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Lovecraft, H.P. Wetzel, George (ed.).
H.P.L.: MEMOIRS, CRITIQUES & BIBLIOGRAPHIES.
North Tonawanda, New York: SSR Publications,
1955. Wrappers. First edition.
1/200 copies. The majority of this material in this volume was issued simultaneously as Volumes VI & VII of the LOVECRAFT COLLECTORS LIBRARY. Additions include Lin Carter's essay "HPL: THE HISTORY" & the full version of the introduction "THE RESEARCH OF A BIBLIO." Joshi III-C-27. "A landmark in Lovecraft bibliography..." "The foundation for all subsequent work in the field." - Joshi III-B-35. Mimeographed, stapled, nearly fine some age darkening, small chip missing from lower front corner.
[Book #1021]
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2.
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(Lovecraft, H.P.) Owings, Mark and Jack Chalker.
THE REVISED H.P. LOVECRAFT BIBLIOGRAPHY.
Baltimore, MD.: The Mirage Press, Ltd.,
1973. Wrappers. First edition.
Paperback original. Pictorial wrappers, magazine size. Some mild age darkening to edges, a fine copy in wrappers.
[Book #8859]
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3.
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(Lovecraft, H.P.) Pugmire, Wilum (ed.).
TALES OF LOVECRAFTIAN HORROR NUMBER 1.
[Mount Olive, NC: Cryptic Publications,
1987]. Octavo, pictorial wrappers. First edition.
Chapbook of Lovecraftian fiction, contributors include Peter Cannon, Kim Neidigh, Charles Garafolo and others. A fine copy in wrappers.
[Book #10003]
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4.
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(Lovecraft, H.P.) Pugmire, Wilum (ed.).
TALES OF LOVECRAFTIAN HORROR NUMBER 2.
[Mount Olive, NC: Cryptic Publications,
1988]. Octavo, pictorial wrappers. First edition.
Dated June, 1988. A chapbook of Lovecraftian fiction, contributors include Thomas Ligotti, Kim Neidigh, Jessica Amanda Salmonson and others. A fine copy in wrappers.
[Book #10008]
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5.
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(LOVECRAFT, H.P.). Chalker, Jack L. (ed.).
MIRAGE ON LOVECRAFT: A LITERARY VIEW.
Baltimore, MD: Jack L. Chalker and Mark Owings: Publishers,
1965. Wrappers. First edition.
One of approximately 200 copies printed. Examination of Lovecraft, his views on fantastic literature and his literary style. Contributions by Lovecraft, August Derleth, David Keller and others. Fine, mimeographed, stapled wrappers, lower corners bumped.
[Book #6411]
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6.
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Lovecraft, H[oward] P[hillips].
"UNDER THE PYRAMIDS" [novelette]. AUTOGRAPH MANUSCRIPT SIGNED (AMsS). 34 pages, handwritten on the rectos of 34 sheets of white 8 1/2 x 11-inch paper with typed and handwritten business and personal letters on the rectos. Undated, but written in late
Lovecraft was commissioned by WEIRD TALES owner J C Henneberger to ghost-write this story for Harry Houdini, part of a big push he was making to revive the magazine's sagging fortunes one year after its debut. He wrote it in a hurry during the last week of April, 1924, as he was preparing to marry Sonia Greene; lost the typescript in a train station; then had to spend the first two days of his honeymoon re-typing it from the manuscript which he had providentially brought with him. The story, retitled "Imprisoned with the Pharaohs," ran in three consecutive issues, May, June and July (sharing space with "The Loved Dead," a tale of necrophilia by C. M. Eddy which had been rewritten by Lovecraft; it alarmed some authorities and prompted editorial caution in WT which later hampered some of HPL's efforts. He was paid $100 for "Under the Pyramids," a high-water mark for a piece of fiction by him. Written in the same year (1924) as THE SHUNNED HOUSE, this is, beneath the veil of its Egyptian "color," another story, like THE SHUNNED HOUSE, about monsters in a graveyard. For that, after all, is what the pyramid is, what the surrounding district is, what the hero realizes the whole country is. "All these people thought of was death É." Just as THE SHUNNED HOUSE reduces the motif of burial down to its modest minimum (the tomb of one ancestor under the basement of a small run-down house in a small run-down city); so does "Under the Pyramids" inflate it to its grandiose maximum: a pyramid, symbol of the most venerable bloodline of Western culture. Undoubtedly, Lovecraft himself understood the difference between these two efforts, one a bit of hired hackwork to keep the pot boiling, the other an ambitious and thoughtful master work. In letters to Frank Belknap Long around this period (SL1, #163, 164, 166, 172), HPL explains that the idea for the story began with a yarn told to Henneberger by "this bimbo Houdini" (p. 312), which, after some research, HPL determined to be "all a fake" (p. 317). This probably encouraged him to