Mark TWAIN Rare Books and First Editions at Bauman Rare Books

MARK TWAIN

Found 17 books(s). Showing results 1 thru 17.

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“ALL MODERN LITERATURE COMES FROM ONE BOOK BY MARK TWAIN”

TWAIN, Mark. Adventures of Huckleberry Finn [sheep]. New York, 1885.

First edition, in unrestored publisher’s deluxe sheep binding, with all first-state points, including the extraordinarily rare “curved fly” illustration. Most rare, one of approximately 2500 copies issued in this binding, one of the first copies to be printed in the “original state,” before the above illustration was altered. This unaltered leaf appears in only some of the publisher’s deluxe bindings and never in the cloth-bound copies. $32,000.

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"I HAVE HAD MY COFFEE & BREAD, & SHAN'T GET OUT OF BED TILL IT IS TIME TO DRESS FOR MRS. LAFFAN'S XMAS DINNER THIS EVENING—WHERE I SHALL MEET BRAM STOKER & MUST MAKE SURE ABOUT THAT PHOTO WITH IRVING'S AUTOGRAPH"

TWAIN, Mark. Autograph letter signed. The Players, New York, 1893.

Splendid 26-page signed autograph letter, written entirely in Mark Twain's hand, from Twain to his wife, Livy, regarding Twain's plans for Christmas including meeting Bram Stoker; his meetings in Chicago over Paige's automatic typesetting machine (which would eventually bankrupt him); and his train trip back to Chicago in a luxury train car, with original hand-addressed envelope to "Mrs. S.L. Clemens." $29,500.

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“ONE OF THE MOST DURABLE WORKS IN AMERICAN LITERATURE”

TWAIN, Mark. Adventures of Tom Sawyer. Hartford, 1876.

Rare first American edition, first printing, first state, of one of the universally recognized masterpieces of American literature, Twain’s irrepressible and unforgettable “true boy’s book,” in the very rare original publisher’s sheep binding. $29,000.

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FROM MARK TWAIN'S RESEARCH LIBRARY, SIGNED BY TWAIN AND WITH HIS ANNOTATIONS ON THE FINAL PAGE

(TWAIN, Mark) TAINE, Hippolyte. The Ancient Regime. New York, 1876.

Mark Twain's signed copy of Hippolyte Taine's The Ancient Regime, signed "Saml. L. Clemens, Hartford 1876" on the front flyleaf and annotated by him on the final text leaf, "Finished Jan 29th" and beneath that note, "Finished Sept. 10th," indicating that he read the book twice. With the bookplate prepared by Anderson Auction Company in 1911 stating "This book is from the Library of Samuel Longhorne Clemens (Mark Twain)" signed by Twain's literary executor and biographer Albert Bigelow Paine. $25,000.

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“TO UNDERSTAND AMERICA, READ MARK TWAIN”

TWAIN, Mark. Writings of Mark Twain. London, 1899-1907. Twenty-five volumes.

First English issue of the “Author’s Édition de Luxe” of Twain’s works, number 184 of 620 copies signed by him as “SL Clemens (Mark Twain)” on the limitation page. With two autograph leaves—the first in Twain’s hand, the second in the hand of Charles Dudley Warner, with whom Twain co-authored the book—in The Gilded Age (Volume 10). $21,000.

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"ONLY A VERY SMALL MINORITY CAN PROPERLY CLAIM TO BE SANE"

TWAIN, Mark. Christian Science. New York and London, 1907.

First edition, first state, of Twain’s satirical diatribe on Christian Science—then a relatively new and rapidly growing religion in the United States—and the religion’s founder, Mary Baker Eddy, wonderfully inscribed by Twain, "Only a very small minority can properly claim to be sane. Mark Twain," in answer to a question posed above in an unidentified hand: "This book should live when the delusion is dead. Is there any danger that a majority of the race will become insane?" $13,500.

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LIBER SCRIPTORUM, SIGNED BY MARK TWAIN, THEODORE ROOSEVELT, ANDREW CARNEGIE AND NUMEROUS OTHER AUTHORS

(TWAIN, Mark, ROOSEVELT, Theodore, et al.). Liber Scriptorum. New York, 1893.

First edition, number 32 of only 251 numbered copies signed by each of the 109 contributors, the most prominent being Mark Twain ("The Californian's Tale," page 161—the first appearance of this story), Theodore Roosevelt ("A Shot at a Bull Elk," page 487) and Andrew Carnegie ("Genius Illustrated from Burns," page 99). An altogether impressive collection of the works and signatures of leading late-19th century literary figures, a beautiful copy in original publisher's morocco-gilt binding. $13,500.

