269
●
STEINBECK, JOHN.
East of Eden.
8vo, original green cloth stamped in red
and dark green; dust jacket, spine panel toned and with
1
/
4
inch chips at ends just touching
letter “S”, short tape repair on verso at upper front fold, overall mild tanning and finger-
soiling, price-clipped.
FIRST TRADE EDITION
,
FIRST ISSUE
. Goldstone & Payne A32.b.
New York: Viking, 1952
[600/900]
268
268
●
STEINBECK, JOHN.
East of
Eden.
8vo, original green cloth stamped
in red and dark green, minor rubbing
along joints and spine tips; unclipped pic-
torial dust jacket, small nicks at fold
corners, short closed tears at head of spine
panel, light overall rubbing; bookplate to
front pastedown.
FIRST TRADE EDITION
,
FIRST ISSUE
, with “bite” for “bight” on
page 281. Goldstone & Payne A32.b.
New York: Viking, 1952
[800/1,200]
WITH
—
The Winter of Our Discontent. 8vo,
original blue cloth, top edges stained blue; dust
jacket, some light rubbing along fold edges,
small rubberstamp at lower outer edge of rear
flap, but unclipped with no chips or tears. First
trade edition. New York: Viking, 1961.
Goldstone & Payne A38.c.
SCARCE STEIN, EX-COLLECTION ARTHUR DOVE
267
●
STEIN, GERTRUDE.
Portrait of Mabel Dodge at the Villa Curonia.
8vo,
original hand-made floral Florentine wallpaper wrappers, neatly split along fold, small
creasing to upper front wrapper; printed paper label on front cover, faint foxing; small fin-
ger smudge at margin of one page. (Florence: Privately Printed, [1912])
[6,000/9,000]
FIRST EDITION
,
ONE OF
300
UNNUMBERED COPIES AND EX
-
COLLECTION ARTIST
ARTHUR DOVE WITH HIS SIGNATURE
in pencil on the recto of the rear wrapper. This copy
with the printer’s imprint at the foot of page [12]. Often cited as the first American abstract
painter, Dove was well acquainted with Stein and they moved in the same circles in New York
and Paris, and Stein’s language experiments may be seen as a linguistic corollary to Dove’s
early experimental oil abstractions. The present copy was acquired by Eva Ingersoll Gatling,
director of the Heckscher Museum in Huntington, Long Island, New York, as part of a larger
archive bequethed to her by Dove (upon her death in 2000, the bulk of this important collec-
tion was then retained by Yale University Art Gallery), thence by descent to current owner. A
fine association copy concerning two important figures in American modernism.