embellish it without restraint -- once he got started writing the piece, which was due March 1. As of Feb. 25 he hadn't started. "I went the limit in descriptive realism in the first part, then when I buckled down to the under-the-pyramid stuff I let myself loose and coughed up some of the most nameless, slithering, unmentionable HORROR that ever stalked cloven-hooved through the tenebrous and necrophagous abysses of elder night." (p. 326) To retype the story, the honeymooners rented (for $1) a typewriter at the Hotel Vendig in New York and HPL typed while his bride dictated from the manuscript -- "a marvelous way of speeding up copying, and one which I shall frequently employ in future, since my spouse expresses a willingness amounting to eagerness so far as her share of the toil is concern'd. She has the absolutely unique gift of being able to decipher the careless scrawl of my rough manuscripts -- no matter how cryptically and involvedly interlined." (p. 332). (In truth, HPL's handwriting is not that hard to decipher.) HPL must have been pleased at the setting for his assignment, returning him, as it did, to the scene of his childhood's first literary obsession, the Arabian Nights. Of course, that's only one section in the trackless wastes of Egypt's history, and the narrator's voyage up the Nile into its Canopically-preserved heart of darkness finds him penetrating down and down through the layers of that history: Anglo-American, Napoleonic, Saracenic, Greco-Roman, Pharaonic -- and Beyond. He finally reaches that ultimate layer, found in so many of his stories, of a primordial past of monstrous gods, hinted at by rumors of atavistic survivals and glimpsed in moments of agonizing revelation. We also see in the story an archaeology of Lovecraft's literary influences (the M. R. Jamesian voice of dry scholarship, establishing credibility; the fabled Eastern landscapes of Dunsany, establishing mood and expectation; and, in the climax, the secret atavistic rites of Machen). Beyond these we reach those thematic and stylistic qualities which are now commonly referred to as Lovecraftian. A tour of the various levels of meaning in the story, however casually its author may have approached its composition, takes us through important regions of personal, generic and archetypal significance. The looming prospect of marriage, an unexpected and ill-fated adventure given Lovecraft's eternal boyhood, could well have inspired some of the nightmare imagery in the story, with its obvious sexual overtones: the bound and gagged hero must descend through a long shaft to an immense subterranean space at one end of which is glimpsed the opening of yet another ominous shaft ("the foul aperture," "the noxious aperture"), big enough to fit a house in, as the narrator notes. Old words for "house" form the etymological sources of both "husband" and "pharaoh." The one would represent to HPL one side of himself as the sacrificial victim being dragged to the altar. The other identifies the chief villain in the story, the evil pharaoh Khefren (bearing an uncanny resemblance to the guide who lured him to his doom) who, with his evil consort Queen Nitocris, presides over the unholy assemblage of monsters making sacrifice to the chief monster of them all. As a voluntary bridegroom, HPL would become both the sacrificial victim and the officiating priest. The loss of the typescript, with its resulting diversion of the author's attention away from his bride to a typewriter, would surely have prompted his analyst (if he'd had one) to label the accident a slip of the hand intended to mitigate this doom. On the level of literary genre, here again, in the shape of the pyramid, is the haunted house that resides at the center of the Gothic, blind guardian of "unwholesome antiquity," and framework for those subterranean passages, dank basements, hidden chambers, dungeons, oubliettes, hollow earths, fairy grottoes and ragged pits that form the setting for the hero's descent into the underworld, that climactic phase of his adventure which we find so universally in myth and story. What the hero finds in that subterranean world reminds us of Lovecraft's inventiveness (allied no doubt to his learnedness) in the nitty-gritty phenomenology of supernatural horror. Building on accepted facts and popular traditions he gives us, in this case, three-dimensional hieroglyphs the size of skyscrapers; an army of soulless zombie mummies whose souls have been weighed and found wanting; a shambling horde of reanimated composite animal/human mummies, three-dimensional counterparts of those painted chimeras in Egyptian frescoes; and the glimpse of a Thing that may have been the model for that life-size statue we know as the Sphinx. Ruling over them, as noted, are the necromantic pair, Khefren and Nitocris (one side of whose face has been eaten away by rats), coordinating their rites of worship to propitiate one of those buried Old Ones that under-gird the