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TRB E-List 2021 #1: Women's Rights, African Americana, Glbtq Rights, Folk Music,

1. [SCHOOL-GIRL] A MOBILE GRADUATE Farewell to her Classmates

[Mobile, Alabama]: np, nd. [ca:1870]. 31⁄4 x 81⁄2 inch original broadside poem
Provenance: From the estate of a late 19th century Mobile, Alabama mayor. There is a contemporaneous inked signature at the top of the broadside: First name deciphered as Elizabeth. The last name appears to be Norvell. Lower right-hand corner dog-eared; tiny chip to upper left-hand corner margin. A few creases with a lateral fold in the center, starting to split.
A late 19th century note from a Mobile graduate to her classmates. Rare.
2. An archive of Myra Friedman’s biography of Janis Joplin, Buried Alive
(Joplin, Janis). Friedman, Myra.  

Included: 15 files of primary source documents
-Review Clippings & Printouts (2 Files)

*Approximately 80 newspaper and magazine clippings, printouts, recording book reviews of Friedman’s, Echols’ and Laura Joplin biographies
-Special Letters (2 Files)
-Movie Content Related
-Emails and Correspondence
* Fan letters: 1973-1990s, + duplicates. The photocopies are mostly letters that were sent to Morrow, then copied by Friedman’s editor and sent to her
* 33 pages; 10 photocopies, 19 pages + duplicates
-Communication with Peter Hoffman - Financier & Producer
*Friedman’s suit against Peter Hoffman regarding movie rights, Joplin retrospectives etc. 1970-2007

Ebay Material:
  • Printouts of eBay sales of original Joplin MS and tambourine, 6 pages 2000-2001
  • Burning Alive Script Draft & Other related Material
  • Incomplete draft for a film version of Buried Alive, 16 pages with some missing (effect continuity of narrative
  • Fair Use Legal Issues & Copyright Law
  • Additional film material, contributor release form for a 2007 VH1 interview
  • Janis: Land Interview
  • Contributor Release: Scavello, Janis Garden Party, Letter of Authenticity
                     -Letters from the American Society of Composers, Artists and Publishers
                    -Agencies & Lawyers for Biopic
                    -Contemporary Authors Bio Form
                    -Random Ephemera

The files in this collection contain Friedman’s Correspondences clipping collection, documenting Joplin’s continuing influence on popular culture, extensive correspondence (a large file of printed-out emails), and documents. Slides of record covers, incomplete letters and emails are also present.
-Hand written letters with original envelopes

Myra Friedman (1932 -2010) was born and raised in St. Louis. After majoring in music at Northwestern University she worked for Decca Records and then Columbia. In 1968 Friedman went to work for Albert Grossman, Janis Joplin’s manager, where she worked as Joplin’s publicist until Janis’s death in 1970.

Her now-standard biography of Joplin, Buried Alive, (New York, Morrow, 1973) was nominated for a National Book Award for biography and won the ASCAP-Deems Taylor Award for music writing.

This archive deals with with the reception of Buried Alive, as well as Friedman’s continuing interest in other Joplin-related projects.

There are many letters to Friedman from readers of the biography (some of them in photocopy, as sent to her by the publisher), where readers confess how much the book meant to them, and its influence even on those who were previously uninterested or repulsed by Joplin’s reputation. Other letters show the reluctance of Morrow to publish the book for fear of glamorizing a self-destructive rock star. One letter from a former band member recounts a helicopter landing with Joplin at Woodstock.

Friedman published an updated version of her book in 1992, however the Joplin estate forced her to remove certain portions that had been in the original edition. Some legal documents and discussions of fair use and public domain reveal this aspect of the biographer’s challenge.

During the 1990s many competing attempts were made by Hollywood studios to produce a “biopic” of Joplin’s life, however none ever materialized. Emails, legal documents, and news clipping reveal a tangled mess of financial dealings, disputes over rights, and use of songs, issues which long prevented a serious biographical movie from production.

The files in this collection contain Friedman’s clipping collection, documenting Joplin’s continuing influence on popular culture, including print outs of memorabilia offered for sale on Ebay, correspondence (a large file of printed-out emails), and documents. Slides of record covers, incomplete letters and emails are also present.

Friedman kept track of competing biographers, and there is an extensive email correspondence with Alice Echols, Professor of English, Gender Studies and History whose 1999 biography of Joplin “Scars of Sweet Paradise,”was written with Friedman’s help.

File #1: B. Alive Script/Robb - Baker/Driftwood, etc.
[Burning Alive Script Draft] 8.5 x 11”front sides only, papers loose. David Goetz: 7 pages (First two pages unnumbered; then starts at page 2). A summary  of a discussion at Janis’s apartment. David and a few other local friends describe Joplin’s personality, her childhood and her life choices.
A continued draft: 7 pages, 8.5 x 11.”  7 pages [starting on page 2, 3, (two page 4s), last three pages not numbered.