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“ALL MODERN LITERATURE COMES FROM ONE BOOK BY MARK TWAIN. IT’S THE BEST BOOK WE’VE HAD”

TWAIN, Mark. Adventures of Huckleberry Finn. New York, 1885.

First edition, first issue, of “the most praised and most condemned 19th-century American work of fiction” (Legacies of Genius, 47), with 174 illustrations by Edward Kemble. $12,500.

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RARE COMPLETE "SHOULDER STRAP" SET OF CIVIL WAR MEMOIRS, PUBLISHED BY MARK TWAIN

(SHOULDER STRAP SET) GRANT, Ulysses S. Shoulder Strap Set. New York, 1885-1892. Eleven volumes altogether.

Complete Shoulder Strap set of seven Civil War histories printed by Twain's publishing house in its short-lived but impressive decade of operation, featuring Grant's Memoirs (1885-6), McClellan's Own Story (1887), Crawford's Genesis of the Civil War (1887), Custer's Tenting on the Plains (1889), Hancock's Reminiscences (1887), Sheridan's Personal Memoirs (1888), Sherman's Memoirs (1892)—as well as Adam Badeau's biography Grant in Peace (1888), not published by Webster but in a binding uniform with the rest of the set—each volume with the trademark gilt-decorated "shoulder strap" on the spine. $9200.

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“THERE IS NO SADDER SIGHT…”

TWAIN, Mark. Dog's Tale. New York and London, 1904.

First American edition, presentation copy, of Twain’s “powerful indictment of cruelty to animals,” inscribed in the year of publication: "With the Kindest regards of The Author. October 25/04." $8200.

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FASCINATING 1874 SIGNED AUTOGRAPH LETTER WRITTEN BY MARK TWAIN TO AMERICAN PUBLISHING COMPANY PRESIDENT ELISHA BLISS

TWAIN, Mark. Autograph letter signed. Hartford, Connecticut, October 21, 1874.

Original 1874 signed autograph letter written entirely in Mark Twain's hand to American Publishing Company President Elisha Bliss suggesting Louise Chandler Moulton's Some Women's Hearts for publication despite reservations about the content; wishing Bliss success with the publication of Howell's and Harte's upcoming books; and expressing hope that his play ("The Gilded Age") would run for 200 nights in New York. $7500.

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“IN SOME WAYS… HIS BEST TRAVEL NARRATIVE”

TWAIN, Mark. Following the Equator. Hartford, 1897.

First edition, first issue, of Twain’s fifth and final travel book, handsome in rare publisher’s morocco-gilt. $5500.

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“ONE OF MARK TWAIN’S MOST IMPORTANT BOOKS”

TWAIN, Mark. Life on the Mississippi. Boston, 1883.

First American edition, first state "intermediate A," with hundreds of illustrations, many by Edmund Henry Garrett. $4200.

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“IT SEEMED PLAIN TO ME THAT TOO MUCH SPACE WAS GIVEN TO POETRY AND ROMANCE AND NOT ENOUGH TO STATISTICS AND AGRICULTURE”

TWAIN, Mark. Mark Twain's Memoranda. From the Galaxy. Toronto, 1871.

First edition of this unauthorized Canadian publication of some of Twain's earlier pieces that originally appeared in the New York literary periodical Galaxy (May 1870-February 1871). Among the rarest of Twain's early publications. $3200.

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SALESMAN’S DUMMY OF FOLLOWING THE EQUATOR

TWAIN, Mark. Following the Equator (Salesman's Dummy). Hartford, 1897.

Salesman’s dummy for Following the Equator, with two leather sample spines tipped onto the front pastedown. $3200.

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SALESMAN’S DUMMY OF FOLLOWING THE EQUATOR

TWAIN, Mark. Following the Equator (Salesman's Dummy). Hartford, 1897.

Salesman’s dummy for Following the Equator, with two leather sample spines tipped onto the front pastedown. $2800.

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"THE FIRST SLAVE RESCUERS TO GAIN RENOWN AMONG ABOLITIONISTS"

(TWAIN, Mark) (SLAVERY) Thompson, George. Prison Life and Reflections. Hartford, 1851.

1851 edition of Thompson's powerful account of "one of the first instances of whites putting their lives at risk to rescue slaves," chronicling the attempted rescue of slaves on the bank of the Mississippi, the trial of the three famed abolitionists convicted by a jury that included the father of Mark Twain with the young Twain said to be in attendance, featuring the frontispiece engraving of the three abolitionists chained in ankle irons in their cell, in original cloth. $750.