Lovecraftian mythos. The final payoff in "Under the Pyramid," as in THE SHUNNED HOUSE, is the glimpse of a buried something that only after the fact does the hero recognize as a part of the hole, a minor anatomical feature of the half-buried monster, whose overall shape is thus left for the reader's own half-buried fantasies to customize. Mindful of its upcoming serialization in Weird Tales, HPL has kept a running word count of the story and indicated the point where he thinks the story should be broken in two. WT editor Farnsworth Wright divided the story into three parts. Not a great piece of work, but noteworthy and distinctive from a literary point of view, and of documentary value during this pivotal period of HPL's life, when he was about to get married, about to move to New York and form an in-the-flesh literary circle that would sustain him afterwards, and as he was putting down roots at the magazine that would be his most important market and of which he was about to be offered the editorship. Accompanied by an autograph letter unsigned, 5 1/2" x 8 1/2". Upper left hand corner has been scissored out, with resulting loss of salutation. No date but internal evidence puts this at the end of February 1924, as he writes, "Working like hell on the Houdini thing -- it's a fearful job but I know Cairo by heart now!" Inserted into the middle of this sentence, in margin, is written, "just finished it! SHOCKING climax! Now to type!" On the verso are two comical drawings of Egyptian scenes with accompanying poems, one a limerick ("There was an old geezer from GhizehÉ"), the other a more stately quatrain ("Frantick with rumours of eternal night É"), neither of them listed in the Joshi bibliography. A charming footnote to the saga of the "Pyramids". The letter is also missing a tiny section at bottom right hand corner and has a horizontal tear and old folding creases. The manuscript has some wear at edges, but overall is in excellent condition. Accompanied by a fragment of an undated two-page letter handwritten by Lovecraft on both sides of a single sheet, salutation and conclusion clipped away, but perhaps to Frank Belknap Long, in which Lovecraft says he is "working like hell on the Houdini thing -- it's a fearful job..." and, in postscript at top, "just finished it! SHOCKING climax! Now to type!" Verso has two small sketches (the Pyramids and on the Golden Road to Samarkand) which illustrate two short limericks, unpublished no doubt.
[Book #11626]
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7.
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Lovecraft, H[oward] P[hillips].
ANTARKTOS.
Warren: Fantome Press,
1977. Wrappers. First seperate edition.
A poem. 1/150 with illustration by C.M. James. Signed by James. Also included is a separate flyer containing editors notes. A hand printed pamphlet. Joshi-1-A-74. Very fine in wraps and envelope.
[Book #2281]
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8.
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Lovecraft, H[oward] P[hillips].
AUTOBIOGRAPHY: SOME NOTES ON A NONENTITY.
Sauk City, Wisconsin: Printed for Arkham House: Publishers... by Villiers Publications, Ltd...,
1963. Printed wrappers. First seperate edition.
First published in Beyond the Wall of Sleep (1943) this new issue of Lovcraft's autobiography includes editorial comment by August Derleth throughout the work. A fine copy, previous owners name to title page, in wrappers.
[Book #11297]
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9.
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Lovecraft, H[oward] P[hillips].
DAGON AND OTHER MACABRE TALES.
Sauk City: Arkham House,
1986. Octavo, cloth. Corrected Fifth printing.
This edition is first printing of the corrected text. The new corrected printings are the authoritative texts of Lovecraft's work, edited by S. T. Joshi. Fine in a fine dust jacket.
[Book #7338]
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10.
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Lovecraft, H[oward] P[hillips] and Divers Hands.
THE DARK BROTHERHOOD AND OTHER PIECES.
Sauk City: Arkham House,
1966. Octavo, cloth. First edition.
Bleiler: Guide to Supernatural Literature #1057. With the exception of some age darkening to the rear panel a very fine copy in very fine dust jacket.
[Book #8211]
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11.
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Lovecraft, H[oward] P[hillips] and Divers Hands.
THE DARK BROTHERHOOD AND OTHER PIECES.
Sauk City: Arkham House,
1966. Octavo, illustration by Frank Utpatel, cloth. First edition.
Bleiler: Guide to Supernatural Literature #1057. A fine copy in a fine dust jacket with some age darkening to edges of rear panel.
[Book #10436]
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12.
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Lovecraft, H[oward] P[hillips].
THE DUNWICH HORROR AND OTHERS: THE BEST SUPERNATURAL STORIES OF H.P. LOVECRAFT.