File #2: Peter Hoffman
  • Arts Memorandum. To: Myra Friedman. From: Peter M.Hoffman Date: July 6, 2000 Re: Janis.  Letter to Friedman about her email - noting that they both don’t like to VHS movie. Hoffman will “kill it.”
  • E-news from about Artisan Entertainment suing Peter Hoffman for a financial deal that fell through. 2 pages, front text only. Dated 6/1/01
  • E-news from Yahoo News, dated 5/31/01.”Artisan Sues U.K. Insurer and Money
  Modernage: Professional Duplicate slides. 2 x 2.” All titled on back: Janis Joplin - Elliot Landry (2), Big Brother & The Holding Company, Daniel Krammer, Kozmic Blues, Cheap Thrills, Greatest Hits, Box of Pearls, Pearl.

File #3: Dan Wakefield - ASCAP
  • Letter from Walter Wager (hand signed) on American Society of Composers, Authors and Publishers, dated December 6, 1974 to Myra Friedman. Wager informs Friedman that a panel of distinguished judges has voted to recognize [Friedman’s] contribution to writing on music by presenting [her] with an ASCAP-Deems Taylor Award. Single 8.5 x 11,” single sides, text on front only.
  •  Kozmic Blues by Dan Wakefield - an article from The Atlantic Monthly. Page 108-113 (missing page 109). “Going Down With Janis,” by Peggy Caserta and Don Knapp. Buried Alive by Myra Friedman. Single sheets with text on front only.
  • Little Piece of Her Heart: In handwritten letters, which were recently auctioned off, Janis Joplin speaks candidly of her insecurities, her love for music-and her battle with drug addiction by Renee Tawa from the Los Angeles Times, Tuesday, March 6, 2001. Photo of Joplin singing and a photo of her letters penned in 1965. A yellow sticky note attached to article from Myra: “Thought you might like to see this - Myra. Article trimmed to 12 x 12.” Folds from mailing.
  • Ebay item 458513921 (Ends….48 PDT) - Janis Joplin Original Manuscript page 1 of 2. Started 10/4/00 Ends 10/4/00. Price: $200,000. Time left 4 days, 18 hours. Description - half a page. Two single sheets, loose, front text only. Second page: Janis Joplin’s Personal Tambourine Wow! Note that the Reserve Auction in which the reserve price was not met. Bidding is closed.
  • Email from to, dated 7/23/2000. “This letter is for sale. Supposedly, it was written by Janis in 1965 when she went back to Texas after getting addicted to speed in SF. It doesn’t look fake…” Letter follows, dated September 6 to Peter. Ending with “xxxxxxxx I Love You, J.” Two single sided 8.5 x 11,” sheets, text on front only - pages loose. The back of the second page is covered in handwritten notes, dates, money, phone numbers.

