Sixty Rare Books & Manuscripts

Peter Harrington london We are exhibiting at these fairs:

1–2 October pasadena Antiquarian Book, Print, Photo and Paper Fair Pasadena Convention Center

8–9 October seattle Seattle Antiquarian Book Fair Seattle Center Exhibition Hall www.seattlebookfair.com

20–22 October london INK LDN 2 Temple Place, London WC2R 3BD inkfair.london

28–30 October boston Boston International Antiquarian Book Fair (ABAA) Hynes Convention Center, Boston www.bostonbookfair.com

4–5 November All items from this catalogue are on display at Fulham Road chelsea Chelsea Antiquarian Book Fair (ABA) Old Chelsea Town Hall Kings Road, Chelsea, London www.chelseabookfair.com

18–20 November hong kong China in Print Hong Kong Maritime Museum Central Ferry Pier No.8, Man Kwong St www.chinainprint.com

VAT no. gb 701 5578 50

Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, Cover illustrations from Geoffrey Chaucer’s The workes, 1532, item 2. 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Design: Nigel Bents; Photography Ruth Segarra. Registered in England and Wales No: 3609982 Peter Harrington london

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Sixty Rare Books & Manuscripts

All items from this catalogue are on display at Fulham Road chelsea mayfair Peter Harrington Peter Harrington 100 Fulham Road 43 Dover Street London sw3 6hs London w1s 4ff uk 020 7591 0220 uk 020 3763 3220 eu 00 44 20 7591 0220 eu 00 44 20 3763 3220 usa 011 44 20 7591 0220 usa 011 44 20 3763 3220

Dover St opening hours: 10am–7pm Monday–Friday; 10am–6pm Saturday

www.peterharrington.co.uk All items are fully described and photographed at peterharrington.co.uk

The most extensively illustrated book of the 15th century 1 SCHEDEL, Hartmann. Liber chronicarum. Nuremberg: Anton Koberger, 12 July 1493 Imperial folio (444 × 310 mm), 325 leaves (of 326; without final blank). Contemporary German dyed-brown pigskin blind-tooled in a panel design with three frames filled with floral and scrollwork roll-tools, central panel with floral stamps; edges sprinkled blue, neatly mounted on later boards. Housed in a brown quarter morocco solander box by the Chelsea Bindery. 63 lines plus headline, Gothic letter, xylographic title-page, 645 woodcut illustrations by Pleydenwurff and Wohlgemuth repeated to a total of 1,809, some full-page, others double-page, including a double-page map of the world and double-page map of Europe. With the inscription on title of Johan Divel dated 1547 recording its gift from the estate of Herwart ? of the canons of St Blasius in Brunschweig; small library stamp with crown and phrase “Karl ProPr” on title; post- humous bookplate of noted American bibliophile Robert S. Pirie laid in. Some contemporary sidenotes or captions identifying cities. Later spine worn, head and foot of spine chipped, corners mended; clean marginal tears mended in leaves 12, 56, & 291, small marginal smudges and spots, light browning within text block in leaves 172–182, 217, 250, dampstain in lower outer corner of last 16 leaves, a few tiny mends at lower edge of last leaf; overall, a very good copy. first edition of the nuremberg chronicle, the most extensively illustrated book of the 15th century, a universally acknowledged masterpiece of complex design. Compiled by the Nuremberg doctor, humanist and bibliophile Hartmann Schedel (1440–1514), the text is a year-by-year account of notable events in world history from the Creation to the year of dieval history, and a large series of city views (including Augs- publication, including the invention of printing at Mainz, the burg, Bamberg, Basel, Cologne, Nuremberg, Rome, Ulm and exploration of the Atlantic and of Africa, as well as references Vienna), as well as a double-page map of Europe including to the game of chess and to medical curiosities, including what Ireland and Britain, Iceland and Scandinavia, and a Ptolemaic is believed to be the first depiction of Siamese twins. world map apparently sourced from the frontispiece of Pom- The book is especially famed for its series of over 1,800 ponius Mela’s Cosmographia (Venice, Ratdolt, 1488). woodcuts depicting subjects from biblical, classical, and me-

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The work was carefully planned, with manuscript Examplar the Nuremberg Chronicle (1976), approves Dr Peter Zahn’s count of volumes being made for both the Latin and the German text probably 1,500 Latin copies printed. version that followed closely afterwards: the sketches in these HC 14508*; BMC II 437; Klebs 889.1; Polain(B) 3469; Goff S307. confirm the active involvement in the project of the young Al- brecht Dürer, then just completing his apprenticeship in Pley- £87,500 [108472] denwurff and Wohlgemuth’s workshop. Wilson, The Making of

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The first complete collected edition of Chaucer, the first with paper restoration at upper outer corner and loss of part of the foliation number and just touching one letter of the colophon, a very collected volume of any English author good copy. 2 first complete collected edition of Chaucer and the CHAUCER, Geoffrey. [The workes of Geffrey Chaucer, first attempt to collect into a single volume the complete writ- newlie printed, with dyvers workes whiche were never in ings of an English author. The Canterbury Tales alone had been first printed by Caxton, first without and then with woodcuts, print before: as in the table more playnly dothe appere.] before Pynson attempted something like a collected edition in London: by Thomas Godfray, 1532 three separate publications of c.1526, but Godfray’s publication Folio (312 × 213 mm). Contemporary blind-tooled calf lifted from the “was the first attempt at a critical edition and for over 200 years original binding and relaid on heavy boards and rebacked to style (a provided the standard text of The Canterbury Tales” (Hayward). pencilled note dates the restoration 1946), the sides panelled with a Only The Canterbury Tales is illustrated: the cuts of the Knight stylised wheatsheaf roll and a decorative roll incorporating heads, the fore edges showing the marks where clasps and catches were formerly and Squire are copies from Pynson’s 1526 edition (Hodnett attached. 394 (of 397) leaves (lacking A1–3, supplied in good quality 2066, 2067), while the remaining 13 were cut for Caxton’s 1483 facsimile). Black letter, text in double columns. 20 woodcut illustra- edition (Hodnett 214–236). tions from 15 blocks, section-titles within woodcut compartments The editor was William Thynne, clerk of the kitchen and of (McKerrow & Ferguson 19) for The Romaunt of the Rose, Troylus and Cre- the green cloth to Henry VIII, and recipient of numerous grants seyde, Boetius de consolatione philosophie, “How Pite is Ded and Beried in and appointments. Thynne provides the first printed editions a Gentyll Hert” and “The Testament of Love,” all with continuous fo- of a number of Chaucer’s major works in verse and prose, in- liation and signatures, QQ3 cancelled as usual and replaced by four cluding The Book of the Duchess, The Legend of Good Women, Boece, leaves incorporating Robert Henryson’s Testament of Criseyde. Early and The Treatise on the Astrolabe. He also printed a large number ownership inscriptions of John Rappe in French, one in The Romaunt of the Rose (foot of sig. 2E3v) dated 8 June 1583; early ownership inscrip- of works not by Chaucer, including poems by John Lydgate, tions of Ro: Tirell (=Tyrell) at head of The Canterbury Tales part-title and Thomas Hoccleve, Richard Roos, and Robert Henryson, giv- again at head of The Knight’s Tale, and of Thomas Lanham at foot ing the volume an additional if accidental value as a poetical of Troylus and Creseyde part-title; some early underlines and contem- miscellany. The introductory materials to the edition, which porary marginalia throughout; front free endpaper with pencilled include the first life of Chaucer and a genealogy, are prefaced note (in the hand of Lord Kenyon?) stating that the book was bought by an unsigned dedication to Henry VIII by Sir Brian Tuke, the at the sale of Captain Walter Tyrell’s books, Christie’s 1891; modern king’s secretary, arguing for the poet’s pivotal role in the devel- bookplate of Robert S. Pirie. A few minor marks or stains, last leaf opment of the English language.

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The publisher Thomas Godfray was associated with some six leaves (A1, A4, Uuu1, Uuu2, Uuu5 & Uuu6) and the lower of the more radical propagandists of the Tudor revolution and outer portion of Ttt4, sold at Sotheby’s, 10 July 2003, lot 76. Thynne’s edition began a gradual process in the 16th century by Grolier, Langland to Wither 28; Hayward 2; Pforzheimer 173; STC 5068. which Chaucer was established both as the father of English poetry and claimed for the nation as a proto-Reformer, so that John £150,000 [108308] Foxe the martyrologist would eventually acclaim him as “a right Wycliffian”. In its care and attention lavished on primarily secu- lar literature, it also provided the model for the folio editions of the Jacobean dramatists. Though Morris used Skeat’s Victorian edition as his copy text, his own copy of the 1532 Thynne folio surely supplied inspiration for the Kelmscott Chaucer. This is much the most complete copy to have appeared in commerce in the past 40 years. The only other substantially complete copy in that period was the William Morris–Richard Bennett–Michael Tompkinson–Albert May Todd copy, lacking

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Music and the theory of sound – Vincenzo’s Dialogo and Spine with short splits over the cords, top corners worn, missing the original ties. One deletion in ink to two lines on page 70, and the odd Galileo’s Discorsi marginal note in a contemporary hand. Occasional light spotting, 3 pale damp mark to the upper margin of the first few leaves and to the lower outer corner, the odd stain, but a beautiful copy. GALILEI, Vincenzo. Dialogo . . . della musica antica, et first edition, first issue of Vincenzo Galilei’s main work, della moderna. Florence: Giorgio Marescotti, 1581 very scarce on the market. Vincenzo Galilei, father of Galileo, Folio (328 × 215 mm). Contemporary limp vellum. Housed in a brown made a series of experiments in the 1580s that subjected music quarter morocco solander box with chemise by the Chelsea Bindery. to scientific analysis. Stillman Drake suggests that Vincenzo’s Title within a fine allegorical woodcut border, two engraved examples experiments with sound “may have led to the origin of experi- of musical notation, five illustrations of musical instruments, two full page; one pasted-in woodcut diagram, numerous woodcut text mental physics”, by inspiring his son to experiment in a simi- diagrams, some full-page, and woodcut printer’s device at colophon. lar way. “Vincenzo was a skilled lutenist, a mathematician, and Old ownership inscription on front free endpaper crossed through. musical preceptor to the Florentine musical Academy of the

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Camerata. Among the manuscripts inherited by Galileo he left a translation of Aristoxenus into Italian, and he explicitly followed the example of Aristoxenus in trying to build musical science up from auditory sensation, instead of imposing on it a rigid mathematical scheme in the style of the Platonists. One of his discoveries, described in his last published work and last manuscripts, was that the traditional ratio 2:1, said to have been shown by Pythagoras to produce the octave, did so only with lengths of strings in that ratio: for the tension of strings the octave ratio was 4:1 . . . It was precisely when Vincenzo was doing this work that Galileo made his retreat from Pisa in 1585 and lived mainly in his father’s house in Florence, before re- turning to Pisa as lecturer in mathematics in 1589. He reported what were evidently Vincenzo’s results in his Discourses on Two New Sciences (1638), before giving his own proof that the musical intervals were ratios of frequencies and his own physical explanation of resonance, consonance, and dissonance” (A. C. Crombie, Science, Optics and Music in Medieval and Early Modern Thought, pp. 367–68). Adams G 139; Cinti 6; RISM B. IV, p. 344; Eitner IV, 128; Fetis III, p. 384; Gregory, p. 103; Gaspari I, p. 219; Bibliothèque A. Cortot, p. 83. £22,500 [109228]

