Description:
Sauk City: Arkham House, 1945. xi,309,[1] pp. Publisher's black cloth, spine titled in gold, in pictorial dust jacket. Signed by the author on the front free endpaper. Jacket lightly rubbed, lightly worn at extremities, else near fine. Near fine in a near fine jacket. The full first book (preceded by a 40-page pamphlet) by H. P. Lovecraft protégé and author of PSYCHO, Robert Bloch, containing 21 short stories of fantasy and horror. With a dust jacket illustration and design by Ronald Clyne. One of 2065 copies printed. DERLETH 10.
Search Results: Titles starting with O from W. C. Baker Rare Books & Ephemera
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THE OPENER OF THE WAY
by Bloch, Robert
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- first
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ORIGEN AND HIS WORK
by De Faye, Eugène; Fred Rothwell (trans.)
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- near fine
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- first
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London: George Allen & Unwin, [1926]. First Edition. 192 pp. Publisher's red cloth in original printed dust jacket. Dust jacket lightly worn and evenly toned. Near fine in a near fine dust jacket. First edition in English. A series of eight lectures on Origen delivered at the University of Uppsala in Sweden and first published in French in 1925. The text, which was originally intended to "prepare the way for a coming work of a very comprehensive nature," deals "critically and exegetically with Origen's literary activities and mental processes" and emphasizes the influence of Greek philosophy on the early Church and its struggles. The work includes chapters on Origen's literary methods, cosmology, Christology, eschatology, and teachings on the doctrine of redemption. Rare in the dust jacket.
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THE ORIGIN OF THE CONNECTICUT STATE MEDICAL SOCIETY
by Barker, Creighton
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- first
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[New Haven], 1942. First Separate Edition. Softcover. Near fine. 9 pp. Original printed wrappers, stapled. Slight edgewear, else fine. Offprint from CONNECTICUT STATE MEDICAL JOURNAL, Vol. V., No. 12 (December, 1941). A narrative of the founding process of the Society from its precursors in Litchfield and New Haven counties to its charter and first meeting in 1792.
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[Original Art for the Album Cover and Liner Notes of THE HAPLESS CHILD AND OTHER INSCRUTABLE STORIES]
by [Gorey, Edward]
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- very good
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- Used - Very good
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1976. Pen and ink and wash on paper. Printed titles and lyrics pasted to liner sheets. Approximately 12 1/2 x 12 1/2 inches (images), 15 x 14 1/2 inches (sheets). Cover art dated, "26.i.76-3.ii.76" (i.e., begun January 26, 1976, and completed February 3, 1976). Crop marks and other notes on all three sheets in the hand of the artist. Liner-notes sheets mounted to board. Tape remnants and residue in left margin of cover sheet (not affecting image), remnants of framing tape at top edge of cover image sheet verso; light soiling and minor stains on verso. Light soiling at edges of liner-notes sheets. The original art accompanying the album of Vienna-born composer Michael Mantlers jazz-rock settings of six of Edward Gorey's tales, sung by British psychedelic rock pioneer Robert Wyatt: "The Sinking Spell," "The Object-Lesson," "The Insect God," "The Doubtful Guest," "The Remembered Visit," and "The Hapless Child." The cover art includes images derived from each of these stories, making it the only known…
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[Original Art for "The Little Black Dress and Other Signs of Status" Exhibition Listing in THE NEW YORKER]
by [Gorey, Edward]
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- near fine
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Image 9 3/4 x 7 inches, sheet 12 x 9 inches. Pen and ink on paper. Signed with "EG" monogram. Crop marks in margins. Traces of pencil guide lines, artist's corrections in white tempera, small ink flecks throughout. Near fine. A drawing made to accompany a listing for the Fashion Institute of Technology's exhibition, "The Little Black Dress and Other Signs of Status," in the March 27, 2000, issue of THE NEW YORKER, appearing only weeks before Edward Gorey's death on April 15. It is one of Gorey's most elaborate later pieces, containing balloons, bangles, a beach pail, a bodysuit, platform shoes, canvas sneakers, skis, gender nonconformity, near nudity, a ballerina in bat wings, a child with a dog aloft on a leash, a widow in a veil, and other characters perched around the letters, "B-L-A-C-K," with a young woman at the center in the eponymous outfit.
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[Original Art for "The New Religion of Risk Management" in HARVARD BUSINESS REVIEW]
by Gorey, Edward
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[1996]. Watercolor and ink on paper. First two images approximately 3 1/3 x 7 2/3 inches, sheets 5 x 10 inches; third image approximately 2 1/4 x 6 3/4 inches, sheet 4 1/2 x 9 1/4 inches. Traces of graphite guide lines; graphite inscriptions, L and R, on first and second sheets, respectively. Colored illustrations for Peter L. Bernsteins article, "The New Religion of Risk Management," in the March-April 1996 issue of HARVARD BUSINESS REVIEW. The first two images show Blaise Pascal and Pierre de Fermat bearing lighted torches, as figures of "old religion" walk off into the night. The third shows the same Enlightenment thinkers behind three painted wheels inscribed with "3," "7," and "9." Responding to a question of how fairly to divide money wagered on an interrupted game of dice, Pascal and Fermat together solved an old mathematical puzzle, laying the foundation of probability theory. But today, Bernstein asks, "Have we replaced old-world superstitions with a dangerous reliance on numbers?"
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[Original Art for SIGNALS Limited Edition Edward Gorey LITHOGRAPH #4 (Gazebo)]
by [Gorey, Edward]
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- very good
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[ca. 1994]. Image 8 x 10 inches, sheet 10 1/4 x 12 inches. Pen and ink on paper. Signed with "EG" monogram. Traces of pencil guide lines in margins, artist's corrections in white tempera. Pencil measurement inscription in lower margin. Light stains in margins (largest 3/8 x 1/4 inches), most visible in lower margin; tiny stains (not exceeding 1/12 inch) in lower portion portion of image. Very good to near fine. Between 1992 and 1997, the PBS-affiliated SIGNALS gift catalog issued ten limited-edition lithographic prints from art commissioned from Edward Gorey. The present drawing, made for LITHOGRAPH No. 4 (first published in 1994), later traveled in ELEGANT ENIGMAS, the first international exhibition of Gorey's works, curated by Karen Wilkin. It appears as the final image in the exhibition's catalogue and the as the sole image on the rear panel of its dust jacket. Eventually entitled "Gazebo," the drawing presents a 19th-century séance taking place outdoors in winter. Objects float around the…
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