File #5: Special Letters
  • Letter on Steve Banks Photographer letter head. Handwritten in black marker to “Myra: Hope 1998 is good to you! The book “Janis’ Garden poetry will be out in May 1998. At printers now…” Signed by Steve Banks. Single 8.5 x 11” text on front only. Second page is the copyright information. Front text only.
  • Letter to Myra Friedman, dated February 5, 1997. Steve Banks Photographer letter head. Typed note to Friedman about the Janis Joplin photos Banks sold to her for her book, “Buried Alive.” He is asking Friedman for “interesting facts, listing of albums, personnel in the bands etc. for his own black and white photo book of Joplin images…if you [Friedman] will help verifying information, it would “save me loads of research time.”  Two single sheets, 8.5 x 11,” text on front only. Papers loose.
  • Letter to Myra Friedman, dated January 3, 1993 from Maury Baker. Letter lets Friedman know that she finished her book, Buried Alive, and tells Friedman that she is Maury Baker - who played with Janis’ band between June to December 1969. Baker writes about how Janis would confide in her about the music they played and about her [Janis] private life. Baker writes that she played in Woodstock with Janis - remembering the helicopter lowering the to the ground and Janis’ reaction, “Man, I can’t relate to this.”  Two single 8.5 x 11,” paper, text on front.
  • Letter to Myra Friedman, typed on Gary Kanter personal letterhead, dated July 24, 1974. Single 6.5 x 10.5,” text on both sides, cream paper. Kanter writes that he had seen Joplin perform years ago and Janis was very drunk and didn’t seem like herself. Kanter compliments Friedman about her recent book, Buried Alive, and how it filled in the “missing links” about Joplin. Kanter continues to question Friedman about how she could “totally devout (sic) your entire life to another individual…” Signed in hand.
  • Letter to Friedman on Katherine Orloff letter head, dated October 12, 1974. Tan paper with thin black border, 7 x 10.” Text on front side only. Orloff writes that she finished “…your devastating biography of Janis Joplin. I want to tell you how much it affected me…having been involved in rock and roll for six years…” Orloff continues to describe how she realized how “vulnerable Joplin was beneath the bravado.” Handwritten signature in blue pen.
  • Handwritten letter to Myra on yellow legal paper, dated Sunday, 23 September, 1973 from San Raphael, California. Two legal sized pages, text on front only. The letter is signed by Patrick [M…] ? Letter says that you [Myra] probably don’t remember me…He describes how he was destitute in December 1969, married to someone he didn’t love. He bummed a cigarette from a girl who then invited him to have drinks at a bar called Nobody’s.  He told the girl that “she reminded him of Janis Joplin. He didn’t believe it was her until they entered the bar and saw how everyone reacted to her. They had personal discussions: about Janis’ letter from her mom, about playing…He got sick from so many drinks and Janis cleaned him up and invited him to her house on December 28th for a Christmas party. Freedman told this letter writer to call Albert’s office a day before the concert to get backstage passes. He never called, never made it to the party and never saw or heard from Janis again. In summary he lets Myra know that he spent only a few hours with Janis, “never made love to her,” and was never into her music. When he received the phone call about her death  - he was shocked. He thanks Myra for Janis’ compassion, sympathy and love.
  • Letter to Friedman on Bill Viggiano personal letterhead. Single sheet, text on front. He mentions that there is an enclosed photo (not present) of Janis that he took when Janis appeared at Forest Hills Stadium in June 1969. He took the photo during an encore, Janis was singing “Ball and Chain.” Viggiano describes how the audience was rushing to the stage just to hug or touch Joplin. He was reminded of this as he was reading the Joplin biography - and wanted Friedman to  have the photo.
  • Stapled on upper left corner: A)Typed letter from James Dickey to Mr. James Landis, dated December 29, 1972. Single sheet with text on front. Dickey thanks Landis for his letter connecting him with Friedman’s biography Buried Alive. Dickey replies, “Your sententious and publicity-conscious exploitation of the poor little girl is one of the more disgusting manifestations I have seen in American publishing….I will not lend my name to any such disgusting commercialism as this.” Signed as copy by James Dickey. B) Typed reply letter, two single sheets, text on front only -  from James Landis, dated January 4, 1973, promising not to bother Dickey with any more of his books. He continues, “The virulence of your letter is clear enough, though [Landis] worries because he thinks that he [Dickey] misinterpreted his note. Landis concludes that it would have been better for Dickey to read at least some of what Friedman had written.” C) Typed letter to Mr. Landis from Mr. Dickey, dated January 12, 1973; single sheet, text on front. Dickey writes that Landis has mistaken him - and can bother him at any time with any of your [Landis] books. Dickey asks for a list from Landis’ publishing house. Dickey does say that he stands by what he said about Janis Joplin…the glorification…via publicity…being the wrong thing to do because the “…young people of our time are being understood to death, and therefore indulged to death…” Dickey ends his letter by thanking Landis and requests that next time he [Landis] in in New York, they could have a drink or two. But not Southern Comfort!”

File #6 (White): Contributor Release: Scavullo…Janis’ Garden Party - Letter of Authenticity
  • Contributor Release, dated July 1, 2007. Single sheet, 8.5 x 11,” text on front only. The Contributor is Myra Friedman, including (recording, all biographical material, photographs) to be given by Contributor in connection with the Series  - which Producer proposes but “does not undertake to produce, broadcast, exhibit and/or otherwise exploit. Series Title, (the “Series”) Final 24 (2nd season).
  • SCAVULLO  - two single 8.5 x 11” pages, front text only, stapled upper left corner.
  • Janis’ Garden Party: Janis Joplin in Concert. Madison Square Garden: December 19, 1969. Three single sheets, 8.5 x 11” single sided, loose. First page is the title page, 2nd sheet repeats the information at head of sheet: Friday, December 19, 1969. Madison Square Garden - 4 Pennsylvania Plaza, New York City. Middle of page: Janis’ Review and Main Squeeze - Featuring: Janis Joplin, Sam Andrew, Bill King and 7 other names. Special apperanes by: Johnny Winter and Paul Butterfield. Third page filled with Joplin’s biography and personal information.
  • Affidavit of Identity / Letter of Authenticity: Janis Joplin’s Autoharp. Following is a testament to the provenance and identity of the below autoharp which at one time was owned by Janis Joplin. Single page, 8.5 x 11,” in protective sheet. Below text is a colored photo of the autoharp and Joplin.