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Contemporary red morocco first edition in english, first issue, with the Islip imprint. Lowndes calls this translation “A work of immense la- 4 bour, and what few men of his time could have executed in a PLINIUS SECUNDUS, Gaius; Philemon Holland superior manner to Dr Holland.” “This encyclopaedia of an- (trans.) The Historie of the World. Commonly called, the cient knowledge about the natural world had already had a Naturall Historie . . . the first [–second] tome.London: great indirect influence in England, as elsewhere in Europe, printed by Adam Islip, 1601 but had not been translated into English before, and would not be again for 250 years. Indeed, after four centuries, Holland is 2 volumes, folio (318 × 210 mm). Contemporary red morocco, spines richly gilt, black morocco labels, sides with gilt-ruled border and still the only translator of this work to attempt to evoke its lit- frame with gilt-stamped floral motifs at outer corners, gilt edges. erary richness and beauty” (ODNB). Housed in a burgundy cloth flat-back box by the Chelsea Bindery. Ti- The work was used as a source by Shakespeare for Othello tles with woodcut allegorical device, woodcut head- and tailpieces, and King Lear. “The importance of Pliny lay not so much that decorative initials, last leaf with errata on recto and colophon on he was an inexhaustible source for monsters, eclipses, and the verso. Bookplates of the notable book collector John Dunn Gardner stranger habits of all created things, but that in the pages of (1811–1903; known as John Townshend until 1843 and sometimes Philemon Holland’s translation Shakespeare found that em- styled “Earl of Leicester”); the monogram bookplate of “DHP”; book- phasis on Nature which he employed and re-interpreted in the plate of the lawyer, banker and bibliophile Robert S. Pirie (1934–2015), tragedy” (Evans, The Language of Shakespeare’s Plays). acquired by him from Seven Gables book shop. Front joints cracking at ends and with old superficial repairs, first headcap chipped, a few Pforzheimer 496; STC 20029. abrasions and small stains on covers, minor marginal soiling with an occasional marginal spot, light dampstain in fore-margins of vol. 2 £17,500 [108327] slightly affecting text, lacking first blank leaf in each volume, remains a most attractive copy in contemporary red morocco.

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Galileo’s first published endorsement of the tion suggested. Based on telescopic observation of their mo- Copernican theory tion, Galileo concluded that the sun rotated on a fixed axis like the Earth and other planets, thus embracing and elaborating 5 Copernicus’s heliocentric model. Galileo’s further discovery GALILEI, Galileo. Istoria e dimostrazioni intorno alle of the satellites of Jupiter is described and illustrated with five macchie solari e loro accidenti comprese in tre lettere plates. The work also includes Galileo’s first written account of scritte all’Illustrimissimo Signor Marco Velseri Linceo. the phases of Venus and Mercury as well as some considera- tions on the many puzzling mysteries surrounding Saturn. Rome: Giacomo Mascardi, 1613 There were two issues, the other with a supplement of Small quarto. Eighteenth-century vellum over pasteboard, spine Scheiner’s three letters to Welser written in 1611. The two were lettered in gilt panel, armorial bookplate of Nicolas Jean Baudelot issued at the same time. Scheiner was then teaching at Ingol- de Rouvray, engraved by Corlet. Housed in a black quarter morocco solander box by the Chelsea Bindery. Woodcut device of the Lincei stadt; the printer Mascardi was at liberty to publish his letters Academy on title, historiated initials, engraved full-page portrait of only in Italy, whereas distributing his work north of the Alps Galileo drawn by Francesco Villamena (1564–1624), 43 full-page en- would have infringed his copyright. gravings of sunspots and of Jovian satellites, several engraved tables The 17th-century provenance of this copy is interesting: and woodcut diagrams in text. With the early ownership inscription Samuel Kechelius, or Samuel Carl Kechel ab Hollensteyn (1611– of the astronomer Samuel Kechel (1611–1668) at the foot of the title 1668), was a mathematician and astronomer from Prague and page. Title a little dust-soiled and with minor paper restoration at top worked as a private lecturer in Leiden. He became known for edge, a very good copy. first observing the comet (“staert-ster”) of 1664, which he de- first edition, the so-called export issue, of Galileo’s earliest scribed both to Christian Huygens and in a short tract. published endorsement of the Copernican theory. The book is BM STC It. 17th, 373; Cinti, 44; Carli and Favaro, 60; Riccardi, I, 509; Waller, in the form of three letters to his fellow academician Marcus 12046. Welser of Augsburg. The book is illustrated with the famous series of sunspot observations made by Galileo in 1612 during £37,500 [110141] the summer months. Galileo demonstrated that sunspots were not small satellites, as the traditional Aristotelian interpreta-

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The history of England from the library of a future of Daniel’s The first part of the historie of England (1612; first thus English king 1618) with the first edition of Trussell’s continuation. “The Collection of 1618, a large folio dedicated to the queen, had at- 6 tached to it a royal privilege which gave Daniel and his heirs DANIEL, Samuel. The Collection of the History of ten years of exclusive rights of publication (the cost of print- England . . . Revised, and by his last corrected Coppy ing the book was met by the queen: Daniel was granted £40 in Printed. London: printed by Tho[mas] Cotes, for Simon May 1618). The Collection was another success, so much so that it was reprinted at least three times before the ten years were Waterson, 1634; [bound with:] [TRUSSELL, John.] A up; by the 1620s the total number of copies sold, all in large- Continuation of the Collection . . . , beginning where paper folios, may have been as large as 2,000 (with perhaps as Samuel Daniell Esquire ended . . . London: Printed by M.D. many again from the 1634 and 1685 reprints) . . . So great was for Ephraim Dawson, 1636 his fame as a historian in the decades before and after the civil Two works bound in one, folio (285 × 190 mm). Contemporary black war (when he was read and admired by both sides) that his morocco, gilt-tooled in a panel design, gilt-stamped crest of Charles achievements as a poet were almost forgotten” (ODNB). Dan- II as Prince of Wales, edges gilt. Housed in a brown cloth flat-back box iel’s collection was published by his long-time publisher and by the Chelsea Bindery. Woodcut printer’s device on title, woodcut friend Simon Waterson (1585–1634) at the sign of the Crown in headpieces and decorative initials. Booklabel of John Bigham, Vis- St Paul’s Churchyard. count Mersey, Bignor Park, and bookplate of Robert S. Pirie. Extremi- ties mended, front joints cracking, scuffmarks mended; title soiled STC 6252 & 24297. with some inkspots and dampstains, a very good copy in a handsome contemporary morocco binding. £15,000 [108467] with the gilt arms of charles ii as prince of wales. A suitable volume for the princely library, being the completion

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“Fame is no plant that grows on mortal soil” of 1638 replaced by the “whelming tide” of 1645 and all subsequent versions. 7 Notably rare: in his Milton, a Biography (Oxford, 1968), W. R. MILTON, John. “Lycidas.” In: Justa Edouardo King Parker traced 33 copies of the Justa, all but two of them in insti- naufrago, ab amicis, moerentibus. Cambridge: by Thomas tutional libraries; this copy is thus one of the very few remain- Buck and Roger Daniel, 1638 ing in private hands. Two parts in one volume, octavo (179 × 132 mm). Bound in 1840s dark provenance: 1) Lancelot Holland (his bookplate, and prob- blue morocco antique gilt, all edges gilt, by Clarke & Bedford. Housed ably bound for him; his sale, Sotheby’s London, 27 July 1860, in a maroon morocco folding case by Sangorski & Sutcliffe. The first lot 1318); 2) Sir William Tite, bought by him in 1860, with his part in Greek and Latin, the second in English (including “Lycidas”), inscription on the front free endpaper verso; sale Sotheby’s, the second title within a mourning border. A fine copy. 18 May 1874 etc., lot 37; Herschel V. Jones (morocco ticket first edition, including the first printing of Milton’s “Ly- gilt; Anderson Galleries, 29 January 1919, lot 1168); 3) Frank cidas”, his second published work (after his commendatory Brewer Bemis (bookplate; sold, c.1940, presumably through poem on Shakespeare published in the 1632 second folio). The Rosenbach, to; 4) Arthur A. Houghton, Jr. (bookplate; Chris- poem mourns the death of Edward King, a fellow of Christ’s tie’s London, 11–12 June 1980, lot 307, to; 5) John Fleming; sold College who had drowned off the coast of Anglesey on 10 Au- by him to; 6) The Garden Ltd. (morocco label; Sotheby’s New gust 1637. King had been a younger contemporary of Milton at York, 9 November 1989, lot 108, through Bernard Quaritch, to; Christ’s College. “In the act of composition Milton transcend- 7) Robert S. Pirie (bookplate). ed his ostensible subject and produced a meditation on human Grolier, Wither to Prior, 555; Hayward 70; Parker 814; Pforzheimer 712; STC mortality that retains the power to move readers centuries af- 14964. ter the death of King and those who mourned him” (ODNB). Milton reprinted this poem in his Poems of 1645. There are a £110,000 [108332] few textual differences between the 1638 and 1645 versions of the poem, of which the most notable is the “humming tide”

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Politics, a science divorced entirely from ethics Machiavelli viewed The Prince as an objective description of political reality. Because he viewed human nature as ve- 8 nal, grasping, and thoroughly self-serving, he suggested that MACHIAVELLI, Niccolò. Nicholas Machiavel’s Prince. ruthless cunning is appropriate to the conduct of govern- Also, the life of Castruccio Castracani of Lucca. And the ment. Though admired for its incisive brilliance, the book meanes Duke Valentine us’d to put to death Vitellozzo also has been widely condemned as cynical and amoral, and Vitelli, Oliverotto of Fermo, Paul, and the Duke of “Machiavellian” has come to mean deceitful, unscrupulous, Gravina. Translated out of Italian into English; by E.D. and manipulative. The Life of Castruccio Castracani deals in somewhat similar with some animadversions noting and taxing his errours. terms with near contemporary Italians who had perpetrated London: by R. Bishop, for Wil: Hils, and are to be sold by Daniel criminal deeds for reasons of political expediency, and was Pakeman, 1640 probably a source for Mary Shelley’s novel Valperga: or, the Life Two works bound in one volume, duodecimo (140 × 75 mm). Contem- of Castruccio, Prince of Lucca. Machiavelli also gives an account of porary mottled calf, spine gilt in compartments, red morocco label, Cesare Borgia’s murder in 1503 of his mercenary captains. marbled edges. Binding discreetly refurbished but presents well, in- The Machiavelli is bound second in the volume after a com- ternally a very clean, fresh copy, a very few of the typographical rules parable work: Virgilio, marchese Malvezzi’s Romulus and Tar- at the fore-edge of the Machiavelli partially trimmed. quin, written in Italian. And now taught English by Henry Earle of first edition in english of Machiavelli’s famous handbook Monmouth (London: for Humphrey Moseley, and are to be sold for rulers (1513, published Rome 1532), dedicated to Lorenzo de’ at his shop, 1648; third edition, first published 1637). Malvez- Medici, ruler of Florence from 1513. The Prince appears to have zi was a follower of Machiavellian political thought, framing been banned from publication in England during the Elizabe- his political science as a comment on an ancient writer, in his than period, though translations circulated in manuscript. It case Tacitus. Like Machiavelli, Malvezzi presents an apology was so controversial that it had to wait for over a century, and for honest dissimulation and speaks of “necessary violence”. was the last of Machiavelli’s great works, to be published in Eng- The translator was Henry Carey, second earl of Monmouth lish. Margaret Bald in Literature Suppressed on Political Grounds re- (1596–1661), whose works were largely concerned with wars, marks that “The English translation was published in 1640 when international and civil, and the use of power. His translation episcopal censorship broke down.” This was a brief window of was dedicated to Charles I, intended to act “as a glass wherein opportunity; it was listed again in 1643. Even then, Dacres found you may see your soul”. it politic to frame the book with moral reservations or “animad- Bertelli & Innocenti, Bibliografia Machiavelliana XVII/38; Gerber III, p. 104, no. 2; versions”, though he did not allow them to seep into his text Printing and the Mind of Man 63 (first edition); STC 17168. as did later translators Nevile and Farneworth; he also resisted more than they did the temptation to improve on Machiavelli’s £65,000 [107613] style by rhetorical embellishments.

