Visiting Sweden in search of a cure for his daughter's epilepsy, Clemens asks a
bookseller to send him some "the very best of Clark Russell's sea-tales".
Autograph Letter Signed: "SL C.", 1p, 5½x8½. Sanna, Rosendala, Sweden, 1899 July 16.
"Telegraphic address: Sanna Jonkoping, Sweden". To bookseller "C&W". In full: "Please
send me a couple of the very best of Clark Russell's sea-tales that you've got in stock. If
any of my photos are only about as big as this page, we shall be glad to have them here -
but bigger ones we prefer to leave with you for the present. If you haven't heard from
Clara when this reaches you, please drop her a line. Jonkoping is pronounced
Zhenshepping - think of that!" Samuel, his wife Olivia and their daughter Jean had
arrived in Sweden early in July 1899, and remained until October. JEAN CLEMENS
(1880-1910), then 19 years old, suffered from epilepsy. Clemens had heard of an
osteopathic treatment as practiced by Heinrick Kellgren in Sanna. Kellgren's method
was known as the "Swedish movements". Jean benefited by the Kellgren treatment and her
parents had for a time the greatest hopes of her complete recovery.
His handwritten quotation from an epic Celtic poem by Ossian and his signature.
Autograph quotation unsigned: "Motto to Neustein, Adieu. Why dost thou build the hall, Son
of the winged days? Thou lookest from thy towers today; yet a few years, and the blast of
the Desert comes, it howls in thy empty Court. - Ossian". 6¾ x3½ page. Accompanied by
his signature: "Byron", on a 2x1 slip of paper affixed to a 4½x2¾ card. GEORGE
GORDON BYRON (1788-1824), the sixth Baron Byron, commonly known as Lord
Byron was among the foremost English poets of the Romantic movement. Among his
best-known works are the poems "She Walks in Beauty" (1814) and "So, We'll Go No
More a Roving" (published 1830). Even more renowned are his narrative poems,
Childe Harold's Pilgrimage (1818) and Don Juan, his 17-canto masterpiece
(1819-1824). Byron was a political and social reformer, a defender even of the Luddites,
but was also noted for his aristocratic excesses, which included huge debts, many love
affairs and self-imposed exile from Britain (1816 to his death). He may even be considered
the first celebrity; his wife Annabella even coined the term "Byromania.…"
Autograph Letter signed: "R. W. Emerson". In black ink. 3p, conjoined leaves, 9¾ x 7.
Concord, September 12. To “Hon L. Stanley”. In full: “Dear Mr. Stanley, / I was in Boston
on Saturday, but could not find you at your Hotel. I wished to beg you to fix a a day when
you will visit our village. Will you come & dine with me on Thursday of this week? Take
the Fitchburg train at 11 o'c A.M. : you will arrive at noon, &, if it's a fair day, we can
show you our meadows before dinner. I have much to hear from you of Oxford & of
London. If Thursday does not suite you, will Friday? Or Saturday? With great regards,
yours,” In September 1864, Ralph Waldo Emerson wrote this note to the Honorable
Edward Lyulph Stanley, who was visiting the United States during the Civil War. As
friend and correspondent of Emerson, Thomas Carlyle had written the author in March of that
year expressing that his letter would be delivered by the young Stanley, the son of Lord Edward
John Stanley, postmaster general of England and relative of form Prime Minister Edward
George Stanley.
A unique collection of letters by two legendary authors! This set includes a typed
letter, signed by Gone With the Wind author Margaret Mitchell in 1941, to the wife of
a hospitalized friend. In it, she relates how reading Dracula helped her husband John
Marsh recover from an illness: "Evidently the shock was beneficial, fro he began to
get well the next day." Accompanied by a 1903 handwritten letter by Stoker.
Comprises:
(1) MARGARET MITCHELL. Typed Letter Signed: "Margaret", 2p, 6½ x 9½. Atlanta,
Georgia, 1941 February 13. To Mabel Granberry. In full: "I cannot tell you how joyful
and relieved we were to have your letter of February 11th written from the hospital. I
read your letter at least six times to make sure I wasn't being guilty of wishful thinking.