File #7: Bios and Legal Issues
  • Original letter to Myra Friedman from Melvin J. Simburg (signed in blue pen) on Simburg, Ketter, Sheppard & Purdy, P.S. Attorneys at Law letterhead, dated 2, 1991. Subject: Joplin Enterprises, et al. v. Allen, et al. U.S. District Court Cause No. C91-1035C. Two single sided, 8.5 x 11” pages on cream-colored paper. Appears as if it was stapled originally - but now held together by a paper a  paperclip.
  • Letter to Kathy Belden from Heather Kilpatrick on Random House Inc. Law Department. Copy of two pages, front side only 8.5 x 11.” The subject: Friedman: Buried Alive. Discusses the concept that “once a work is in the pubic domain prior to 1978 it will stay there after 1978.”
  • The Fair Use Doctrine and Unpublished Works by Andrea D. Williams. Permanent Home Address: 1443 Rittenhouse Street, N.W. Washington, D.C. 2011. Includes phone #.  31 pages, text on front side only. Stapled at upper left corner. Includes Table of Contents.
  • The Effect of Copyright Practices on Educational Innovation by M. William Krasilovsky, Counselor-at-Law, New York City.  6.5 x 10,” [413] p. 414-427, text on both sides. Cream colored paper, double stapled on left edge. Reprinted from “The Teachers College Record Volume 70 Number 5. February 1969. Browning along left edge throughout. A few minor water stains, not affecting text.
  • Authors Guild Bulletin. Erica Jong, President/Hugh Rawson, Editor/Winter 1992. For Members: Remember Sigmund Freud’s frustrated question. “What do women want?” Well, if he’d read a romance, he would have known.  - Pamela Browning. 51 pages, double sided. Small tear in bottom right corner of cover not affecting text. Page 2-6 bottom right corner wear.
  • Second Circuit Review: Fair Use Revisited by Martin Flumenbaum and Brad S. Karp. Article copied from the New York Journal- Monday, December 30, 1991. Two pages, single sided - 8.5 x 14.”

File #8: Interview
  • The Last Intervier 8, 1970, page 12. The article is about a taped phone interview with Janis Joplin on the night of her death. 11 x 16,” interviewer claims that she “seemed pretty together and was happy with the album she was cutting with her new producer, Paul Rothschild.”

The rest of the folders are filled with the following material:

File #9: Movie Contract Related  
-Retainer letters (Rosalind Lichter: Attorney of Law papers): 5 pages
-Authorization of Payment (Rosalind Lichter): 4 pages
-MTV Networks: 4 pages
-Handwritten Notes & Related Clippings: 18 items
-Letter to Myra Friedman: 2 items
-Letter from Schirmer Books: 1 page

File # 10: Emails
-Approximately 105 pointed emails on related content with handwritten notes by Friedman
-Various clippings and printed interviews and articles on Joplin: Approximately 25 items

File #11: Agencies and Lawyers for Biopic
-Approximately 15 items
 -The Gersh Agency
 -William Morrow Publishers
-Curtis Brown Limited
-Bantam Books
-Creative Artists Agency
-Bios on an Attorney
-Original article
-Original envelopes included with some items
File #12: Random Material
File #13: Clippings
File #14: Review Clippings
File #15: Letters, Fan Letters (Early 1970s), Fan Letters (1980s), Fan Letters (1990s)

-many letters are handwritten

A vivid working portrait of a diligent biographer compiling a still important biography on a major loved & notorious female rock & folk musician of the late 20th century.

3. National March on Washington for Lesbian and Gay Rights, Oct. 14, 1979: Official Souvenir (poster)
Washington, D.C. : March on Washington Committee for Lesbian and Gay Rights, 1979. 23" x 17." Black text and graphics on yellow paper. The lower half of the poster contains a graphic of the Capitol dome and a skyline behind it. Top left edge has a 0.5 pinhole with light soiling. There are three closed tears along the top right edge. All edges worn, the left with more significant wear than others. Wrinkling; the verso has to minor tape repairs on upper sides of top edge. Also on verso, handwritten in brown marker, "DC Gay March." Very good. We could only find 1 holding (USC) of this poster in OCLC (as of May 3, 2021). All other listings were for the 44 page book souvenir program and e-book.