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Contemporary red morocco fore-edge corner of general title-page vol. 2 lost; a notably handsome set, seldom found in contemporary morocco. 9 first complete collected edition, comprising the sec- JONSON, Ben. The Workes. London: printed by Richard ond edition of volume 1 and the first edition of volumes 2 and Bishop [and Robert Young], and are to be sold by Andrew Crooke, 3. The first volume is a close reprint of the first edition of 1616. 1640; The Workes of Benjamin Jonson. The second The second volume contains the reissued, unsold sheets of volume. Containing these Playes, viz. 1 Bartholomew three plays published in 1631, which were edited by Jonson and Fayre. 2 The Staple of Newes. 3 The Divell is an Asse. intended to supplement his 1616 Workes. The balance of Vol- ume 2 contains masques, plays, and miscellaneous writings London: printed [by John Beale, John Dawson, Bernard Alsop, edited by Sir Kenelm Digby; it became known almost immedi- and Thomas Fawcet] for Richard Meighen [Thomas Walkley and ately as the “third volume,” despite the absence of an explicit Robert Allot], (1631–)1640 [i.e. 1641] title to that effect. The order of the contents of the third vol- Three volumes in two, folio (292 × 189 mm). Contemporary red mo- ume varies, but this copy follows Greg. rocco, the covers panelled with gilt rules, fleuron-tool cornerpieces, Jonson’s original decision to publish his collected works and and large central tooled lozenges surrounding a horizontal panel, include plays, then generally regarded as an ephemeral form of rebacked with original spines laid down, corners repaired, spines literature, broke new ground. Its publication in 1616, the very gilt in eight compartments, plain endpapers, gilt edges. Housed in a brown cloth flat-back box by the Chelsea Bindery. Vol. 1: engraved ar- year of Shakespeare’s death, consolidated Jonson’s position as chitectonic title-page by William Hole, engraved frontispiece portrait England’s foremost living author. The folio created a notion of of Johnson by Robert Vaughan with verses beneath, section-titles for authorial ownership and identity that is recognizably modern, each of the component works; Vol. 2: general title-page with wood- and it was to serve as an important model for similar collected cut printer’s device (McKerrow 339), the three component plays with editions later in the century, not least the first Shakespeare fo- section-titles with woodcut printer’s device (McKerrow 374), woodcut lio of 1623. The expansion of Jonson’s works in this complete initials and headpieces; Vol. 3 issued without general title-page, com- collected edition coincided with the span of production of the mencing with leaf signed B1 and caption-title for Christmas, his Masque, second Shakespeare folio, first published in 1632 and reissued other component parts with section-titles. Armorial bookplate with in 1640, and kept Jonson in step with his old friend and theatri- press-mark D3–15 of Sarah Sophia Child Villiers, Countess of Jersey (1785–1867); recent bookplate of Robert S. Pirie. A little rubbed, occa- cal rival. sional light browning, some scattered rust-spots and stains, includ- Greg III, pp. 1074, 1076; Pforzheimer 560; STC 14753, 14754. ing a small wax stain to frontispiece and title-page of vol. 1, upper £42,500 [108347]

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Donne on suicide, presentation copy An early exercise in learned casuistry intended for a strictly limited circle of readers, Biathanatos was published posthu- 10 mously by Donne’s son and literary executor. “Caught between DONNE, John. Βιαθανατος. A Declaration of that his father’s injunction that the manuscript should be spared Paradoxe, or Thesis, that Selfe-homicide is not so ‘both the Presse and the Fire’, Donne the younger eventually Naturally Sinne, that it may never be otherwise. Wherein opted for publication, rather than the deliberate annihilation The Nature, and the extent of all those Lawes, which of the fire or the accidental damage of time and chance, re- seeme to be violated by this Act, are diligently surveyed. marking that the work was in equal danger of being ‘utterly lost’ and ‘utterly found’” (ODNB). London: printed by John Dawson, [ for Henry Seile, 1644] This copy was later in the library of Clement R. Markham Quarto (195 × 145 mm). Nineteenth-century purple morocco, covers gilt (1830–1916), the collector and prolific writer on historical ge- with a wide foliate border roll, spine gilt in six compartments with red ography, with his bookplate and a note dated October 1871 morocco labels, marbled endpapers, gilt edges. Housed in a dark blue cloth flat-back box by the Chelsea Bindery. Woodcut initials, woodcut and manuscript Markham genealogy tracing his own descent and type-ornament headpieces. Extremities rubbed, a few scattered from Margaret Donne, third surviving daughter of the poet. He rust-spots, lacking blanks ¶1 and Ee2, an excellent copy. Formerly in identifies the original recipient of this copy, John Markham, the library of Richard Heber (Evans, 2 March 1836, lot 728). as the second son of Sir Anthony Markham, of Sedgebrooke, first edition, first issue. large-paper presentation by Bridget, daughter of Sir James Harington, MP, 1st Baronet copy, with a letter of transmittal by John Donne the Young- of Ridlington, Bridget being the subject of Donne’s “Elegy er to John Marckham bound in. Donne’s letter is dated from on the Lady Markham”. (Curiously Donne did not know Lady Covent Garden, 6 October 1647, and is directed “For his much Markham and wrote the poem to please his most important honored friende Mr John Marckham”: “I have sent you this benefactress, Lucy, countess of Bedford, who was a first cousin booke, according to my promise but my inclination to send of the dead lady.) you, I make account, is above that. If by anie discourse of mine Grolier, Donne 11; Grolier, Wither to Prior 294; Keynes, Donne 47 (no. 7 in his it might seeme otherwise to you, my words betrayed my inten- inventory of presentation copies); Pforzheimer 292; Wing D1858. tion, which is, very much to bee Sr, your most humble Servant £19,500 [108342] Jo: Donne.”

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The Prince of Wales’s copy and Fletcher. Even the preface acknowledges that several are written by Fletcher with Philip Massinger, rather than Beau- 11 mont. Editorship is usually assigned to the playwright James BEAUMONT, Francis, & John Fletcher. Comedies and Shirley, who wrote the preface. Fletcher’s work has also been Tragedies . . . Never printed before, And now published extensively studied in the context of his collaboration with by the Authours Originall Copies. London: for Humphrey Shakespeare on three plays in 1612–13 for the King’s Company. Robinson, and for Humphrey Moseley, 1647 His solo play, The Woman’s Prize, first published here, is a mock- sequel to Shakespeare’s The Taming of the Shrew and depends on Folio (343 × 220 mm). Contemporary dark brown morocco for Charles II as Prince of Wales, gilt-ruled borders and frame with gilt-stamped knowledge of it. The printing of the folio was farmed out to floral cornerpieces, spine with gilt-stamped daisy in each compart- several printers, including Susan Islip, a rare example of a fe- ment, gilt-stamped supralibros (three ostrich feathers emerging from male printer in the 17th century. a coronet with motto “Ich dien”), marbled endpapers. Engraved fron- The gilt arms on the covers declare this to be the Prince tispiece portrait of John Fletcher by William Marshall in second state of Wales’s copy. Humphrey Moseley was a decidedly Royalist (reading “Vates Duplex” for “vates duplex”, and with “J. Berkenhead” publisher and the 43 pages of commendatory material in this in small type), woodcut head- and tailpieces, decorative initials. volume have been described as containing “a literary manifes- Bookplate of Robert S. Pirie. Head and foot of spine renewed, title and to of Cavalier writers” (Wright, 82). From their point of view, frontispiece soiled, extreme edges of margins very lightly browned, a the book was published during the darkest days of the Second handsome volume. English Civil War – Grandison’s poetical address “To the Sta- first edition, modelled on the first two folio collections of tioner” opens: “Tell the sad World that now the lab’ring Presse, Shakespeare’s plays (1623 and 1632) and the first two folios of / Has brought forth safe a Child of Happiness”. the works of Ben Jonson (1616 and 1640–1). These folios are Greg III, 1013; Pforzheimer 53; Wing B1581. often credited with establishing a recognizably modern con- cept of the individual author, but the Beaumont and Fletcher £27,500 [108348] folio is more problematic in that regard. It contains 39 plays, of which very few are actually collaborations between Beaumont

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17 All items are fully described and photographed at peterharrington.co.uk

The art of fishing first edition of the most famous work in angling literature. “A first Walton confers distinction upon its 12 owner” (Westwood & Satchell). There are various typesetting [WALTON, Izaak.] The Compleat Angler or the errors in the first edition, although corrected and uncorrected Contemplative Man’s Recreation, Being a Discourse sheets seem to have been issued indiscriminately, with little of Fish and Fishing, Not unworthy the perusal of most significance to the priority of issue. In the present copy “con- Anglers. London: By T. Maxey for Rich. Marriot, 1653 tention” (a mistake for “contentment”) is uncorrected on page 245; the bass voice of Henry Lawes’s “Angler’s Song” (p. 217) is Octavo (136 × 85 mm), without final blank R4. Early 19th-century half calf, spine gilt-lettered direct, divided in compartments by decora- printed upside down, the idea being for two singers to stand tive rolls with gilt roundels between, marbled sides, sprinkled edges. opposite each other sharing the score (this idea is abandoned Early 20th-century morocco backed slipcase and chemise by James in other copies). The second edition was heavily revised and Macdonald Ltd, New York. Engraved title vignette, 6 engraved vi- expanded by more than one third, “which gives to [the first] gnettes of fish, 2 pages of music. Blank flyleaf inscribed “Robert H. edition an importance other than that due [to] its priority” Meyricke from his Mother Mary Meyricke Octr. 28th 1882”; book label (Pforzheimer). to front pastedown. Short tear without loss in I7, a few headlines cut “The Compleat Angler was conceived as dialogue between men close and very rarely shaving a letter (M3), fore-margin of the leaf of travelling on foot who each represented a different recreation. music at page 216 shaved with slight loss, light waterstains affecting In the first edition there were two, Piscator (fisherman) and a few leaves, overall a very good, honest copy of a work that is often found defective or made-up. Viator (traveller) . . . By this means the art of fishing was introduced, defended, and expounded: its strong precedent in

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the fishermen apostles of the New Testament was established, the detail of baiting for, catching, and cooking different kinds of fish was catalogued, and the whole was accompanied by aphorisms which would show the reader what it might mean to live well . . . [The work] has commanded huge popularity: it has been reprinted almost as many times as A Pilgrim’s Progress” (ODNB). Coigney 1; Horne 1; Oliver 1; Pforzheimer 1048; Westwood & Satchell, p. 217; Wing W661. £75,000 [80090]

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The ill-fated Third Folio, many copies destroyed in the Copies. The third Impression. And unto this Impression is Great Fire of London added seven Playes, never before Printed in Folio. London: Printed for P.C. 1664 ( first-issue title: Philip Chetwinde, 1663) 13 Median folio (329 × 212 mm). Early 19th-century blind-tooled rus- SHAKESPEARE, William. Comedies, Histories, and sia, edges gilt, sympathetically rebacked, dark green endpapers, gilt Tragedies. Published according to the true Original edges. First-issue title in the state without the portrait bound at front,