Sauk City, WI: Arkham House: Publishers,
1963, [i.e. 1966] Octavo, illustration by Lee Brown Coye, cloth. Second printing.
See Barron (ed.): Horror Literature 3-132. Fine in a fine dust jacket.
[Book #10449]
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13.
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Lovecraft, H[oward] P[hillips].
THE DUNWICH HORROR.
New York: Bartholomew House,
1945. Small octavo, pictorial wrappers. First edition.
Paperback. The second Bart House reprint collection of stories from The Outsider and Others; The Dunwich Horror, The Shadow Out of Time and The Thing on the Doorstep. Second general mass market paperback of Lovecraft fiction. Joshi I-A-23. Some light edge rubbing, a near fine copy.
[Book #8392]
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14.
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Lovecraft, H[oward] P[hillips].
LETTERS FROM H. P. LOVECRAFT TO FRANK BELKNAP LONG, 1920-1931. 52 letters and three letter fragments, totaling 509 pages, of which approximately 80% is unpublished. Seven of the letters are entirely unpublished and one fragment is probably unpublishe
Extracts, some very brief, from 47 of the letters are published in SELECTED LETTERS, volumes I, II and III. "HPL's letters to Long are among the richest and most wide-ranging of all his correspondence... the letters after April 1931 have been lost..." - Joshi, AN H. P. LOVECRAFT ENCYCLOPEDIA, p. 151. This archive of fifty-five letters from Lovecraft to Frank Belknap Long, almost a dozen years his junior and his "closest friend" (Peter Cannon, Lovecraft Remembered, p. 176), covers a decade (1921-1931) which saw the most important changes in Lovecraft's life: the death of his mother; his first major travels outside Providence; his breakthrough into the professional magazines; the filling out of his horror fiction writer pantheon and the composition of his historic essay on the subject; his marriage to and divorce from Sonia Greene; his move to New York and back to Providence; and, in the midst of all this ferment and confrontation with hard external realities, a fundamental shift in his writing aesthetic which triggered the most mature phase of his writing, deepening all of the forms he worked in: essay, fiction, poetry and the letter. To see the development of his persona from the first of these letters to the last is to see the development of a boy into a man. In one letter (#7), we discover a possible linchpin between his amateur press activities (which shrank during this decade) and his voluminous correspondence (which grew). In reference to some policy dispute on the United Amateur, he tells Long that if "our side is defeated we can retire to a free-lance sort of activity -- simply forming an informal circle of such persons as you, Galpin, Loveman, and I, who can write and correspond among ourselves without much regard to associational organisation." In other words, maybe we should look at his correspondence as, essentially, the continuation of amateur journalism by other means. With its repetition of news and opinions in letters to different friends, and its de facto essays (minor and major), its artwork and poems, and its distribution of his fiction and poetry manuscripts along defined postal circuits, this represented collectively the publication of a handwritten one-man amateur periodical to a by-invitation subscriber base. He customizes each letter with personal touches, inquiries about the recipient's health, travels, etc. but the meat of most of his longer letters is interchangeable from one recipient to another. Here is the essence, perhaps, of "the Lovecraft circle" and all its permutations over time. In his next letter, HPL explains at length his "cosmic" perspective and disdain for everything emotional pertaining to "the filthy louse called man." You could say that the first attitude came from looking at the night sky through the correct end of the telescope; and that the second came from looking at earth through the wrong end, whereby man becomes something tiny and distant. Here is one of his many statements of the main paradox of his life here: the combination of "wonder, fascination and terror at the unknown" which the first half impels in him; and the "pure, ice-cold reason" which can relieve the disgusted contemplation of the "terrestrial and human". The cosmic and the demonic. This double-sided obsession with the sublime and the sordid is the central paradox of this highly paradoxical man, the Ka'bah hidden away inside the forbidden city of Mecca in his psyche, a black box that he spent his life and devoted his work to circumambulating, the treasure chest that contained heaven and earth and all of his opposing attitudes towards them: mystical & cynical; logical & sentimental; backward looking culturally & forward looking scientifically; rigorous and lazy; dogmatic & timid; loving New York & hating New York; anti-Semitic & married to a Jew; misanthropic in theory & philanthropic in practice. In this letter and others we see his establishment of Poe as the pole star in his literary firmament. The two writers exhibited many similar traits, including an aversion to dialogue and apathy about characterization. Both showed a passion for the logical and the abstract, which shows up to best advantage in their essays and letters; and also, at the other end of experience, a passion for the impressionistic and atmospheric treatment