Jeremy O'Connor
manuscripts · archives · fine & rare books

I've been in the rare book trade for over 25 years, co-founding The Manhattan Rare Book Company in 1999. One of our first acquisitions was a 1685 Shakespeare Fourth Folio, bought sight unseen, bidding by phone at four in the morning — a Sotheby's sale in London. Our first printed catalogue, in 2001, featured that Folio alongside a first edition of Gatsby in the first state dust jacket.

These days my focus has shifted toward archives and manuscript material. Some offerings are in association with MRB; others I offer separately. I'm still buying more than I should, but less than I'd like.

What draws me is the living pulse. It's there if you let the material speak on its own terms — letters, manuscripts, documents that catch a hinge moment: a new idea, a private reckoning or revelation, a hidden fault line suddenly exposed, an artistic pivot, a newly surfaced document or archive that forces us to reconsider what we thought we knew. What strikes me every time — and I find it both eerie and thrilling — is that the people behind these documents almost never fully understood what they were part of. If you find the right material, curiosity and empathy will breathe new life into ink on paper.

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The Dawn of New Hollywood: Fred Roos Casting & Production Archive

Harry Potter galley sheets, 1997

In February 1997, a small London publisher printed the galley sheets for a first novel by an unknown author. Bloomsbury's initial U.K. print run would run to only 500 copies, mostly sent to libraries. Nobody involved yet knew what they were holding — this was still just a manuscript proof making its way toward print, months before the world had any reason to know the name Harry Potter.

[DRAFT — replace with the real detail: what exactly survives here — page count, format, any printer's marks or corrections, how you can tell it predates the finished first edition.]

This is the only known surviving copy of that earliest printing, in any form. Galley proofs are working documents, not built to last — most are discarded once the real print run begins. That this one survived at all is what makes it extraordinary.

[DRAFT — replace with your own note: how this piece came to you, what it was like to hold it the first time, or anything else in your voice. This is exactly the kind of 'living pulse' moment the homepage intro talks about.]

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