Ottawa: National Gallery of Canada, 1975. Illustrated. 4to, stiff wrappers. Ottawa: National Gallery of Canada, 1975. Exhibition catalog, printed in French and English. Presentation copy from Arnott to Francis Steegmuller. Laid are are two typed letters signed to Steegmuller concerning his doing a radio broadcast on Craig in conjunction with the exhibition.
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Los Angeles: Philosopher's Press, 1940. From the text and anagrammatic writing in the First Folio Edition of the Shakespeare Hamlet. Transcribed by Wallace McCook Cunningham. Frontis. 96pp., thin 8vo, black cloth-backed boards, dust wrapper; dust wrapper lightly edgeworn. Los Angeles: Philosopher's Press, 1940. A very good (+) copy in a very good dust wrapper.
Cambridge: Cambridge University Press, 1957. Small 8vo, grey cloth, dust wrapper (price clipped, chipped and somewhat worn). Cambridge: Cambridge University Press, 1957. First Edition. A fine copy in a good largely intact dust wrapper. Inscribed by both of the authors with an additional amusing comment on the fly leaf. The Friedmans were instrumental in breaking the Japanese naval code during WWII.
xiv, , 573pp. Thick 8vo, bound in 19th century calf (rubbed and worn with neat repairs at corners, spine ends and front hinge repaired; pages are lightly foxed, toned and soiled throughout; bookplate inside cover with corresponding pale ink stamp on title). London: W. Johnston, 1765. First edition. Despite the flaws, a solid and reasonably attractive copy of this uncommon book.
London: Joseph Thomas, 1832. With facsimile bound in before the title page. xv + 58pp., thin 8vo, later wrappers; uncut, wrappers chipped. London: Joseph Thomas, 1832. A very good copy. Represented at the Theatre Royal, Drury Lane, on Saturday, April 2, 1796, As a Supposed Newly-Discovered Drama of Shakespeare.
Princeton: Princeton University Press, 1994. 274pp. 8vo, brown cloth, d.w. (torn and taped at head of spine). Princeton: Princeton University Press, (1994). First edition. A fine copy in a very good dust wrapper. Signed and inscribed by the author to Howard Kissel, former theater critic for the New York Times.