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repaired tears, some occasional minor dust-soiling, otherwise a fine fresh copy. third folio edition of Shakespeare’s plays, generally regarded as the rarest of the 17th-century folio editions. An un- known number of copies is thought to have been destroyed in the Great Fire of London of 1666. The third folio is a reprint of the second (1632), but the second issue adds seven plays to the corpus, although of these only Pericles is now considered authentic. The first issue came out without the added plays and with or without the portrait on the 1663 title. The second issue, as here, added the seven plays and is known with the frontispiece-portrait captioned by Jonson’s verses cancelling the “To the Reader” leaf and the 1664 title cancelling the 1663 title, or with both the cancels and the cancellanda present. Three paper-stocks in the preliminaries and the beginning and final quires of the book reappear in the added plays (all printed by Roger Daniel), indicating that the decision to print the extra quires was not delayed long. They no doubt added to the cost of the book, and a customer may have been given the choice of their inclusion or omission even after they were made available; early buyers of first-issue copies could no doubt purchase the extra plays separately and their binders might not always trouble with the intended cancellations, but simply add the new title and frontispiece. provenance: Herman Frasch Whiton, probably American 514 leaves: complete. Roman and italic text types, cursive for head- sailor and Olympic champion (1904–1967, bookplate); Paul ings, various larger romans and cursives in the preliminaries. Double Francis Webster (1907–1984), noted lyricist (bookplate; his column, 66 lines, headlines and catchwords, pages box-ruled, wood- sale, Sotheby’s New York, 24 April 1985, lot 75); Pierre Bergé cut head- and tailpieces and initials, Shakespeare’s portrait in third (book label; his sale, Paris, 2015). state. Sig. Z6 supplied from a shorter copy, B1 with long tear skil- fully mended with loss of one letter, six small rust-holes and 11 small Wing S2913 & S2914; Greg III, pp 1116-19; cf Pforzheimer 908 & 909. paper flaws affecting approximately 20 letters, a few short marginal £500,000 [108578]

21 All items are fully described and photographed at peterharrington.co.uk

Clarendon’s copy, in red morocco from the Mearne bindery manuscript notes laid in. Foot of spine chipped, extremities rubbed, small hole in pages 275 and 801 touching one letter, quire Rrr and a 14 few other leaves browned, an exceptionally handsome copy. BAKER, Sir Richard. A Chronicle of the Kings of from the library of edward hyde, earl of claren- England, From the time of the Romans Government don, Lord Chancellor and chronicler of the English Civil War; Unto the Death of King James . . . Whereunto is added, a superbly apposite association, in a handsome binding from The Reign of King Charles the First, with A Continuation the Mearne workshop which was responsible for the most splendid gold-tooled bindings produced during the reign of . . . in this Fourth Edition, To the Coronation of . . . King Charles II. Clarendon’s arms do not appear to have been part Charles the Second . . . London: printed by E. Cotes, for G. of the original binding design and they were probably added Saubridg, and T. Williams, 1665 sometime before December 1667, when he went into exile for Folio (343 × 212 mm). Contemporary English red morocco, gilt- the second time. The book was presumably intended for the tooled in a cottage-roof panel design with gilt-stamped supralibros newly completed Clarendon House, which had what John Eve- (Clarendon) on both covers, edges gilt, from the workshop of Samuel lyn called “a very ample library” (reputedly numbering some Mearne. Housed in a burgundy cloth flat-back box by the Chelsea 6,350 volumes). Bindery. Additional engraved title by W. Marshall, decorative woodcut initials, last leaf with longitudinal label. With 4 pp. contemporary

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Baker’s Chronicle was first published in 1643, two years before his death. It was reprinted posthumously with some revisions in 1653, and the third edition of 1660 has a continuation to the end of 1658 by Edward Phillips, John Milton’s nephew. The account of Charles II’s restoration, which first appears in this fourth edition, was attributed to General Monck’s brother-in- law, Sir Thomas Clarges. provenance: 1) Edward Hyde, Earl of Clarendon (1609–1674, Lord Chancellor, supralibros); 2) Henry Jeffery Flower, Vis- count Ashbrook (engraved armorial bookplate); 3) Richard Dawson, First Earl of Dartrey (1817–1897, engraved armorial bookplate); 4) Viscount Mersey, Bignor Park (1840–1929, bookplate); 5) sold at auction, Christie’s, 16 December 1991, lot 183 (through Bernard Quaritch) to Robert S. Pirie (bookplate). Wing B505; on the binding see H. M. Nixon, English Restoration Bookbindings 17 showing some of the same tools. £15,000 [108380]

Davenant’s celebrated revival of Hamlet, with the the first female Ophelia – Mary Betterton 15 SHAKESPEARE, William. The Tragedy of Hamlet Prince of Denmark. As it is now Acted at his Highness the Duke of York’s Theatre. London: printed by Andr. Clark for J. Martyn and H. Herringman, 1676 Quarto (203 × 143 mm), pp. [4] 88; collates A2 B–M4. Recent brown roan to style, decorative gilt spine, red morocco label, gilt panelled sides, red speckled edges, marbled endpapers. Small tear (repaired) to lower corner of title touching one letter in imprint, pale discolour- play prevailed. Pepys, who was at the first performance, wrote ing from old wax stain on pp. 43–46, a few other skilful small repairs that it was ‘done with Scenes very well. But above all, Batterton in gutter of a few leaves. Contemporary marginal annotations at p. [sic] did the Prince’s part beyond imagination’. Mary Saunder- 85 (adding “aside” against a couple of lines for the King and Laertes, son [later Mrs Betterton], then aged about 25, played Ophelia, clearly showing familiarity with the play). her first Shakespearian role in a career which, to quote Colley first davenant edition and the sixth edition over- Cibber, ‘was to the last, the Admiration of all true Judges of all; there is another edition dated 1676 that Greg describes Nature and Lovers of Shakespeare’. John Downes [prompter as a “close reprint . . . which may be some years later than its for the Duke of York’s company] reports in his Roscius Angli- ostensible date”. canus that ‘No succeeding Tragedy for several Yeares got more As manager of the Duke of York’s theatre, Sir William Dav- Reputation, or Money to the Company’” (ODNB). enant (1606–1668) was in a unique position with regard to the Although Davenant cut lines from the performance, they staging of Shakespeare, as his father, John Davenant, had seen are retained here but marked with speech marks “so that we the play acted in Shakespeare’s day: “Sir William’s father, the may no way wrong the incomparable Author” (Davenant’s “To devotee of Shakespeare, had probably left London just before the Reader”). This recension is also referred to as “Betterton’s the first performance of Hamlet at the Globe on Bankside; he edition” because it “purports to provide the text as Betterton would certainly have seen it at Oxford by 1603 (title-page, first acted it . . . typical of such ‘player’s editions,’ it includes a quarto). Later on he no doubt told his young son about the pro- cast list in which Betterton’s name is given for the title role” duction: thus William Davenant, the man mainly responsible (Alan R. Young, Hamlet and the Visual Arts, 1709–1900, 2002, p. for the return of Shakespeare’s plays to the London stage at the 23). Thomas Betterton (1635–1710) is generally considered the Restoration, would have had the unique advantage of hearing a greatest English actor between Burbage and Garrick but “be- firsthand account of how Richard Burbage played the prince. By cause no record of day-to-day reception survives, [he] remains 1661 Shakespeare had been dead for nearly half a century; his an obstinately shadowy titan” (ODNB). language would have seemed old-fashioned, his plots were un- Copies of this important edition of one of Shakespeare’s familiar, and tastes had changed. Davenant’s version of Ham- most profound works are decidedly scarce. let (printed 1676) was severely cut – largely of course because Bartlett 84; Greg I 197(i); Wing S2950. of its length – and some of its diction altered in the supposed interest of clarity and intelligibility. However, the power of the £52,500 [110109]

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“Had we but world enough, and time . . .” 16 MARVELL, Andrew. Miscellaneous Poems. London: for Robert Boulter, 1681 Folio (292 × 191 mm). Contemporary sprinkled sheep, gilt supralibros of the Society of Writers to the Signet on both covers, smooth spine, lettering-piece. Housed in a red cloth flat-back box by the Chelsea Bindery. Engraved frontispiece portrait, title within double-ruled border, printer’s woodcut device on title-page (McKerrow 195); the 16 leaves containing the three poems on Cromwell (R2–T1, U2–4, and X2) cancelled as usual. Bookplate of Robert S. Pirie. Spine rubbed and chipped at ends, last few leaves mottled, a very good copy. first edition, including first printings of, among others, “To his Coy Mistress” and “The Garden”. The publisher Boulter was one of the original publishers of Paradise Lost, who that summer was to be arrested for predicting the imminent fall of the monarchy. Published a couple of years after Marvell’s death, the volume made his poetic talents available to a general readership who would have known him, if at all, only from his commendatory verses to the second edition (1674) of Mil- ton’s epic, and perhaps from some satires, thus rescuing from obscurity one of the major English lyricists of the 17th century. “Failure of nerve during a temporary crisis in whig fortunes had led to excision of the three Cromwell pieces before sale from almost all known copies of the work” (ODNB); only two copies, both imperfect, are known with them. Grolier, Wither to Prior 536; Heyward 126; Pforzheimer 671; Wing M872. £27,500 [108477]

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25 All items are fully described and photographed at peterharrington.co.uk

A remarkably fine copy of the true first of Lewis. For speed, and to counter the risk of piracy, Motte Gulliver’s Travels used five printing houses (those of Edward Say, Henry Wood- fall, James Bettenham, William Pearson, and, for the greatest 17 share, that of Jane Ilive). The first edition appeared on 28 Oc- [SWIFT, Jonathan.] Travels into Several Remote Nations tober 1726 in two octavo volumes at the price of 8s. 6d., but of the World. In Four Parts. By Lemuel Gulliver, First a with unauthorized deletions and insertions by Andrew Tooke Surgeon, and then a Captain of several Ships. London: (the brother of Benjamin Tooke jun.), and sold out within a week. Gay wrote: ‘From the highest to the lowest it is univer- Benj[amin] Motte, 1726 sally read, from the Cabinet-council to the Nursery’ . . . Motte 2 volumes, octavo (192 × 117 mm). Contemporary sprinkled calf, followed up with two more octavo editions in 1726 and a duo- spines with double gilt rules either side of bands, red morocco labels, decimo in 1727, and there was a serialized version which began gilt roll to board edges, edges sprinkled red. Frontispiece portrait of Gulliver (second state, as called for), 4 maps and 2 plans. Early owner- in the Penny Post (25 November 1726). There were two Dublin ship inscription of S. Hamond on first title, initials on second; earlier editions before the end of 1726, each set up from Motte’s first bookplates removed from pastedowns; recent book labels of Pierre edition . . . The book sold well in French: the first complete Bergé. A touch of rubbing, but a remarkably fine copy in original translation appeared at The Hague in January 1727, and an state, highly desirable thus. abridged adaptation by the Abbé Desfontaines in Paris in April true first edition, teerink’s a edition with all the nec- . . . Swift received from Motte £200 and possibly more from the essary points to distinguish it from the two later printings sales of the book, largely due to Pope’s effort at instilling into (Teerink AA and B) also dated 1726. Teerink’s A was published his friend the principles of ‘prudent management’ . . . Gulliver’s on 28 October, AA some time in the middle of November, and Travels is the book by which Swift is chiefly remembered, and the B edition in December. The first five editions of Gulliver’s it is the record of his own experience in politics under Queen Travels (three octavo editions in 1726, one octavo and one duo- Anne as an Irishman in what G. B. Shaw called ‘John Bull’s decimo edition in 1727) were all published by Benjamin Motte. other island’” (ODNB). “The clandestine business of getting into print a pseudony- Printing and the Mind of Man 185; Rothschild 2104; Teerink 289. mous and satirically explosive political satire . . . was managed chiefly by Pope, with the assistance of John Gay and Erasmus £110,000 [108582]

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27 All items are fully described and photographed at peterharrington.co.uk

