE His clipped signature, with his portrait, two first day covers of stamps honoring him, and a picture of a whale. One of the rarest of all signatures! Signature: "Herman Melville", 4½x4, with four unsigned items: a printed portrait of Melville; two first day covers of stamps honoring him; and a color illustration of a whale, presumably Moby Dick. Herman Melville (1819-1891, born in New York City) worked at a young age as a cabin boy and sailor on merchant vessels. During an unsuccessful whaling expedition, he took part in a mutiny, was jailed and escaped. His seafaring inspired many of his later works, including Typee: A Peep at Polynesian Life (1846), Omoo, a Narrative of Adventures in the South Seas (1847) and his masterpiece, Moby Dick (1851). Moby Dick, unlike his earlier works, was neither a critical or financial success. Melville's later writings, such as Pierre (1852), The Confidence Man (1857) and the short stories Bartleby the Scrivener and The Encantadas reflected his despair and contempt for society's corruption, hypocrisy and materialism. Melville took a break from writing to work as a customs inspector on

HERMAN MELVILLE Autograph Quotation signed by Herman Melville, one of the rarest of all signatures, framed by the Gallery of History with a picture of Melville and an explanatory metal plaque. AQS: "Hours bright./Herman Melville/March 8, 1882.", 7¾x4¾. Herman Melville (1819-1891) worked at a young age as a cabin boy and sailor on merchant vessels. During an unsuccessful whaling expedition, he took part in a mutiny, was jailed and escaped.His seafaring inspired many of his later works, including Typee: A Peep at Polynesian Life (1846), Omoo, a Narrative of Adventures in the South Seas (1847) and his masterpiece, Moby Dick (1851). Moby Dick, unlike his earlier works, was neither a critical or financial success. Melville's later writings, such as Pierre (1852), The Confidence Man (1857) and the short stories "Bartleby the Scrivener" and "The Encantadas" reflected his despair and contempt for society's corruption, hypocrisy and materialism. He wrote this quotation at a period during which he withdrew from the literary world and took work as a customs inspector on the docks of New York.

STEPHEN CRANE The author of The Red Badge of Courage knew conflict from football, not the battlefield. Rare AQS: "Stephen Crane", 1p, 5½x2¾. In full: "I have never been in a battle, of course, and/I believe that I got my sense of the rage/of conflict on the foot ball field." America's foremost "naturalistic" author had moved to England in 1897. Although he never served in the military, Crane won international acclaim with The Red Badge of Courage,his 1895 book that powerfully told the story of a young soldier during the American Civil War. He later served as a war correspondent, covering the Greco-Turkish War (1897) and the Spanish-American War for foreign newspapers. Crane, who suffered from tuberculosis, died in a German sanitarium at the age of 28. Crane's signature is virtually unobtainable in any form. Fine condition. Accompanied by PSA/DNA LOA.

JOHN STEINBECK This contract, signed by the American author, authorized a German production of Of Mice and Men Typewritten contract signed: "John Steinbeck", 2p, 7½x12½ New York, New York, 1946 June 3.John Steinbeck signed this contract, dated June 3, 1946, allowing German-speaking actors to perform Of Mice and Men, his 1937 novelette featuring the tragic characters of Lennie and George, two migrant laborers. The work had been chosen by the Book-of-the-Month Club and quickly became a best seller, sparking both Broadway's and Hollywood's interest in adapting it into a play. While writing Of Mice and Men in 1936, Steinbeck was growing increasingly interested in the theater, believing it to be the best medium to reach the common working man. In fact, Steinbeck actually wrote the book with the intention of making it a novel/play - a novel which could be performed as it was without needing to be revised for the stage. However,this experiment failed, and Steinbeck was forced to adapt it - his first attempt at writing a screen play. He was advised and encouraged by dramatist George S.