The National March on Washington for Lesbian and Gay Rights was a large political rally that at took place in Washington, D.C.on October 14, 1979. The first such march on Washington, it drew between 75,000 and 125,000 gay men, lesbians, bisexuals, transgender people, and straight allies to demand equal civil rights and urge the passage of protective civil rights legislation.
From “Why We Are Marching” flier, circulated in advance of the 1979 March on Washington:

“People throughout the nation are joining together to make the March on Washington for Lesbian and Gay Rights an inspiring and successful event, an event so important that it will propel lesbian and gay liberation forward in a way that hasn’t been done since the Stonewall Riot. The March on Washington will mark an important point in the evolution of lesbian and gay strength: the coming together of people and organizations from all over the country to work for the first national action planned by the lesbian and gay community.

1979 is the tenth anniversary of the Stonewall Riots, the historic rebellion that helped to launch the current wave of lesbian and gay liberation. What better way for us to commemorate this anniversary than by mobilizing our sisters and brothers, as well as all our supporters, in the first national march for lesbian and gay rights. The march will be a celebration of our community solidarity and a sign of our political strength …

“… We will be in Washginton, building a broad, mass movement to fight for our freedom. Our demonstration will insist on freedom for all gay people and must reflect the anger and pride of our community in the face of government callousness, double-talk, and inaction. We should march on Washington, not plead with the government for token concessions, but to demand and struggle for liberation and an end to persecution.”

The march served to nationalize the gay movement, which had previously been focused on local struggles.



4. [WWI – MUSIC] WILLIAMS, W.R. / President Wilson
We Stand for Peace While Others War Note – This “Peace Poem” is inspired by President Wilson’s appeal to Americans to remain neutral in thought and deed
Chicago: Will Rossiter, [1914]. 30 1⁄2 X 13 1⁄2.” Framed: 36 x 18 3/4.” Music score. Near fine. “We Stand for Peace while Others War” was inspired by President Wilson’s “Appeal to Americans” calling for the United States to stay neutral in 1914. OCLC locates 7 institutional holdings.

First writing from the Tallahassee Women’s Liberation Movement



Tallahassee, Fl: Florida Free Press, 1971. First printing. 8 1⁄2 x 11” newsprint. 7 pp. Folds to 5 1⁄2 x 8 1⁄2 “ Mild stain to front cover; some spotting to foredges, else very good.

The first thing out of Tallahassee on the Women’s Liberation Movement was a six page
mimeo “thing” put out by Tallahassee Folk University as a study aid of what was
happening in the Women’s Movement in terms of literature. As the “word” about this
pamphlet spread, new material was incorporated.

PM #3 is probably the most complete listing of this type at this time. It lists periodicals, research/search aids/pamphlets,
packets, paperbacks and new media efforts. “Female liberation is not an organization. It is a nation-wide grass-roots movement of women who are getting together to discuss their oppression and to decide what they must do to end it...” – Female Liberation of Chapel Hill. Only 6 holdings in OCLC; none in commerce. 



X Collective X Magazine - 1978

Np: X Motion Picture Magazine, February, 1978. 60 pp. 11 1/4 x 14 inches, offset on newsprint, cover image selected by Michael McClard. Separated cover with worn edges, overall Good. A Colab publication assembled by the X Collective and coordinated by Jimmy de Sana, Colen Fitzgibbon, Lindzee Smith, and Betsy Sussler.

One of the first projects funded by the artist group Colab was X Motion Picture Magazine, a free-form platform for the group’s core of “No Wave” filmmakers. Soon after this second issue appeared, many of the magazine’s contributors were featured in the catalogue for the “Punk Art” exhibition held at the Washington Project for the Arts in 1978. Contributions include: Kathy Acker, Charlie Ahearn, Beth B, Scott B, Duncan Hannah, Tina L Hotsky, Eric Mitchell, Alan Moore, James Nares, Amos Poe, Marcia Resnick, Duncan Smith, Robin Winters and many others.



Protest Demonstration in London - Original Press Photo

London: Keystone Press Agency, 1966. 10 X 8” black & white press photo of women and children sitting and lying on the pavement during a demonstration outside the Law Courts in London. The demonstration was staged by more than 200 women and children from the King Hill hostel for homeless families in protest over an eviction of one of the residents. A spokesperson was quoted as saying, “we are protesting against the eviction order. This is a test case and if the council wins, Mrs. Daniels is forced to leave and about 15 other families will be thrown out into the streets.”


8. [Civil War] Confederate Rebel Song Celebrates Confederate Geneva Girls Who Aided Wounded And Sick
E.R. Manron
“Geneva Girls” was apparently a title given to Confederate women who were devoted to helping wounded and sick soldiers regardless of the side they were fought for.
2 pp, 5 ¾ x 14 ¾. Splits repaired with archival tape. Even toning, soiling.