Printed on vellum and heraldically embellished with arms text, the nearest approach to an irrepealable “fundamental statute” that England has ever had” (Pollock and Maitland, 18 History of English Law, I, p. 173). The work of the engraver, pub- PINE, John. Magna Carta. By Permission of . . . the lisher, print- and mapseller John Pine (1690–1756), Bluemantle Trustees of the Cottonian Library. This Plate being a Pursuivant at the College of Arms and Engraver to the King’s Correct Copy of King John’s Great Charter . . . London: Signet and Stamp Office, this facsimile was made from one of 1733 the Cottonian library copies and heraldically embellished by him with the arms of the rebellious barons. Perhaps the most- Engraved facsimile printed on vellum (700 × 480 mm), central panel of text surrounded by the 25 coats-of-arms of the barons, hand-col- celebrated legal document of the English-speaking world, oured, and a similar representation of the remains of King John’s Churchill declaring of it: “Here is a law which is above the King Great Seal, all panels enclosed by hand-coloured oak leaf and acorn and which even he must not break. This reaffirmation of a su- borders. Recently float-mounted, framed and glazed, conservation preme law and its expression in a general charter is the great mountboard, UV resistant glass, ebonized and gilt frame. A little work of Magna Carta; and this alone justifies the respect in cockled, old tack holes rusted through at the margins, bottom edge a which men have held it” (History of the English-Speaking Peoples, little damp-stained, colour faded, remains about very good. I, p. 257). first impression, printed on vellum, of this meticu- Lowndes 1449–50. lously engraved facsimile of the Magna Carta, “a sacred £22,500 [109413]

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29 All items are fully described and photographed at peterharrington.co.uk

The most important and famous work of Physiocracy 19 MIRABEAU, Victor Riquetti de, & François Quesnay. The Oeconomical Table, an Attempt towards ascertaining and exhibiting the Source, Progress, and Employment of Riches, With Explanations, by the Friend of Mankind, the celebrated Marquis de Mirabeau. Translated from the French. London: for W. Owen, 1766 Octavo (201 × 125 mm). Contemporary tree sheep, flat spine very elaborately tooled gilt, red morocco label. Six folding tables. En- graved armorial Frankland bookplate to the front pastedown. Front joint cracked and rear joint cracking, but cords sound. Some surface worming to the covers; a very fine copy. first edition in english of Quesnay’s Tableau économique, originally published in French in 1758, “a most remarkable analysis of the economic condition of his country” (Palgrave). The Tableau économique “is the most important and famous work of Physiocracy and has often been regarded as a summary of the entire corpus of Physiocratic economics . . . The Tableau has also been regarded as the analytical synthesis of the logi- cal structure of Quesnay’s economics, or at least as its most relevant aspect . . . The Tableau économique is one of those works in the history of economics which have often been regarded as an anticipation of modern theories. The Tableau has been considered a first rough presentation of Keynes’s multiplier and as a sort of general equilibrium system of a Walrasian type . . . For others, the Tableau is an input-output table . . . Because of the culture to their country in a clear light, as the original was to Tableau, Quesnay has been regarded as an early econometri- prove the absolute necessity of it to France”. cian. The Tableau has also been interpreted as the first classical A very fine copy of a work that is surprisingly scarce in com- system of price determination, thus anticipating Marx’s repro- merce; this is the second copy we have handled in 30 years. duction schemes and Sraffa’s price system” (Giovanni Vaggi in The New Palgrave). Goldsmiths’ 10154; Higgs 3624; Kress 6367. Not in Mattioli or Sraffa. The anonymous translator dedicates the translation to the £35,000 [110946] farmers of England, stating that it was “undertaken chiefly with a view of setting the superior use and advantages of agri-

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Part two with the rare “Pékin” title page and purchases. Quesnay argued that regulation impedes the flow of income throughout all social classes and therefore eco- 20 nomic development; and that taxes on the productive classes, [QUESNAY, François.] Physiocratie, ou constitution such as farmers, should be reduced in favour of rises for unpro- naturelle de gouvernement le plus avantageux au genre ductive classes, such as landowners, since their luxurious way humain. Recueil publié par Du Pont, des Sociétés Royales of life distorts the income flow. d’Agriculture de Soissons & d’Orleans, & Correspondant Einaudi 4431; En français dans le texte; Goldsmiths’ 10391; Kress 6548; Mattioli de la Société d’Émulation de Londres. [Discussions 2808; Sraffa 4809. et Développemens sur quelques-unes des notions de £75,000 [110064] l’économie politique. Pour servir de Seconde Partie au Recueil intitulé Physiocratie.] Leyde [2, Pekin], Et se trouve à Paris, Merlin, 1768–67 Two parts bound in one volume, octavo (188 × 115 mm). Nineteenth- century cloth backed marbled boards, spine ruled and lettered gilt. Engraved frontispiece to part I. An excellent copy. first edition, the second volume with the extremely rare first issue title page with a fictitious Peking imprint; apparently fewer than 15 copies are known with this imprint. The book that gave the Physiocrats their name, this is one of the most important and original works on political economy to be published before the Wealth of Nations. Quesnay presented a copy of his book to Adam Smith, who described him as “ingenious and profound, a man of the greatest simplicity and modesty”, while pronouncing Quesnay’s system to be “with all its imper- fections, perhaps the nearest approximation to the truth that has yet been published upon the subject of political economy”. François Quesnay (1694–1774) was the court physician to Louis XV; his notion of a circular flow of income throughout the economy was influenced by the contemporary discovery of blood circulation through the human body. He believed that trade and industry were not sources of wealth, and instead argued that the real economic movers were agricultural sur- pluses flowing through the economy in the form of rent, wages

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Shelley’s very rare Irish political pamphlet, printed and nationalist Robert Emmet (1778–1803), who at the time of his distributed clandestinely in Dublin attempted rebellion had been conducting an affair with Sarah Curran, the daughter of the Emmet family friend and celebrat- 21 ed radical barrister John Philpot Curran (1750–1817). In Febru- SHELLEY, Percy Bysshe. An Address to the Irish People. ary 1812 Shelley, his wife Harriet, and their companion Eliza Dublin: 1812 Westbrook travelled to Ireland in company with Sarah’s sister, Amelia (who would later paint Shelley’s most famous portrait). Octavo (214 × 124 mm), pp. [2], 22. Twentieth-century green crushed morocco by Riviere & Son. Bookplate of John Whipple Frothingham. He stayed until April, to the dismay of his new correspondent Traces of paper repair at inner margin of title (presumably closing and mentor, William Godwin, his future father-in-law, who stab-holes), paper slightly toned, a very good copy. disapproved of such direct revolutionary actions. The full census of copies in institutions worldwide at the lat- first edition of Shelley’s very rare political pamphlet in est count finds 18 copies in total at: Bodley, Senate House, Brit- support of agitation to repeal the Act of Union and to secure ish Library (with the final leaf in facsimile), National Library of Catholic emancipation, energetically distributed by the young Ireland, Bayerische Staatsbibliothek, Huntington (ex Halsey), aristocrat, who threw copies at likely passers-by from his bal- Yale, NYPL (Pforzheimer collection; two copies, one in sheets cony in Sackville Street, tucked them into ladies’ bonnets, and with manuscript corrections by Shelley), Pierpont Morgan, attempted to sell them in public houses. The title page has a Princeton (Taylor Collection), Harvard (two copies), Texas note explaining that the pamphlet is priced cheaply (at five Christian University, Fort Worth, University of Texas, Austin pence) “to awaken in the minds of the Irish poor, a knowl- (two copies Wrenn/Stark). edge of their real state”. Shelley had become interested in the Irish question by a passionate admiration of the young Irish £100,000 [101947]

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Her most enduring book script. Revised in 1809–10 after the success of Sense and Sensibil- ity, by which time the first choice of title had been used else- 22 where, it became the runaway success of her lifetime editions [AUSTEN, Jane.] Pride and Prejudice: A Novel. In three and remains the most popular of her books. volumes. By the author of “Sense and Sensibility.” London: Gilson A3; Grolier/English 138; Sadleir 62b; Tinker 204. for T. Egerton, 1813 £87,500 [110176] Three volumes, duodecimo (184 × 110 mm). Contemporary sprinkled calf, neatly rebacked, raised bands to spines, green and red morocco labels. Housed in a brown quarter morocco solander box. With the half-titles in all three volumes. Minor wear to corners, slight surface wear to boards, joints cracked but firm, light spotting to text blocks; Volume I with short closed tear to top margin of p. 71 and fore margin of p. 103, Volume III with short closed tear to fore margin of p. 205 and top margin of p. 225. A very good set. first edition. The second of her full-length novels, begun in August 1796, when Jane Austen was the same age as her hero- ine, and finished in August 1797, “First Impressions” was offered by her father to Thomas Cadell on 1 November 1797 as a novel in three volumes “about the length of Miss Burney’s Evelina”; but Cadell declined without asking to see the manu-

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The sublime beauties of Lake Garda captured in aquatint the “sublime” and “picturesque” aspects of Swiss and Italian scenery, producing a series of small, affordable views of well 23 known tourist spots as well as the more expensive “high end” WETZEL, Johann Jakob. Voyage pittoresque au Lac de productions such as the current work. The aquatintist, Conrad Garda ou Benaco. Zurich: Orell, Füssli et Compagnie, 1824 Casper Rordorf (b. 1800), was also Swiss and ended his life in Folio (485 × 320 mm). Original off-white plain wrappers loose in the Texas, shot dead over a land dispute. original drab pale brown portfolio, paper label on front cover (printed Not in Copac. OCLC and KVK locate copies at Zurich and advertisement on inside back cover), green cloth ties. 15 superb aqua- the Österreichische Nationalbibliothek. Only two copies have tint views by Rordorf after Wetzel with contemporary hand-colouring, appeared at public auction in the past 40 years: in 1994 (the all but two plates watermarked 1824 (the exceptions dated 1822 and present copy) and 2002. A superb survival in the original wrap- 1825). A little wear to spine of portfolio, a few marks in the margins of pers and portfolio, as it would have been issued to discerning the view of Desenzano. A particularly fine copy: tall, clean and uncut. collectors during the Romantic era. first edition of this rare suite of plates with superb contemporary hand-colouring, executed with £30,000 [111172] enormous subtlety and exhibiting a beautiful gradation of tone. Johann Jakob Wetzel (1781–1834) was one of the leading Swiss landscape painters of the Romantic era, the popularity of whose work meant that a “whole staff of aquatint engravers was employed in imitating his watercolour drawings” (The Print Collector’s Quarterly, vol. 13, 1926). He trained under fellow Swiss artists Johann Heinrich Bleuler, Johann Walser, and Gabriel Lory, and during his career garnered some distinguished pa- tronage: his “transparent painting” of the Rhine Falls was pur- chased by the Austrian emperor Franz II in 1814. He began a series of works on the Swiss and Italian lakes in 1819, designed the plates for an illustrated edition of Byron’s Prisoner of Chillon (1818) and was keenly aware of the European-wide appetite for

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35 All items are fully described and photographed at peterharrington.co.uk