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Aquatint Copperplate process by which the plate is “bitten” by exposure to acid. By changing the areas of the plate that are exposed and the length of time the plate is submerged in the acid bath, the engraver can obtain fine and varying shades of gray that closely resemble watercolor washes. Although the name contains the word “tint”, this is a black-and-white printing process; aquatint plates can often be hand colored, however.
Armorial Used to describe a binding bearing the coat of arms of the original owner, or with bookplates incorporating the owner’s arms.
Association Copy copy that belonged to someone connected with the author or the contents of a book.
Boards Hard front and rear covers of a bound book which are covered in cloth, leather or paper. “Original boards” refers to cardboard-like front and back boards, from about 1700 to 1840, used as temporary protection for books before their purchasers would have them bound. Of particular value to collectors as evidence of a very early form of the book.
Book-Plate Label, generally affixed to the front pastedown, identifying a book’s owner.
Broadside Sheet printed on one side, typically for public display, usually larger than folio size (a folio being a broadside-size sheet printed on both sides and folded once, to make four pages).
Calf Binding material made from cowhide—versatile, durable, usually tan or brown in color, of smooth texture with no or little apparent grain. Readily marbled (“tree calf”), mottled, diced, colored, polished, tooled in gilt or blind, even scented (known as “russia”). Reverse calf, with a distinctive suede-like texture, is occasionally used.
Chromolithograph Lithograph printed in colors, typically three or more.
Collation Process by which the contents of a book are inspected for completeness, checking against internal evidence, the table of contents and/or plate list, and reference works. Also a shorthand bibliographical description of a book’s composition by its leaves and signatures, rather than its pages. A-C, for example, would indicate a quarto volume composed of three signatures or gatherings of eight pages each for a total of 24 pages.
Colophon Printed note at the end of a text containing information about the printing of the book.
Doublure Pastedowns made not of paper but of leather, for decorative purposes.
Duodecimo (12MO) Smaller than an octavo, typically less than six inches tall; smaller formats, such as 24mo and 32mo, are uncommon.
Edition Print-run from a single setting of type without substantial change. Depending on demand, any number of printings can be made from a setting of type For example, a first printing might consist of 1000 copies, followed by a second printing of 2500 copies; in which case the book would have a first edition, first printing of 1000 copies, and a first edition, second printing of 2500 copies.
Endpapers Extra leaves—plain, colored or decorated—with which a bookbinder covers the insides of the book’s boards, therefore not part of the actual text block. The part of the leaf pasted to the inside of the front board is the front “pastedown,” while the other part of the leaf that forms the first page of the book is the “front free endpaper”; the same applies to the rear pastedown and rear free endpaper.
Engraving Illustration produced by carving lines into a metal plate. This is an intaglio process, in which ink is poured over the plate, then wiped from the surface, leaving ink only in the recesses made by the engraver’s tools. The image is then transferred by pressing thick dampened paper against the metal plate with great force—requiring engravings to be printed on a separate stock and separate press from any text.
Errata List of mistakes and corrections noted after printing, often compiled on a separate sheet or slip and inserted into the text block.
Flyleaves Additional blank leaves following or preceding the endpapers.
Folio Book composed of sheets that are folded once and printed on both sides, making two leaves and four pages. Typically above 14 inches tall. Oblong folios are produced the same way but bound at the short edge, producing a book typically more than 14 inches deep.
Fore-Edge Edge of the book furthest from the spine. Occasionally the text of a book will be put into a specialized book press and painted, often with a scene from the book or a landscape, so that the painting is invisible when the book is closed but visible when somebody bends the text and fans the pages—known as a fore-edge painting.
Foxing Light brown spots that naturally appear on some papers due to oxidation as they age.
Frontispiece An illustration facing the title page of a book.
Gathering Single sheet of paper that has been printed and folded to form the pages required by the book’s format. A single gathering of a quarto book, then, would be a sheet folded twice, containing four leaves, eight pages of text.. Gatherings are identified by a letter, symbol or number in the lower margin of the first page (the “signature”) to make it easy for the printer to stack them in proper order for sewing.
Gilt Edges The three exposed edges of a book have been smoothed and gilded.
Half Title Leaf preceding the title page that bears the book’s title, originally used to identify the unbound text block. The book’s binder would often remove and discard the half title at the time of binding. Remaining half-titles are therefore of interest to collectors.
Illuminated Decorated by hand. Typically early printed books and especially manuscripts.
Imprint Satement of place, publisher and date of publication on a book’s title page.
Incunable From the cradle of printing, i.e., any book printed before 1501.
Issue A group of books issued by the publisher as a discrete unit. At times, issue refers to timing, such as the “first issue” being offered to the public at an earlier date than the “second issue.” At other times, it refers to specially planned different batches, such as the “trade issue” (widely available) in opposition to a “signed limited issue” (limited to a small amount of copies differing somehow from the trade issue and not widely available).