2 pp, 5 ¾ x 14 ¾, E.R. Manron, writes to W.C. Morrison “Right out of the rebel camp...Well, Mr. ‘Billy’ here is the song you wanted. You must excuse the bad writing for I write in great haste. If you are out of the notion of wanting this song yourself please give it to one of the boys who know the Geneva Girls.
“Yours ever...Geneva Girl No. 2.”
On the verso, Manron, titles the song, “Geneva Girls/Air of Fairy Belles”
The song, “Now please give attention to what I am going to say about our Geneva Girls in my own peculiar way; Now pretty girls one by one everybody knows, that you are always taking on about your precious beaus; Chorus. Geneva Girls, Geneva Girls so gay, Long may you to it in your own peculiar way; Tis Jennie with her good looks, The prettiest girl in town, Now Miss Roach beware of hooks for your Tisher is coming down; Next comes Miss Cassie. You all agree she is pert, Oh she is a pretty lassie. But she is such a flirt; Miss Helena is a pretty maid, Her manners are so endearing, But she is a goner I’m afraid, For she is very fond of Herring; Now Virgie is on the lookout, And she says it is all in vain, There is no use to look about, there is her good looks, The prettiest girl in town, Now Miss Roach beware of hooks for your Tisher is coming down; Next comes Miss Cassie. You all agree she is pert, Oh she is a pretty lassie. But she is such a flirt; Miss Helena is a pretty maid, Her manners are so endearing, But she is a goner I’m afraid, For she is very fond of Herring; Now Virgie is on the lookout, And she says it is all in vain, There is no use to look about, There is none like Alex McLean; Miss Sophia is a lovely girl, She is happy as a clam, [next line difficult to read], Just like her darling Dan, Miss Durlie tho’ it matters not, She is bound to have her fun, Lookout Durlie you may be shot, By that young Danie Gunn; The widow I’m afraid she’d blame Me if I were to confront her, Oh! My what precious game she’d be for the hunter. So girls go it while you are young, But remember what I say, It was always best to hold your tongue, in its own peculiar way.”

Hospital services in the Confederacy were dire, typically without medicine or surgical appliances.  Treatment would have been much worse were it not for the Southern women who devoted themselves to the sick and injured. Every woman available was a nurse if she were needed and every house, if needed, a hospital. To them a wounded man was sacred regardless of the side he was fighting for.

At one point, the Red Cross Society was established and the Geneva Conventions, whose founder, Henri Dunant, focused on the amelioration of the wounded in time of war in 1864. The convention provided for immunity from capture and destruction of establishments for the treatment of wounded and sick soldiers and their personnel; the impartial reception and treatment of all combatants; the protection of civilians providing aid to the wounded; and, the recognition of the Red Cross symbol to identify persons and equipment covered by the agreement.

Written on ledger paper, not uncommon during the Civil War especially in the Confederacy as paper was scarce.  Splits repaired with archival tape. Even toning, soiling. Address leaf is light.

Everything we sell is guaranteed authentic forever to the original buyer. We also offer a 30-day return policy. If you discover a problem or are dissatisfied with an item, please contact us immediately. Our goal is to please every customer.  We are pleased to be members of The Manuscript Society, Universal Autograph Collectors Club, The Ephemera Society, the Southern New England Antiquarian Booksellers and the Preferred Autograph Dealers and Auction Houses. [WH- CW 112]
Manuscript map, 3 x 3 inches on a large sheet of paper (5 1/2 x 7 inches), undated [ca. 1861], ink on lined paper (mounted on stiffer paper), with a key to ten place names in the right margin.

9.  Prince William Co., VA, [ca. 1861]
[CONFEDERATE MAP]. KENNEDY, Thomas Jefferson. Picturing positions along the Potomac River, south of Washington, D.C., to Fredericksburg, and west to Centreville, Manassas, and Stafford Court House in a manuscript map, captioned "A Sketch of our present location at Beeria No. 1, Prince William Co., Virginia! and surroundings!!," and signed by him.

Manuscript map, 3 x 3 inches on a larger sheet of paper (5 1/2 x 7 inches), undated [ca. 1861], ink on lined paper (mounted on stiffer paper), with a key to ten place names in the right margin. Kennedy's camp at Beeria ('No. 1" on his key) lay between Dumfries and Cedar Run, at the mouth of which Kennedy has noted the site "where the Batteries aree to be erected." Kennedy began the war as a private in the Sumner Country Greys and later served as surgeon to the 2nd Tennessee Infantry and was with his unit at First Manassas and Shiloh. Some soiling, but very good.
[WWI - Music]
10. Let Us Have Peace (A Prayer) Words by George Graff, Jr. ; music by Ernest R. Ball. [music]
Ball, Ernest R., 1878-1927. Dedicated by permission to Hon. William H. Taft/President of the United States and the cause of peace the world over New York, Chicago, San Francisco, London; Paris: M. Witmark & Sons, [1914]. 30 x 12 1⁄2”; 36 x 19” framed. Near fine. Only four holdings in the U.S. according to OCLC.