of the concrete, which shows up to best advantage in their poetry. Their fiction calls on both of these skills (as well as others). And this is where the greatest controversy exists: do the stories represent a brilliant marriage of these passions or an uneasy cohabitation? In other letters he expounds on: the varieties of prodigies; his own image; his latest reading discoveries; the shifting fortunes of his professional writing and those of his friends; advice to Long on a wide variety of issues, philosophical, literary, recreational, sartorial; his opinion of dozens of writers; his antiquarian travels; his veneration of the classical and neo-classical periods and their virtues; his elevation of the Nordic over all other races, especially the Negro and Semitic; his idiosyncratic interpretations of history, theology, philosophy, anthropology, and most other branches of learning. The most dramatic letters, perhaps, are the last ones, in which he acknowledges the old "vapourising tendency in myself", which he is now resisting and which he urges Long to do also. Throughout the letters, everywhere is spread the banquet of Lovecraft's diction and his easy command of the machinery of the language, from his placid Georgian periods to his infamous Lovecraftian adumbrations of the malignant to some surprising tour de force performances of various comic dialects: from standard minstrel Negro to contemporary gumshoe slang to a kind of old codger Yankee farmer. He may have been obsessive on the higher levels of theme and subject matter but, at the microcosmic level of style, Lovecraft is always in command and a sheer delight to behold. Here is Lovecraft in all his facets, all his themes, all his faults, all his frenzies, all his glories. Deep beneath the surface of Georgian calm in almost all his letters one can detect an ominous churning of the waters. He writes as if this is the only letter he will ever get to write to that person, or to anyone at all, that this is his only chance to leave a record of himself, to leave some proof that he existed. Here, writ large, is that same human urge, at once profound and pathetic, that drives the shipwrecked sailor to carve his initials on a rock: not just to propagate himself in space while alive and in time when dead, but to exist at all as a human being in the present. Man lives in terror of utter and immediate dissolution unless he can remake something of the world around him in his own image, be it scratches on rock or ink on paper or pixels on a computer screen. Lovecraft had to create himself over and over again on paper in order to have any sort of existence at all, one suspects, even in the present, let alone the future. And these documents had no real permanence for him either, one suspects; that it was only in the production of them that he felt that closure of electrical circuitry between inner and outer space that lets energy flow. We catch a glimpse in these letters of Lovecraft as a performance artist, his real medium being theatrical and temporary; that all the written letters and stories and poems were merely documentation of his performances, required for obscure reasons that had nothing to do with the work itself. Here we see records of Lovecraft the escape artist, the existential Houdini. Most critics paint Lovecraftian as a tragic figure, a prophet, a martyr, a sage, a saint to his friends, a pied piper to his colleagues, and, to his readers, either a charismatic Napoleon or a blustering Bismarck. We have seen the normal Lovecraft and the neurotic Lovecraft and the numinous Lovecraft. The missing piece of this puzzle is Lovecraft the comedian (not in the trivial sense of his obvious clowning around with nicknames, etc.) The advocate of proportion and poise, is, when he gets down to business (i.e., supernatural horror), a confetti-bomb throwing anarchist of linguistic mayhem. The Lovecraft horror tale is danse macabre of midnight revelry in a graveyard, a saturnalian comedy punctuating a plague year, a brief season of authorized misrule, of master and servant switching places, of comedians and tragedians switching masks. Oz-like, he pulls the levers that orchestrate a comic extravaganza of language that continually overflows its semantic containers and spills out into a spectacular pool of iridescence. Perhaps, if we look carefully, we can see in them, brought down to earth finally, the spangled reflections of those gorgeous worlds that so tantalized him. A few of the letters are chipped at edges with some loss of text, a few have old archival tape mends, some are frayed or worn at edges, but most are in exceptionally nice condition. A complete calendar of the archive is available upon request.
[Book #11622]
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15.
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Lovecraft, H[oward] P[hillips] and August Derleth.
THE LURKER AT THE THRESHOLD.
Sauk City: Arkham House,
1945. Octavo, cloth. First edition.
Cthulhu mythos novel completed by Derleth. A fine copy in just about fine dust jacket very light rubbing to spine and and corners, small closed tear to upper front panel, several tiny rub marks to spine panel, spine panel lettering lightened as usual with this title.
[Book #8216]
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16.
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Lovecraft, H[oward] P[hillips] and August Derleth.
THE LURKER AT THE THRESHOLD.