How good it is to know that Edwin is 'likely to have good vision in both eyes.' What
you and Edwin, Senior and Edwin, Junior must have suffered recently is something I
do not like to contemplate. It seems to me that I have spent years in hospital rooms and
draughty hospital corridors with seriously ill friends and relatives, so I can understand a
little what you have undergone.…"
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. I saw the unseeable, the
drawn faces, the haunted eyes…A child is sensitive to change in those he knows [he is
referring to an aunt, a cousin, involved in changes resulting from life in wartime].…"
Signed letter from Paris written just weeks before his death in 1778, fearing that
hypocritical priests will deny him a church burial. This letter to the Count of Rochefort,
written in fine French (fully translated) and in a beautiful hand, shows that the sage had
lost none of his mental acuity
Letter signed: "V", 2 pages (integral leaf) 4½x7 folded, 9x7 open flat. Paris, 1778 April 16.
To the Comte de Rochefort. In French, fully translated: "I must apologize for having
written so formally to Madame Dix-Neuf Ans ["Nineteen Years"]. I apologize for taking so
long to thank you for your pleasant letter, sir, but I have had lately a very violent fever,
following two fatal illnesses from which I escaped. I think that Monsieur the Abbey of
Beauregard, preacher of Versailles, so-called former Jesuit, would willingly refuse me
a burial, which is very unfair, because they say that I would not ask for more than to
bury him; and he owes me, it seems, the same courtesy. I do not think whatsoever that
the master and mistress of the house mocked this abbey of Beauregard. It is good that
they do not indulge in the fury of his zeal, which is that to which all honest persons limit
themselves.…"
Mitchell, always shy about the spotlight on her following Gone
With the Wind, confides to friend and fellow author Edwin Granberry that "it
is tempting fate to ever write a book or a play. If you do, everything except a
plague of grasshoppers arrives."
Typed Letter signed: "Margaret", 2 pages (front and verso),
7¼x10½. Atlanta, Georgia, 1941 November 11. On personal letterhead to
"Dear Mabel and Edwin" [Granberry], in full: "We were very
distressed to learn of your illness, Mabel, and I was glad to see Fred Hanna at
a party Sunday night and learn that you really were up and about. Don't you
think you Granberrys have managed all the plagues of Egypt now? I never knew any
family, except us, to have as much trouble. (And, as Michael Arlen remarked in
'The Green Hat,' 'the Marches are never let off of anything.') Things are well
with us now but I remember, with no pleasure, the first five years we were
married when everyone in our family seemed to have something happen to them.
Perhaps it is something all couples must go through with, but I hope the
Granberrys are really through now. Edwin, you know it is tempting fate to ever
try to write a book or a play. If you do, everything except a plague of
grasshoppers arrives.…"
Writing to friend and fellow author Edwin Granberry, she complains of the constant
invasions of her privacy following publication of Gone With the Wind;
Typed Letter signed: "Margaret", 1 page, 7¼x10½. No place, no date, but undoubtedly
written from her home in Atlanta in the late in the late 1930s, before the appearance of the film.
On personal letterhead to Edwin and Mabel Granberry in full: "I've been intending to write
to you for a long time - but you see how far my wants have gotten me. The reason was
that when I went to N. Y. to see about the movie contract, my over strained eyes
practically gave up the ghost. Herschel B [Brickell, a friendly literary critic], loaded me on
the train in a bad way and since that time (up until a week ago) I've been lying in a dark
room with a black bandage over my eyes. No, there's nothing seriously wrong and I'm
writing you all to tell you so far already the rumor is out that I've gone blind. I wouldn't
like for you to hear that and not know the truth. My eyes just needed a rest and so did I.
Now I have new glasses and can see very well. It may be some time before I can do any
reading or writing but I'm glad enough at being out of the dark.…"
. 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).
Rare, signed autograph letter from 1814, to lifelong friend and fellow poet Francis
Hodgson, discussing Byron's impending visit.
Rare ALS: "Byron", 1 page, 7x9. No place, 1814 July 18. To Mr. Hodgson. In full:
"Tomorrow (Tuesday) or Wednesday at farthest expect in all -- Capt. Byron (whom you
know or will know) accompanies us. If there is not convenient room - we can dispose of
him at the Hostel. Excuse haste -- in the hope of seeing you&c&c." Handwritten
postscript: "P.S. Many thanks for today's epistle. I shall be happy to see you so." LORD
GEORGE GORDON BYRON, 6th Baron Byron of Rothdale, wrote this letter to
Reverend FRANCIS HODGSON (1781-1852), a poet and scholar whom he had met
when he began studying at Trinity College in Cambridge in October 1805. By the time
this letter was written, Byron had been lionized in Whig society after the 1812
publication of the first two of his four cantos of Childe Harold's Pilgrimage
(1812-1818). The opening lines of the canto had first been written to Hodgson on board
a ship bound for Lisbon. In October 1813, Byron, who published his wildly popular The
Corsair three months later, had recommended Hodgson, who became a lifelong friend, to
translate Lucien Bonaparte's Charlemagne.