Hun or Home?
Buy More Liberty Bonds [poster]

Chicago : Edwards & Deutsch Litho. Co., [1918]. 19 1⁄4 x 29 3⁄4 .” Original, color lithograph poster. No. 9-B. Printed in black and red on an ochre ground. Captioned across top. Below this, to left, a hulking German soldier - identifiable by his spiked helmet - moving toward a girl to the right, in fearful pose, holding a baby, moving forward but looking back. Small, closed tear (1”) at top edge (not affecting text or illustration), else near fine.

The USA entered the First World War in 1917. It established a system for the general population to make financial contributions to the war effort in the form of Liberty Bonds, the equivalent of the British War Bonds. Tales of (largely unfounded) atrocities, such as rape, child murder and mutilation and abuse of soldiers' bodies, were behind many of the images for such posters. In this one, the German soldier, identifiable by his spiked helmet, looms up like an ape toward a female figure. The imminence of horror is intensified by the fact that she is clutching a baby and seems, by her pigtail and short skirt, to be merely a girl.


12. Morris Child Development Center
Morris Infants and Toddler’s Center: A State of Michigan Pilot Program

Detroit: Morris Nursery School, 1972.  13 x 10.5” folded into thirds. Green pamphlet with orange text, photo of kids on a jungle gym- tinted orange. A licensed and well-planned demonstration center for children six weeks through age two that is modeled on the environment  of a well-functioning home. Motto of the school: “The Closest Thing to MAMA.” Not in trade or OCLC as of 4/30/21).

13. [IWW] Direct Action! Long Beach Strike 

New York: IWW, [1972]. 8 1/2 x 11," when folded to make 4pp; printed on light yellow paper. Slight wear to first page, crease at bottom left corner and tanning at bottom right corner, (not affecting text), else very good. Discusses the 1972 Chemical Workers Industrial Union's strike of Long Beach, CA. Also, articles on George Wallace, Women's Sit-Down Strike and Michael May. No holdings in OCLC or trade (20201. 

Direct Action! (formerly General Strike) was the monthly newsletter of the New York City Branch of the Industrial Workers of the World. As stated, "...unlike our esteemed competitors we don't lie through our teeth to help shore up the corrupt social and economic system" (from p.4). 

(African Americana)
14. Folio of Plantation Melodies And Comic Songs: Containing A Splendid Selection of Ballads-Comics-And Sentimental Songs
Chicago, New York: National Music Co., 1897. First edition. 9" x 12." 160 pages with tape to hold together original binging. Thin paper cover with title and photo of slaves in cotton field; top edge with loss on the upper top, left edge (1.5" x 1"), not effecting text. Similar loss on upper right edge, with two cut, all not effecting text. On the Upper edge of title page, there is a name stamped in green ink: G.H.C. Williams. Right edge has tiny cuts and a larger one on middle edge, measuring less than 0.5" x 2.5." Bottom edge with tears and cuts as well. Right edge corner has small cut. Fading to title page text and photo, tanning on all inner pages, only good. Only 3 holdings in OCLC (Kentucky, Illinois and Oxford).


Solid Rock Missionary Baptist Church (November 2, 1958) & 1976.

*BULLETIN-Solid Rock Missionary Baptist Church (November 2, 1958)
Oakland: Tilghman Press, 1958.  First edition.  7 1/2 x 8 1/2,” with black print on tan paper with a photo of the church and its congregation.  Chips and tears (not affecting text). Very worn with a vertical crease throughout.  Items include ministers’ names, Sunday School and evening worship schedule, missionary activities and special announcements. 

Solid Rock Missionary Baptist Church [Bulletin] - August 29, 1976.
Oakland: N.p., 1976.  Approx 7 x 8 1/2”  - black type on yellow paper, folded.  Wear with minor chips and small tears (not affecting text). Includes information on morning and evening worship schedules with acknowledgements on the back cover.  Also has a pink colored paper insert of approx 5 1/2 x 8” [4pp], with response readings, a list of offerings, the words for O For A Thousand Tongues and I Can Do All Things.The back cover has a list of the sick and shut-in.  