EDGAR RICE BURROUGHS Archive of 16 letters written by Tarzan's creator to his son Jack between 1923 and 1935, plus one letter from Burroughs to a film company. He writes in depth about family matters, but also about the filming of a Tarzan movie. The letters are signed "Papa" or "OB" (Old Burroughs). A rare insight into the private and public life of the prolific author. Collection comprised of 1) Autograph Letter signed: "Papa", 1 page, 8½x11. North Platte, Nebraska, 1923 February 16. To "Dear Jack", in full: "We are just leaving North Platte, Nebr. The train shakes so that I cannot draw very well. I couldn't if it didn't shake at all, so what's the difference. Did I tell you that I found your valentine in my grip? The one of the lady kicking. That must be the way she feels before breakfast. I wired ahead for reservations on the Broadway Limited on the Pennsylvania RR so we will arrive in New York at 9:40 Sunday morning. It will be nice & wintry and cold out. The air feels & tastes & smells good. Love & kisses to my dear children." At the top of this letter Burroughs has drawn a four-panel cartoon featuring his sons Jack and Hulbert.

ERNEST HEMINGWAY Handwritten 1936 manuscript likely intended for publication in Esquire magazine, vividly describing the horrors of war, with his third person signature in the text Autograph Manuscript signed in text: "Mr. Ernest Hemingway" in pencil, 1 page, 8½x11. No place, c. 1936. Headed by him: "Please Mr. Ernest Hemingway by Paul Harris, The American Criterion, Dec 1935, about 'letters' appearing monthly in Esquire…." Ernest Hemingway was a frequent contributor to "Esquire" magazine. He wrote a total 31 "letters" which were published in "Esquire" in the 1930s. In the September 1935 issue, he wrote: "Notes on the Next War: A Serious Topical Letter". This may be a rough draft of one of the 31 "letters". Hemingway has made an "X", crossing out the entire letter. In part: "Mr. Hemingway, you were at the front. You saw people die? I was ten and I saw people, I saw something in them die and they had to go on making believe they were alive still with their guts out of them. I saw people age.

MARGARET MITCHELL The year the film version of her Gone with the Wind premiered (1939), Mitchell signed this typed letter, forwarding with skeptical comments a letter she had received. Framed with 2 pictures of Mitchell to an overall size of 29½x18. Typed Letter signed: "Margaret", 1 page, 5¾x9. Atlanta, Georgia, 1939 May 3. On personal letterhead to "Dear Franklin" [Garrett]. One strike-over and ink correction in her hand. Triple suede matted and framed with two portraits of Mitchell to an overall size of 29½x18. In full: "I am enclosing a letter I recently received [Item not included], for I thought some of the information in it might be of interest to you. Because of the manifold errors in the letter I have doubts as to the lady's statement that her father was the first white child born in Atlanta. You will notice that she says her grandfather had fifteen hundred slaves and the plantation covered the 'whole of Dahlonega County.' I believe at that time there were about five thousand people in the county of which Dahlonega is the seat. However, knowing your interest in such matters, I am passing the letter on to you. Please return it when you have finished reading it.

MARGARET MITCHELL Pulitzer Prize-winning writer Margaret Mitchell, author of Gone With the Wind, sends a letter to Edwin Granberry, who wrote one of the first good reviews of her book. In it, she discusses life as a celebrated author "has been such a hell". Typed Letter signed: "Margaret", 1p, 7¼x10¾. Atlanta, Georgia, 1936 October 29. On personal letterhead to Edwin (Granberry). In full: "I forgot to say in my last letter that I admired very much your tricky side stepping in that article you wrote. How neatly you evaded the fact that you not only stood in the station of a North Carolina hamlet and waited for me but you stood and stood and waited and waited. Dearie, till I die I'll get a laugh at the memory of that day with me getting madder and madder as I waited and you three loafing with your backs against the station while I charged in and out, addressing strangers, asking questions, bargaining with taxi drivers for the trip. Edwin, all the while I was up there with you all, I let you talk about my work. Make up your mind that when next I see you, it will be your work that will be talked about.