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. Are you on your new novel now? Or is it polite to ask? For
all I know you may be one of those writers who do not like to speak of work in
progress.…"
Steinbeck authorizes the French production of a war-time play.
Typewritten contract signed: "John Steinbeck", 3p, 8x12½ Paris, France, 1947 February
24. John Ernest Steinbeck Jr. signed this contract, dated February 24, 1947, to permit
Madame Rose Belin, the Director of the Saint George Theater, to finance productions of his
play, The Moon Is Down, in France and Belgium. The contract also provided for the translation
of the play into French. Steinbeck had written the play during World War II (1939-1945);
it had opened on Broadway on April 8, 1942. After completing the play, Steinbeck
immediately adapted it into a novelette with the same title. The Moon is Down deals with the
Nazi occupation of a European country; Steinbeck wrote it as a contribution to the war
effort while working with the Coordinator of Information, an agency created by
President Franklin D. Roosevelt (1933-1945) to combat Nazi propaganda with Allied
films and literary works. The play was criticized in the United States for its humanizing
portrayal of German fascists: however, it was well-received in Europe since it encouraged
the resistance underground movement.
Letter to fellow author and literary booster Edwin Granberry,
accepting congratulations for her Pulitzer Prize but expressing a desire to
preserve at least a little personal privacy.
Typed Letter signed: "Margaret", 1 page, 7¼x10½. Atlanta,
Georgia, 1937 May 12. On personal letterhead to ""Dear Edwin",
[Granberry], in full: "That was certainly a grand, long letter and
John and I appreciated it immediately. Thanks again for the congratulations
about the Award. I am just beginning to come up for air and realizing that it is
really true. Since the news came so much has happened - flashlights going off,
reporters slithering out of the cracks in the floor and the house full of people
- that I have had no chance to really think. One of the nice features of the
affair was that Harold Latham, who dug up the book, just happened to be in
Atlanta on the day the Award was announced. He gave me a party complete with
newspaper friends, as many orchids as a Kentucky Derby winner and barrels of
Champaigne. While you and Herschel kept telling me last summer that it would
undoubtedly work out this way, I just couldn't believe it. About going to
Blowing Rock - John and I decided the day after the Award was announced that we
wouldn't go.
Typed letter from Pulitzer Prize-winning writer and author of Gone With the Wind, to
Edwin Granberry (and wife), who wrote one of the first good reviews of her book. She
discusses the up roar of a Dutch publisher bringing Gone With the Wind out in Holland
without her consent
Typed Letter Signed: "Margaret", 1p, 7x11. Atlanta, Georgia, 1937 December 15. On
personal letterhead to Edwin and Mabel. In part: "By all means keep 'Co. "Aytch"' as
long as you like. Our plans, as usual, are in a snarl. Perhaps you've seen items in the
paper about a Dutch publisher bringing out 'Gone With the Wind' in Holland without my
consent. I have lost my case in the lower Dutch courts and have appealed. I took the
matter to the Department of State in Washington and they are working on it now. That
may mean we will have to remain in Atlanta in case we are needed.…" "CO. AYTCH",
MAURY GRAYS, FIRST TENNESSEE REGIMENT; OR, A SIDE SHOW OF THE
BIG SHOW , published in 1882, was written by Samuel R. Watkins. Watkins, a
Confederate private with Co. H, 1st Tennessee Infantry, fought in the western theatre of the war
and saw action in most of the major battles in the west.Authors | Etchings
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A. MARY FRANCES ROBINSON - ETCHING UNSIGNED - HFSID 73412Unsigned etching of author and poet Agnes Mary Frances Robinson, taken from the magazine The Bookman and mounted to a sheet of paper. Based on a photo by Geruzet Frères of Brussels. Etching unsigned.Sale Price $81.00
$90.00