The second insert 5 1/2 x 8” has a faded stamp from Reid’s Records in Berkeley - two pages, detached of the music and words to, “I’d Rather Have Jesus” in two arrangements. solo…male voice.  Faded, worn and fragile, good.- good.
This photographic album is a record of a pioneering social program by the ACIP.
16. [ACIP] [Social Programs] Ollie A. Randall’s Photograph Album for Ward Manor; the Old Folks Home and Youth Camp of New York City’s Association for Improving the Condition of the Poor
Annandale-on Hudson, New York: Np, 1930. Album 13 x 15 1/2.” Burgundy boards with black tape reinforcing the spine; gilt lettering. Wear and scratches to boards with right top corner loss (approx .5 x 1”), else very good. 40 pages with 83 black & white photos, ranging in size from 3 1/2 x 5” to 10 x 7 1/2.” Each photo with title and typed description. 3 photos missing but description remains.

Included is a two page spread, entitled Places of Friendliness, which gives a detailed account of Ward Manor and what goes on there. On the last page is a map of Ward Manor, measuring 8 1/2 x 13.”
In 1926. William Boyd, the owner of a baking company, purchased a large grey stone building and the surrounding land near Annandale-on Hudson and donated it to the Association for Improving the Condition of the Poor (ACIP), which, in turn, used it to create “a welcoming place for poor people to spend the last years of their lives.”

Eventually the ACIP bought surrounding properties and, not only expanded the number of elderly rooms, but also created a summer vacation resort for semi-employed adults and a summer camp for impoverished children.
Ollie A. Randall was the director of Ward Manor from 1926 until 1945. Ward Manor is now a part of the campus of Bard College.
A unique photographic record of an important, innovative and pioneering urban Social Program.

17. [WOMEN]  BEAL, M.F. & friends
Safe House: a casebook study of revolutionary feminism in the 1970’s
Eugene, Northwest Matrix, 1976. 154 pp, line illustrations and a few clips reproducing SLA publicity images, inscribed “To the day men abandon violence and every woman’s house is safe, M.F. Beal.” First edition 9 x 6” decorated wraps, slightly shelf worn. There is a colophon, which states, among other things, that “The SLA portraits and calligraphy were by Mary Ann Tharaldsen of Berkeley.” Printed by a woman owned press, Long House Printcrafters.



Lancaster, Pa. : Press of the New Era Print. Co., 1914. First edition.  6 x 9,” 14 pages with illustrations.  Brown wrappers, side-stapled.  Includes the managers, constitution, by-laws, copy of application for admission to the home, testimonials and a partial list contributions and bequests to the Home.  Rare. Only three holding in OCLC.  None in trade as of May 2021.


19. [Education - Music] ARMITAGE, M. Terersa.  The Laurel Music Series: Folk Songs and Art Songs for Intermediate Grades (2 volume set)
Boston: C.C. Birchard & Company, 1924. First edition.  6 1/4" x 8 3/4." 140 & 156 pages.  Tan wrappers with brown print over brown boards. Interiors clean.  Handwritten name on inside of front cover: May C. Dixon.  Unusual to find in set.

20.  The Sex-Ridden Cartoons of Playboy Magazine

Collection Of 290 Extracted Magazine Playboy Cartoons

Np: Playboy Magazine, Various dates. 290 original, color playboy cartoons, neatly removed from the magazines by a fanatical collector. 8 1/2 x 11.” Some pinholes in upper and lower corners, else very good.
Playboy’s visual humor has helped define the magazine – its lifestyle and its sexual politics for over half a century. During the sexual and political repression of the fifties, cartoonists were among the first to seek out the magazine as a place where humor of a more sophisticated nature was welcome.

Mainstream magazines promoted the sort of family oriented, Norman Rockwell togetherness, but Playboy was a magazine for the young, urban male, headed down its own path. Playboy became a playground for genius. John Dempsey, Gahan Wilson, Rod Taylor, Rowland Wilson, Don Madden, Doug Snoyd, Michael Fflokes, Smilby, Kiraz, Phil Interlandi, and Marty Murphy (all represented in this collection) came on board.

These humorists were hip subversives and revolutionaries who poked fun at the prevailing hypocrisies of the time. The cartoonists satirized the status quo, with a feeling of defiance. They ridiculed everything from state sponsored executions to the sober precincts of the nouveau rich, from teenage dating to police line-ups, with scalding and hilarious satirical jabs - illustrating private angst we never knew we had (when you eat a steak, just whom are you eating?) to the ironic and deadpan take on horrifying public issues (ecological disaster, nuclear destruction anyone?).

These cartoonists have been peeling back the troubling layers of modern life with their incongruously playful and unnerving cartoons, assailing our deepest fears and our most inane follies. It wasn’t just about being funny, but being true. Playboy suggested that women were as sexually active as men and it embraced that reality, making fun of the puritan pretensions that dominated society, with such topics from the sexual revolution to relationships, money, and politics. Many cartoons featured sweet young things, terrible tarts, winsome wives, suitors, and studs. Playboy had a role in fueling the sexual revolution of the sixties and the cartoonist supplied the spark.
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