Original sketches over four decades in Algeria The inclusion of a rare portrait of Abdelkader, leader of the Algerian resistance, taken in 1852, and of Léon Roche, son of 24 the mayor of Oran, interpreter to General Bugeaud, and “ren- GIRARDOT, Alexandre Antoine. Two albums compiled egade” confidante to the emir, perhaps suggests a military or from an artist’s sketchbooks recording nearly 40 years of diplomatic context for Girardot’s presence in Algeria, a sug- life in Algeria. Algeria: 1830–67 gestion that is reinforced by his interior views of the English Two oblong folio albums (360 × 280 mm). Dark green shagreen, con- and Spanish consulates. It is a possibility that he originally centric panelling in blind, monogram A.G. gilt to the centre of the travelled out à la suite of either his father or another patron. front boards. Accompanied by a photographic portrait of the artist He certainly was to spend a large part of the next three decades c.1860. A total of 420 pages with more than 1,000 mounted drawings of travelling the country, accumulating this remarkable visual re- various sizes, most of which are captioned, monogrammed and dated cord. His death is a mystery, the putative date inferred from between 1840 and 1867. The albums are just a little rubbed, some light the last recorded work by his hand. restoration to head and tail of the spines, to the joints and the board The albums are accompanied by a photographic portrait edges, the contents clean and sound, overall very good indeed. of the artist, depicting a well-dressed, solidly-built bourgeois An exceptional visual document, two albums painstakingly gentleman with a beard, who addresses the camera with an and thoughtfully assembled from the observational sketch- open, frank and perhaps slightly amused expression. He is ap- books of a little-known, but highly-talented first generation parently missing his right arm. Examples of his oils are held in French Orientalist painter. the collections of the Musée de l’Armée in Paris and the Musée Alexandre Antoine Girardot (1815–c.1877) has left but few Marey et des Beaux-Arts in Beaune. traces of what must have been an unusual and adventurous Largely comprised of highly-finished pencil drawings – life. Born in Paris in February 1815, he enrolled at the École des some with expressive dashes of body-colour and a good num- Beaux-Arts on 6 October 1836. A student of Blondel, he exhib- ber completed in watercolour – these two albums, which re- ited regularly at the Salon between 1841 and 1848, submitting mained in Girardot’s personal collection, clearly represent the views of Algeria and other “oriental” subjects. It is very pos- result of careful selection and organisation by the artist. Retro- sible that Girardot may have made his initial trip to Algeria at spectively, Girardot gathered together the most accomplished the time of the French invasion in 1830; the first album opens of his sketch-work and arranged it by theme and by region, with a group of panoramic views of Algiers, including one “as sometimes combining on the same page drawings produced it appeared in 1831”. Girardot would have been just 16 years decades apart. old at the time, so it is unlikely that he retained any youthful A fuller description of the artwork in this albums is available via our website sketches, but here he confidently reconstructs an early vision or on request. of the city to offer in contrast to its appearance in 1842, when the sketches were made. £95,000 [110595]

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37 All items are fully described and photographed at peterharrington.co.uk

His first books, from the library of his bibliographer first editions of dickens’s first books, both the first and second series, from the collection of the Dickens 25 bibliographer Walter E. Smith. Eckel’s contention that there [DICKENS, Charles.] Sketches by “Boz,” illustrative of were two issues of the second series, distinguished by the every-day life, and every day people. In two volumes. presence or lack of the list of illustrations (present here) has Illustrations by George Cruikshank. [ . . . The second lost force over the years. Sadleir was puzzled by it, and Smith, series. Complete in one volume.] London: John Macrone, having scrutinized 18 copies, finds that no consistent states of 1836 & 1837 binding or printing can be associated with early or late copies. Smith notes that Macrone was anxious to print it in time Together 2 works in 3 volumes. First series: original dark green reg- for Christmas and hurried it through the presses, leaving many ular-patterned straight-grain morocco cloth, spines blocked and lettered in gilt. Second series: original rose-pink morocco cloth, sides mistakes uncorrected. blocked in blind with a central wreath, spine blocked in blind with Eckel, pp. 11–13; Sadleir 699 & 700; Smith I, 1 & 2. a circular pattern, lettered and decorated in gilt over a panel of cloth stained black, yellow endpapers. Housed in a burgundy cloth flat- £15,000 [109403] back box by the Chelsea Bindery. First series: frontispieces and 16 engraved plates. Second series: etched frontispiece, extra engraved title, and 8 engraved plates. Early ownership inscriptions of W. H. Lowndes to blank rectos of frontispiece in each vol. of the first series; “Osmond” inscription to front free endpaper of second series; lightly pencilled ownership inscriptions of Walter E. Smith. Very slight wear to extremities, light oxidisation to plates as often, still an excellent set in near-fine original condition.

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His rarest title in original cloth setting of type was used for all five impressions: “there is no warrant for treating the five impressions as distinct editions” 26 (p. 491). However, she deduces that the impressions were se- DICKENS, Charles. Great Expectations. In three quential and that minor corrections and gradual deterioration volumes. London: Chapman and Hall, 1861 of type can be shown across the five impressions. Three volumes, octavo. Original violet wavy-grained cloth, the covers This copy has all of Cardwell’s points for the first impres- with floral decoration within linear border stamped in blind, spines sion. Cardwell notes two variable points in Vol. III: in some lettered in gilt, yellow endpapers. Custom blue cloth folding case. copies, on p. 103, the page-number 3 is missing; and p. 193, With 32pp. publisher’s adverts at end of Vol. III dated May 1861. Faint line 23, the initial i in inflexible is missing. In this copy both paste residue at foot of front covers, a little very light rubbing to ex- are present. tremities, miniscule touch of colour at foot of front joints of vols. I The first impression of Great Expectations is a famously rare and II, hairline superficial cracks to inside hinges at rear of vol. I and book. Robert L. Patten, Charles Dickens and His Publishers (Clar- front of vol. II, a few leaves creased where turned down to mark the endon 1978) states that 1,000 copies of the first impression place, an excellent set. and 750 of the second were printed and that probably most of first edition, first impression, published on 6 July 1861, the first and more than half of the second (1,400 copies in all) one of 1,000 copies thus. The first edition was divided into five were published by Mudie’s Select Library, where as circulating impressions, with distinct title pages labelling them as five library copies they inevitably suffered a high rate of attrition. editions, perhaps to imply rapid sales. This copy of the first impression is remarkable in exception- The modern bibliographical authority is generally agreed ally good original condition, with only minimal marks left by to be the table given in Appendix D to the Clarendon edition, Mudie’s labels on the front covers. 1993, based on line-by-line collation of six 1861 copies, with Smith I, 14. additional spot checks from other copies, in which Margaret Cardwell agrees with the traditional conclusion that the same £87,500 [110679]

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The most important voyage in the history of “The five years of the voyage were the most important event biological science in Darwin’s intellectual life and in the history of biological science” (DSB). Vol. I contains King’s account of the expedi- 27 tion in the Adventure made between 1826 and 1830, surveying DARWIN, Charles; Robert Fitzroy; Philip Parker King. the coasts of Patagonia and Tierra del Fuego. In Vol. II (and Narrative of the Surveying Voyages of His Majesty’s Ships its appendix volume) Captain Fitzroy described the narrative Adventure and Beagle, between the years 1826 and 1836, of the Beagle’s second voyage, between 1831 and 1836 to South America, the Galapagos Islands, Tahiti, New Zealand and Aus- describing their examination of the southern shores of tralia and other countries. South America, and the Beagle’s circumnavigation of the This set has an appealing provenance, bearing the owner- globe. London: Henry Colburn, 1839 ship inscriptions of Francis Leveson-Gower (1800–1857), later Three volumes in 4 (vols. I–III and Appendix to vol. II), quarto. Origi- Francis Egerton, first earl of Ellesmere, to the front free endpa- nal blue fine diaper cloth, covers with panels in blind, spines lettered pers and title or half-titles of all but volume II. The signatures in gilt, cream surface-paper endpapers, edges uncut, imprint “Col- are dated in March 1840, less than a year after publication. burn, London” in gilt at foot (Freeman variant a). 9 folding engraved Leveson-Gore, a politician and poet, inherited a considerable maps (8 loose in cover pockets, one bound in) by J. Gardner and J. and C. Walker; 47 etched plates after P. King, A. Earle, C. Martens, R. fortune from the third duke of Bridgewater which he “put to Fitzroy and others by T. Landseer, S. Bull, T. Prior, and others. Spines generous use in his support of the arts and scholarship . . . He very slightly faded, a few minor nicks at foot, tips just worn in places, was first president of the Camden Society in 1838, and presi- skilful minor repair to rear joint of vol. I, occasional faint browning dent of the British Association at Manchester in 1842, of the throughout, minor foxing largely restricted to outer leaves, overall a Royal Asiatic Society in 1849, and of the Royal Geographical very good set of a book that by its nature and construction is difficult Society, 1854–5. He was a trustee of the National Portrait Gal- to find in collectable condition. lery and a member of the Roxburghe Club” (ODNB). first edition, first issue of the Darwin volume, “Journal Freeman 10; Hill I, pp. 104–5; Sabin 37826. and Remarks 1832–1836”, printed before the end of January 1839, the month he was elected to the Royal Society, and so £87,500 [109483] without the letters F.R.S. after his name on the second title.

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41 All items are fully described and photographed at peterharrington.co.uk

“A revolution in the history of colour printing” Details of the Alhambra. He issued the first three parts in 1836, but did not complete the first volume (in ten parts) until 1842. 28 The two parts of the second and final volume were published in JONES, Owen, & Jules Goury. Plans, Elevations, 1845. This was an important and impressive work, establishing Sections, and Details of the Alhambra: from drawings his reputation as an expert on Moorish art and architecture. taken on the spot in 1834 by the late M. Jules Goury The magnificent colour illustrations contributed to the grow- and in 1834 and 1837 by Owen Jones. With a complete ing use of polychromatic detailing and decoration in nine- translation of the Arabic inscriptions, and an historical teenth-century British architecture . . . In order to illustrate the Alhambra to his desired standards, Jones wanted to use chro- notice of the Kings of Granada, from the conquest of that molithography . . . But it was a new process and was beyond city by the Arabs to the expulsion of the Moors, by Mr. the abilities of English printers at this date, leading Jones to Pasqual de Gayangos. London: Owen Jones, 1842–5 undertake the work himself. With the help of the firm of Day Two volumes, elephant folio (585 × 415 mm). Recent red crushed half and Haghe, he set up his own presses in his residence at 11 John morocco, red moiré cloth sides ruled in gilt, raised bands hatched Street, Adelphi, in London” (ODNB). in gilt to spines forming compartments ruled in gilt, second, third Chromolithography had been introduced to the British and fourth gilt-lettered direct, top edges gilt. Chromolithographic Isles by Charles Hullmandel in 1835 with four illustrations in title-page to each volume, 102 plates of which 67 chromolithographic (plate XLVI, Sala des Tribunal, also embossed), 31 engraved (of which Hoskins’s Travels in Ethiopia, though “this delicate style of chro- 1 coloured, 3 double-page and 1 double-page and folding) and 4 litho- molithography was about to go out of fashion, probably because graphic (including 1 coloured), together with occasional wood-en- it was too hard to achieve. Hullmandel, having blazed the trail, gravings to the letterpress, all by T. T. Bury, W. S. Wilkinson, and oth- concentrated instead from the early 1840s on tinted lithogra- ers after Goury or Jones. Unnumbered tailpiece of vol. II transposed phy . . . So the leading position in chromolithography was then to rear of vol. I. Vol. I with slightly foxed title-page and small portion left largely to the rival style of Owen Jones” (Gascoigne, Mile- of pale dampstaining to lower outer corner of a few leaves not affect- stones in Colour Printing 1457–1859, pp. 31–37). “Jones’s approach ing images or text; vol. II bumped midway at fore edge of each board, to colour-printing was that of the precise architect with an eye plate L with a few marginal chips and spots and occasional pale mar- for abstract design and the harmony of colours, an approach ginal foxing to earlier plates with images spared. An excellent copy with bright plates. carried further in his Grammar of Ornament, 1856. Here Jones is a forerunner of Morris, the Pre-Raphaelites, an Art Nouveau . . . first edition of the work which ushered in “the great period Jones’s technique of opaque defined colours had its application of British lithography” (Hunnisett), and precipitated “a revolu- for many years in ornamental and simple pictorial subjects” tion in the history of colour printing” (Hamilton). (Abbey). Upon finishing his architectural training, Jones travelled to Egypt, Turkey, and Spain in the company of French architect Abbey Travel 156 (dates volume II as 1846); Hamilton, Arcadian Library 9302 & 14142, p. 278 (erroneously dates the first edition as 1841); see further Hunnisett, Jules Goury, spending six months at the Alhambra Palace in Steel-Engraved Book Illustration in England, p. 207 Granada. “On his return to England in 1834 Jones began the preparation of his first great work, Plans, Elevations, Sections and £15,000 [107967]

