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    “The Philosophy of Furniture” and “The Journal of Julius Rodman [pt 3]” in Burton’s Gentleman’s Magazine. Philadelphia, May 1840

    First printing of Poe’s “The Philosophy of Furniture,” an essay on interior design and decorating. He contratss the elevated taste of the English, and other Europeans, with that of Americans.



    “William Wilson” in The Gift for 1840. Philadelphia: Carey & Hart, 1840 [1839]

    FIRST EDITION. Contains the first printing of “William Wilson.”  This allegorical tale of the soul’s encounter with the spectre conscience is deeply autobiographical. William Wilson shares Poe’s birthday, and the setting for the story recalls elements from Poe’s childhood school days in England as well as his university days at Charlottesville. This autobiographical tale of doubleness, which Robertson describes as “in my opinion the most profound expression of psychological introspection ever formulated,” holds important clues to Poe’s development as a child and young man.



    Sale Catalogues of Libraries of Eminent Persons. Ed. A. L. N. Munby. London: Mansell, 1971-1975

    FIRST EDITION. It is hard to find a complete set in nice jackets.



    “Eulalie – A Song” in American Review. New York,

    First printing.



    The Psychological Portrait: Marcel Sternberger’s Revelations in Photography. Foreword by Phillip Prodger.. New York: Skira Rizzoli, 2016

    First edition, one of 100 copies of the Deluxe Estate Edition, signed and numbered by the author and accompanied by your choice of one of four 8 x 10 inch archival pigment photographs (Einstein, Freud, Shaw, or Kahlo).



    Portrait of Whitman, signed and inscribed by Whitman. Engraved by Hollyer or McRae in 1855,

    The greatest of all Whitman portraits, this celebrated portrait is signed by the author “Y[ou]rs. W. Whitman” and further inscribed by the poet on the verso “W.W. from a daguereotype [sic] from life taken in 1855.”

    “In this rough-hewn likeness, Whitman projected himself as a new kind of writer in a calculated act of romantic self-assertion. Whitman later wrote of it: ‘I look so damned flamboyant, as if I was hurling bolts at somebody—full of mad oaths—saying defiantly, to hell with you!’” (National Portrait Gallery).

    Please inquire