Sauk City: Arkham House,
1945. Octavo, cloth. First edition.
Cthulhu mythos novel completed by Derleth. A fine copy in a fine dust jacket, very light rubbing to corners and spine ends, small rub spot to spine panel.
[Book #8268]
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17.
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Lovecraft, H[oward] P[hillips].
MARGINALIA.
Sauk City, WI: Arkham House,
1944. Octavo, illustrated by Virgil Finlay, cloth. First edition.
Revisions, articles, fragments and essays. A fine copy, lower corners gently bumped in a very good plus dust jacket, tiny tear to upper front panel, lower front panel, some mild age darkening to spine panel.
[Book #12450]
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18.
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Lovecraft, H[oward] P[hillips].
THE OUTSIDER AND OTHERS.
Sauk City: Arkham House,
1939. Octavo, cloth. First edition.
"...his works remain one of the most remarkable literary products of their day and an enormously influential contribution to the genre, their influence extending not only to Lovecraft's many correspondents but to such significant modern writers as Ramsey Campbell and Brian Lumley." - Barron (ed.): Horror Literature 3-132. Bleiler: The Guide to Supernatural Fiction #1040. A fine copy, small offset to front free end paper, neat previous owners name and date to front paste-down (hidden by front flap) in a near fine dust jacket, a touch of shelf wear and rubbing to front corners, some slight rubbing to top edge, slight wear with some slight loss to upper spine panel. A very nice example of this title often found in mediocre condition.
[Book #10192]
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19.
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Lovecraft, H[oward] P[hillips].
THE OUTSIDER AND OTHERS.
Sauk City: Arkham House,
1939. Large octavo, jacket illustration by Virgil Finlay, cloth. First edition.
"...his works remain one of the most remarkable literary products of their day and an enormously influential contribution to the genre, their influence extending not only to Lovecraft's many correspondents but to such significant modern writers as Ramsey Campbell and Brian Lumley." - Barron (ed.): Horror Literature 3-132. Bleiler: The Guide to Supernatural Fiction #1040. A fine copy, top edge a bit dusty, some very light spotting to fore-edge, free endpapers, corners gently bumped in a near fine dust jacket, mild shelf wear to corners and spine ends, a few very tiny closed tears to spine ends, some mild dust soiling to rear panel.
[Book #12760]
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20.
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Lovecraft, H[oward] P[hillips].
SELECTED LETTERS 1911-1924 [Volume 1].
Sauk City, WI: Arkham House: Publishers,
1965. Octavo, cloth. First edition.
Edited by August Derleth and Donald Wandrei. A fine copy in a very good plus to near fine dust jacket, moderate fade to title lettering of spine panel, touch of age darkening.
[Book #10447]
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21.
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Lovecraft, H[oward] P[hillips].
SELECTED LETTERS 1929-1931 [Volume 3].
Sauk City, WI: Arkham House: Publishers,
1971. Octavo, cloth. First edition.
Edited by August Derleth and Donald Wandrei. Fine in a fine dust jacket.
[Book #4724]
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22.
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Lovecraft, H[oward] P[hillips].
SELECTED LETTERS 1929-1931 [Volume 3].
Sauk City, WI: Arkham House: Publishers,
1971. Octavo, cloth. First edition.
Edited by August Derleth and Donald Wandrei. Fine in fine with a touch of age darkening to spine panel of dust jacket
[Book #4734]
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23.
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Lovecraft, H[oward] P[hillips].
SELECTED LETTERS 1925-1929 [Volume 2].
Sauk City, WI: Arkham House: Publishers,
1968. Octavo, cloth. First edition.
Edited by August Derleth and Donald Wandrei. A very fine copy in a near fine dust jacket, touch of fade to title lettering of spine panel, touch of shelf wear to extremities.
[Book #10448]
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24.
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Lovecraft, H[oward] P[hillips].
SELECTED LETTERS 1929-1931 [Volume 3].
Sauk City, WI: Arkham House: Publishers,
1971. Octavo, cloth. First edition.
Edited by August Derleth and Donald Wandrei. Fine in a fine dust jacket.
[Book #10481]
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25.
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Lovecraft, H[oward] P[hillips].
SELECTED LETTERS 1925-1929 [Volume 2].
Sauk City, WI: Arkham House: Publishers,
1968. Octavo, cloth. First edition.
Edited by August Derleth and Donald Wandrei. A near fine copy, paper residue spot to upper rear cover in a near fine dust jacket, damp spot to verso of upper rear panel, small close tear, some dust soiling to white background of jacket, spine lettering color a touch faded, very slight.
[Book #11613]
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