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43 All items are fully described and photographed at peterharrington.co.uk

First American edition, with a clipped signature 29 MELVILLE, Herman. Moby-Dick; or, The Whale. New York: Harper & Brothers; Richard Bentley, London, 1851 Duodecimo. Original purple-brown cloth, publisher’s devices to each board in blind, titles to spine gilt, orange coated endpapers. Housed in a brown quarter morocco solander box by the Chelsea Bindery. Rare separate printing for the troops in the Crimea – Cloth a little faded and rubbed, small chip to headcap, some of the “Some one had blunder’d” usual foxing associated with this title but lighter than often, a very good copy. 30 first american edition, in the first binding with orange TENNYSON, Alfred, Lord. The Charge of the Light endpapers and the publisher’s device stamped centrally on the Brigade. [London:] 1855 sides. With the author’s clipped signature laid in. The Ameri- Bifolium with horizontal and vertical folds, tipped-in to a larger sheet. can edition was the first to appear under the familiar title and Text printed in black. Some occasional spotting and discolouration. was set from Melville’s original manuscript. The Whale, issued In excellent condition. shortly before in London, was set from New York sheets, with first separate edition, extremely scarce in this Melville’s alterations. The American edition contains some 35 format, one of 1,000 copies published for distribution to the passages not present in the English edition. troops in the Crimea, with a note in manuscript at the foot of BAL 13664; Grolier American 60; Johnson High Spots 57. the mount: “My father Col. Adolphus Burton C.B. was in the £55,000 [109401] Charge of the Heavy Brigade at Balaclava. G.D.B.” (the initials of his eldest daughter, whose married name was Grace Denys- Burton.) Major Adolphus William Desart Burton (c.1827–1882) rode in the charge of the Heavy Brigade with the 5th (The Prin- cess Charlotte of Wales’s) Regiment of Dragoon Guards. He later gained the rank of lieutenant-colonel in the service of the 7th Dragoon Guards. The charge of the Light Brigade took place on 25 October 1854 but news of the disaster did not reach the British public until the British commanders’ dispatches from the front were published in an extraordinary edition of the London Gazette of 12 November 1854; The Times followed up with a famous leader on the action the following day. According to his grandson Sir Charles Tennyson, Tennyson wrote the poem in only a few

44 Peter Harrington 124 minutes after reading the account of it in The Times. Published in The Examiner on 9 December 1854, just six weeks after the event, Tennyson’s poem was published as a separate piece and sent to the troops in the Crimea at the behest of Jane, Lady Franklin, wife of the lost explorer Sir John Franklin. Tennyson adds a footnote to the poem: “Having heard that the brave soldiers before Sebastopol, whom I am proud to call my countrymen, have a liking for my Ballad on the Charge of the Light Brigade at Balaclava, I have ordered a thousand copies of it to be printed for them.” The text contains 55 lines, as opposed to the 46-line text first published in book form in July 1855, in the volume Maud, and Other Poems, and incorporates an extra stanza. The most notable addition is the line “Some one had blunder’d” which was omitted from the book publication. Tennyson explained his changes in a letter to John Foster in August 1855: “I wish to send out about 1000 slips, and I don’t at all want the S.P.G. [Society for the Propagation of the Gospel] or anyone to send out the version last printed: it would, I be- lieve, quite disappoint the soldiers.” This is one of a very few surviving recorded copies of what is by nature an ephemeral piece: OCLC locates four copies insti- tutionally and only two copies appear in auction records since 1975. The poem remains probably the best remembered single piece of all Tennyson’s poetry. £42,500 [111544]

The “most popular verse translation into English ever made” 31 ald himself referred to his work on the Rubáiyat as a “transmog- FITZGERALD, Edward. Rubáiyat of Omar Khayyam, rification” rather than translation, describing how he “mashed the Astronomer-Poet of Persia. Translated into English up” several stanzas into one, and calling the result “A pretty Verse. London: Bernard Quaritch, 1859 little Eclogue tessellated out of [Omar’s] scattered quatrains”. Octavo. Original grey paper wrappers, title printed black to front It is reasonable to suggest that in its own way the lyrical agnos- cover. Housed in a blue linen cloth chemise and blue morocco pull- ticism of FitzGerald’s Rubáiyat was to be every bit as influential off case by Riviere & Son. From the library of Natalie Knowlton Blair on the advent of as modernism as Darwin’s Origin of Species pub- (1887–1951), with her bookplate to the front pastedown. Some light lished in the same year. Many of FitzGerald’s phrases have en- spots to covers, faint mark to front cover. An excellent copy. tered the common stock of English quotations and allusions. first edition, one of a print-run of 250 copies only made at FitzGerald’s expense, and with his correction in man- £45,000 [111542] uscript to page 4. Early in 1858 FitzGerald had sent 35 of the “less wicked” verses he had translated from Omar to Fraser’s Magazine, who would not publish them. So in 1859, after adding 40 more verses, FitzGerald issued the collection of 75 as a book published anonymously at his own expense. FitzGerald “made a present” to Quaritch of 200 of the 250 copies he had printed, and the publisher later reported that he sold “nearly the whole of them” from his penny box “not being able to get more” for them (Prideaux p. 17). Ironically, in 1901 Quaritch was to find himself in the position of buying a fine, unopened copy at Bang’s rooms in New York for $260, or 20 guineas. Omar Khayyám (1048–1131) was a Persian mathematician, astronomer, philosopher, and poet, author of about a thousand quatrains, but the fact that he is the most famous poet of the East in the West is entirely due to FitzGerald’s celebrated adaptations, which would prove to be the “most popular verse translation into English ever made” (Decker, p. xiv). FitzGer-

45 All items are fully described and photographed at peterharrington.co.uk

The artist of the Curzon Album depicts Istanbul in dated 1857 or 1858. The 1865 plates are numbered, signed by chromolithograph Preziosi on the plate surface but not dated. Uncommon: there has been no copy at auction since 1994. OCLC locates only four 32 copies of this issue in institutional holdings. PREZIOSI, Amedeo. Stamboul. Souvenir d’Orient. Paris: The painter Amedeo, Count Preziosi (1816–1882) left Malta Imp. Lemercier, 1861 for Istanbul sometime between 1840 and 1842 (his earliest drawings of Istanbul are dated November 1842). In 1844 Rob- Oblong folio. Original green morocco-grain cloth, sides stamped in blind, front cover with title in Arabic letters stamped in gilt, yellow ert Curzon, private secretary of the British Ambassador to Is- endpapers. Lithographed title printed in sepia and 29 chromolitho- tanbul, commissioned him to produce the drawings known as graphic plates, all oriented with the upper margins bound into the the Curzon Album (now in the British Museum). Married to a spine, as issued, thin paper guards. Dampstaining at upper edge of Greek woman of Istanbul, with whom he had four children, front cover not affecting contents, inner hinges restored, rear free Preziosi became a fixture in the city, mentioned in Murray’s endpaper restored at lower outer corner, title leaf faintly foxed, a lit- guidebooks for 1854 and 1871; a description of his studio is giv- tle foxing elsewhere, chiefly marginal, repairs on verso to two blank en in Russell’s Diary in the East (1869). In 1985 the Victoria and guards, a very good copy. Albert Museum held a major exhibition of his work, The People first edition, second issue. The first edition appeared in and Places of Constantinople: Watercolours by Amadeo, Count Preziosi. 1858; the edition dated 1865 is usually considered the second. Atabey 999 (this issue); Blackmer 1353 for the second edition. Atabey notes that the plates here are those of the first edition, unnumbered, and signed by Preziosi on the plate surface and £17,500 [107975]

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The foundation of the Red Cross: with a familial drove him to the seat of the war in Italy between the French and presentation inscription the Austrians in 1859. He was present at the battle of Solferino, where the casualties were appalling, totalling nearly 40,000 33 on both sides. The treatment of the wounded was worse than DUNANT, Jean Henry. Un souvenir de Solferino. Geneva: callous: it was virtually non-existent. Dunant’s account of the Jules-Guillaume Fick, 1862 state of affairs, disarmingly entitled A Souvenir of Solferino, produced almost immediate results. An unofficial international Tall octavo (270 × 172 mm). Contemporary red half cloth, gilt lettered spine, marbled sides, with the original drab brown wrappers bound conference met in Geneva in October 1863, and in the follow- in. Double-page coloured plan of the battle. Spine sunned, general ing year the Swiss Government called for an official conference light peripheral toning to letterpress. An excellent copy. at which the Geneva Convention was drawn up and signed on 22 August 1864. This provided for the humane treatment of the first edition, presentation copy from the author, sick and the wounded, and the proper treatment of prisoners inscribed on a blank before the half-title: “Monsieur Albert of war and the civilian population. After hesitation on the part Dunant de la part de l’auteur”, apparently in a secretarial hand. of some governments, including the British, and as the result An excellent familial association: Albert Dunant was a state of subsequent conferences, the Convention as it now stands councillor for the canton of Geneva; this copy also carries his was signed in 1906 by the governments of every civilized coun- attractive etched bookplate and official autograph stamp on try in the world. Dunant was the first recipient of the Nobel the half-title. This is one of 1,600 copies privately printed by Peace Prize in 1901” (PMM). Durant. “Dunant, a Swiss philanthropist, must have been aware of Garrison & Morton 2166; Heirs of Hippocrates 1039; Printing and the Mind of Man Florence Nightingale’s work in the Crimea, for it was what he 350. read of the treatment of the sick and wounded in that war that £17,500 [110889]

47 All items are fully described and photographed at peterharrington.co.uk

The first published edition perished. Only 23 of those original “1865 Alices” are now ex- tant, mostly in institutional holdings, thus creating one of the 34 most famous black tulips of book collecting. [DODGSON, Charles Lutwidge.] CARROLL, Lewis. The book was entirely reset by Richard Clay for this author- Alice’s Adventures in Wonderland. Illustrated by John ized Macmillan edition which, although dated 1866, was in fact Tenniel. London: (Richard Clay for) Macmillan and Co., 1866 ready by November 1865, in time for the Christmas market. Octavo. Original red cloth, titles to spine gilt, triple gilt rules to cov- The unused Oxford sheets were sold to Appleton’s for use in ers, triple ruled gilt, gilt roundels with “Alice” motifs to covers, green their New York edition, published the following summer. The coated endpapers, all edges gilt. Housed in a custom red linen che- Macmillan edition was published in an edition of 4,000 copies. mise and quarter morocco slipcase. Frontispiece and 41 illustrations Printing and the Mind of Man 354 (note); Williams–Madan–Green–Crutch 46. by John Tenniel. Spine gently rolled, light bumping to ends of spine and corners, wear to front spine edge, previous ownership bookplates £45,000 [111163] to front paste-down, Burn and Co. binder’s ticket to rear pastedown, slight separation within the page block notably at the pages adjacent In his preferred white binding for presentation to the end papers. A superb, entirely unrestored copy. second (first published) edition, with the inverted “S” 35 in the last line of the Contents page. Alice’s Adventures in Won- [DODGSON, Charles Lutwidge.] CARROLL, Lewis. derland was originally printed in Oxford at the Clarendon Press Through the Looking-Glass, and What Alice Found in June 1865. On 19 July 1865, Dodgson heard that the book’s There. London: Macmillan and Co., 1882 illustrator John Tenniel was dissatisfied with the quality of the Octavo. Original white paper-covered boards, covers lettered and dec- printing, so decided to suppress the whole edition of 2,000 orated in gilt, pale blue coated endpapers, all edges gilt. Housed in copies. He recalled the few pre-publication copies he had sent a custom cream slipcase. Frontispiece with tissue-guard, 49 illustra- out to his friends and donated them to hospitals, where most tions by John Tenniel. Two newspaper clippings tipped-in to rear free