Japanese Vellum Expensive handmade paper often used in deluxe editions.
Lithograph Illustration produced by transferring an image drawn on a carefully prepared stone to paper. The process allowed illustrations to more closely resemble the original drawings, paintings or sketches, as it gave the lithographer a freedom of line impossible to achieve in earlier intaglio and relief processes. It does not require the same sort of pressure as an engraving to transfer the image, but still has to be printed on separate stock from the text
Marginalia Handwritten notes made in the margins by a previous owner.
Mispaginated Printer’s error in pagination, typically skipping, transposing or repeating page numbers. Not uncommon in older, larger books, it is not considered a defect, so long as all integral leaves are present.
Modern Recently accomplished, when used to describe a book’s binding that is not the original casing. Some books bound recently are bound using techniques, tools and styles of the period of the book’s original issue; when done well this is called a period-style binding, a term that implies “modern” as well.
Morocco Binding material made from goatskin—versatile, durable, with a distinctive pebbled texture and visible grain. Readily stretched (“straight-grain”), crushed (flattened smooth), tooled in gilt or blind, inlaid with leathers of different colors. So-called because much of the raw material originally came from the tanneries of North Africa (other types of goatskin bindings denoting regions of origin include levant, turkey, niger).
Offset The unintended transfer of ink from one printed page to an adjacent page.
Period-Style binding executed with materials, tools and techniques to approximate the look of a contemporary binding from the period of the book’s publication. The term implies that the binding is modern, or recent, unless otherwise specified.
Plate Full-page illustration printed separately from but bound with the text.
Point Variation in text, illustration, design or format that allows a bibliographer to distinguish between different editions and different printings of the same edition, or between different states or issues of the same printing.
Presentation Copy Book given as a gift by its author, illustrator or publisher. Sometimes refers to a volume given by a notable donor.
Provenance History of a particular copy of a book.
Raised Bands Horizontal protruding strips found on the spine of a book.
Reback To supply a worn binding with a new spine, usually made of the same material as the rest of the binding and decorated to match. When feasible the binder may preserve the original spine and affix it to the new material, described as “rebacked with the original spine laid down.”
Recase To reattach a text block to its binding when it has become loose from its covers.
Recto The front side of a leaf. The back side is known as the “verso.”
Trade Edition Printing or printings of a book made available for purchase by the general public on publication day (as opposed to a limited edition, often available only by subscription).
Uncut When the edges of the text block (most apparent at the fore and lower edges) have not been trimmed to a uniform size, and are therefore characterized by a ragged or deckle edge. A book may be uncut but opened—i.e., with a paper-knife—but all unopened books (see below) are by nature uncut as well.
Unopened When the folds of the sheets of paper making up the text block have not been trimmed away or opened with a paper-knife. While this makes it impossible to read all of the pages, it also indicates a probability that the text block has not been altered since leaving the printer.
Vellum Binding material made from specially treated calfskin—durable, with a distinctive ivory color and smooth appearance. Can be tooled in gilt or blind. So-called Japan vellum (or Japon) is a type of thick paper that has been polished smooth and given a glossy finish to resemble vellum.
Verso The back or reverse side of a leaf or page. (See “recto.”)
Woodcut Illustration or textual decoration made by cutting away from the surface of a block of wood until the reverse of the image is left in relief; this is then inked and pressed to the paper to leave the image. The woodblock, or multiple blocks, can be fit into the page along with the type, allowing text and illustrations to be printed in the same print run and share the same page (not possible with engravings, which require thicker, damp paper and much more force; nor with lithographs, which require a different printing process altogether). Woodcuts preceded moveable type and are the earliest known printing technology.
Wood-Engraving Engraving made with the graver or burin on the cross-section of a piece of boxwood; the harder wood and finer tools allow for more delicate, finely detailed images, while the block can still be set in the page alongside text and printed on the same stock as the text. While much older, wood engravings enjoyed an important renaissance in the late eighteenth century through Thomas Bewick and continued in popularity thorugh the nineteenth century.
Wormhole Tiny pinhole-sized trails left by bookworms as they eat through a text block. Much more common in older books printed on handmade papers with a high rag content than in books printed on manufactured papers made from wood pulp with a higher acidic content.
Wrappers Paper coverings—plain, marbled or printed—attached by stitches, staples or glue to a text block to identify it and afford it some protection (though much more fragile than a binding in plain, cloth or leather-covered boards). More typical of slim and/or inexpensive volumes such as pamphlets. “Self wrappers” are leaves, blank or printed, that are integral to the text block, conjugate with other leaves and from the same stock. “Original wrappers,” those attached at the time of issue, are scarce and extremely desirable to most collectors.