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blank. Spine darkened, boards gently bowed, board edges rubbed, of Alice’s Adventures in Wonderland, when he originally ordered 50 small patch of abrasion to rear board, covers finger-marked, a few copies for presentation in red cloth and a single copy in white faint marks to contents. vellum. In March 1876 he requested a lavish array of colours, in- second edition, presentation copy in the deluxe cluding “20 bindings in white vellum and gold”, for The Hunting presentation binding, inscribed by the author on the of the Snark. It would have been extremely difficult and expensive half-title: “Mary Frances Fuller, with the affectionate regards for a commercial publisher like Macmillan to produce so many of her old friend the Author. Oct. 1882.” Mary “Minnie” Francis gilt-stamped bindings in real vellum. Instead, they settled on Fuller (née Drury; 1859–1935) became one of Dodgson’s child- this style of boards covered with a textured white cloth (vari- friends, and a subject for his photographs and recipient of his ously described as imitation morocco, vellum, or parchment). poems. She first met him in a railway carriage with two of her Dodgson showed his approval of the result in a letter to Maud sisters and governess, on their way from Southwold after their Standen in 1877: “I have had them [copies of The Hunting of the summer holidays in August 1869. Mary’s daughter Audrey later Snark] bound in various coloured cloths . . . e.g. light blue, dark recounted the meeting: “they saw a clergyman on the plat- blue, light green, dark green, scarlet (to match Alice), and, what form, passing and re-passing the carriage window; and, just is perhaps prettiest of all, white, i.e. a sort of imitation vellum, as my children would have done, they hoped he wouldn’t get which looks beautiful with the gold” (quoted in Williams, p. 20). in. He did get in and amused them all the way to London with Dodgson liked to have a supply of his books in white bindings puzzles, paper toys and stories . . . The friendship continued ready for presentation as occasion demanded. all through my mother’s married life, and I remember him Williams–Madan–Green–Crutch 84a; Wakeling, E. Lewis Carroll: The Man coming from the time I was quite a small child to stay with us” and his Circle, 2015. (Wakeling, p. 256). This style of white binding for presentation was Dodgson’s £27,500 [108873] preferred choice for his closest friends. His preference for a white binding for presentation dates back to the first edition

49 All items are fully described and photographed at peterharrington.co.uk

Mark Twain’s first book leaping frog in the centre of the front cover, rather than po- sitioned to the lower left, though no priority has been estab- 36 lished between the two; it has all of the points of a first issue as [CLEMENS, Samuel Langhorne.] TWAIN, Mark. The delineated by BAL. Celebrated Jumping Frog of Calaveras County, And other “Mark Twain wrote his story of the jumping frog... at the in- Sketches. Edited by John Paul [Charles Henry Webb]. vitation of Artemus Ward (Charles Farrar Browne), his friend New York: C. H. Webb, 1867 and the most popular American humorist of the day, to help fill out a volume of humorous sketches that Ward was edit- Small octavo. Original brown cloth over bevelled boards, gilt lettered spine, front cover lettered in gilt with gilt stamp of jumping frog to ing. Fortuitously, and fortunately for Twain, the frog story ar- centre and blind to rear cover, brown endpapers. Housed in a brown rived too late for inclusion in Ward’s book; it was published cloth chemise and slipcase. Ownership inscriptions of H. Bane, Salt instead as ‘Jim Smiley and His Jumping Frog’ in the New York Lake City on flyleaf dated 1880; pencil signature of O. Hollister on free Saturday Press on 18 November 1865. It was soon reprinted in endpaper; bookplate of Carol G. and William E. Simon (1927–2000), newspapers and comic periodicals throughout the nation, was United States Secretary of the Treasury in the Nixon administration. pirated by Beadle’s Dime Books, and was later collected with Some wear to tips and spine ends, front hinge starting but text block a new title in The Celebrated Jumping Frog of Calaveras County and sound, occasional mild foxing to contents. An excellent copy. other Sketches (1867). This humorous short story brought Twain first edition, first issue of Mark Twain’s first book. “Cop- his first popular acclaim and has proven to be his first literary ies were bound simultaneously in green, terra cotta, dark masterpiece” (W. Craig Turner in The Mark Twain Encyclopaedia, brown, lavender, blue deep purple, maroon and red cloth” 1993, pp. 133–5). (MacDonnell, “The Primary First Editions of Mark Twain”, in BAL 3310. Firsts, Vol. 8, no. 7/8). This copy features the gilt stamp of the £22,500 [112604]

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The law of general equilibrium Walras operates with essentially the same concepts as Je- vons, but he searches continuously for solutions of the most 37 general character. Like Jevons and Menger, he bases exchange- WALRAS, Léon. Éléments d’économie politique pure ou value on utility and limitation of quantity. Following his fa- théorie de la richesse sociale. Lausanne: L. Corbaz & Cie, ther, he uses the term rareté, which he defines as the “dérivée Paris: Guillaumin & Cie, Basel: H. Georg, 1874–77 de l’utilité effective par rapport à la quantité possédée”. In Two parts in one octavo volume (208 × 134 mm). Contemporary other words, rareté is the same as marginal utility. The desire to pebble-grain cloth, pebbled calf spine, ruled and lettered gilt, neatly equalize marginal utilities (according to Gossen’s second law) rebacked preserving the original spine. With 3 folding plates com- will lead to exchange, and this desire, together with the stocks prising 15 figures. Ownership inscription of the Dutch economist J. of goods possessed by each individual, will give a determinate J. Meltzer to front free endpaper Corners lightly rubbed, occasional demand or supply for each individual. This can be represented light spotting; an excellent copy. by a functional equation or by a curve. first edition of both parts, written by one of the lead- Walras was influenced by Cournot and it was probably this ing mathematical economists. In 1874, three years after Jevons influence which enabled him to combine a utility theory of and Menger but independently of them, Walras enunciated the value with a mathematically precise theory of market equilib- theory of marginal utility in his Eléments d’économie politique pure. rium. In spite, or because, of the difficulties which he expe- In this book he continued and refined the work inherited from rienced in this task, Walras was increasingly led to enunciate his father and was successful in developing the law of general a general, non-utilitarian theory of economic equilibrium, ex- equilibrium that made him famous. The work falls into two pressed in terms of functional equations. He is, therefore, es- parts: one dealing with the theory of exchange (pp. 1–208), the sentially the economist’s economist, rather than of the general other (pp. 209–377) with the theory of production. “The book reader or the politician. regards exchange as the central economic phenomenon and Batson, p. 34; Cossa 279 (171); Einaudi 5965; Mattioli 3796; Walker 95, 113. treats all other branches of economic study in relation to this central fact” (Batson). £35,000 [106498]

51 All items are fully described and photographed at peterharrington.co.uk

Presentation from the bed-ridden author to her ner of the front panel, light spotting to frontispiece recto, superficial cousin, also a published author, with accompanying cracking to rear hinge, an excellent copy. autograph letters first edition, presentation copy, inscribed by the author on the front endpaper, “For Dearest Cousin Emma, 38 with the Author’s fond love, Christmas 1877”; in one of two SEWELL, Anna. Black Beauty: his grooms and primary bindings (Carter B). Together with two autograph letters signed from the author to Emma Curtis (“Dearest Cousin companions. The autobiography of a horse. Translated Emma”). The first is dated 26 December, sent shortly after this from the original equine. London: Jarrold and Sons, [1877] copy: “I sent you a book on the 22nd which I hope arrived safely Octavo. Original brown cloth, spine and front board lettered and & brought my love with it.” The second, retaining the original decorated in black and gilt, rear board blocked in blind, brown end- mailing envelope, is dated 4 January [1878] and records Anna’s papers (Carter’s B binding), edges trimmed. Housed in a custom red delight that her cousin liked Black Beauty: “It is impossible for morocco-backed slipcase and chemise. Engraved frontispiece after C. Hewitt. Circular blindstamp to coated front endpaper. A little rub- me to tell you all the pleasure that your letter gave me, but as bing to extremities and a small area of scuffing to the top left cor- you were an author before any of us, you may perhaps imagine it – I am delighted that you like my book”.

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A third accompanying note is a poignant reminder of the au- In 1938 Carter distinguished three states of the binding: A thor’s early death, a piece of mourning paper, “Dear Anna par- with the same blocking as this, but all in gilt; B, as here, with ticularly requested her affectionate love to be sent to you – April the horse’s head, titling, and the rustic portions of the decora- 25, 1878”, written by Grace Sewell on the day of Anna’s death. tion in black (Carter mistakenly describes the titling as gilt), An exceptional example in all respects. The recipient Emma the other parts being gilt; and C, blocked in black and gilt, with Curtis was herself a published author, her works including An- a much smaller horse’s head gilt in a medallion, facing left, the nie Barclay: or, Sketches of “The Society of Friends” by one nearly con- same design as used for the later editions. Carter A and B are nected with, but not a member of their highly respected Society (1852) primary, and the earliest dated inscribed copies are Christmas and Jottings of an Old Woman of Eighty (London 1852, 1853; 3rd ed. 1877, as here. Publication date was 24 November 1877. Brighton 1858). Carter, More Binding Variants, pp. 37–38; Quayle, pp. 96–97. This Victorian classic was the only book of its bedridden author, who died shortly after its publication, much too soon to £50,000 [107896] appreciate its slowly accumulated worldwide success. Presenta- tion or inscribed copies are understandably rare and the majority are not inscribed by the author herself, but by her mother.

53 All items are fully described and photographed at peterharrington.co.uk

One of the most comprehensive visual reports carried out German immigration to Brazil, settling in Recife in 1859, and on any Brazilian city in the period establishing there one of the first lithographic presses in Per- nambuco, Casa Litographica. 39 But it is for the present sequence of plates that he is best (BRAZIL.) CARLS, Francisco Henrique. Album de known, “a significant iconographic series for the visual mem- Pernambuco. Pernambuco: F. H. Carls, 1880 ory of the country, depicting scenes of everyday life, customs and landscapes” (Silva, p. 1567). Landscape quarto (300 × 420 mm). Original green cloth, title gilt to the front board within a broad black stylised floral panel between two A collaboration with German-born artist Louis Adam Cor- single gilt ruled panels, the black panel repeated on the lower board, nell Krauss, who arrived in Recife in 1877, it has been suggested edges lightly marbled, floral-pattered endpapers in sepia, the title in that the plates incorporate, uncredited, the work of pioneering German neatly inked in purple in a contemporary hand to the first Brazilian photographers such as João Ferreira Vilela, Alfredo blank, small bookbinder’s ticket of Wilhelm Bitz, Basel, to the lower Ducasble, Guilherme Gaensly (Wilhelm Gänsli) and Augusto fore-corner of the front pastedown, dated August 1885 in the same Stahl. Certainly a number of the views exhibit a sharpness hand. High-finish pictorial chromolithographic calendar for 1880 of detail that hints at the use of photographic reference, and with Carls’ imprint as title page, and 36 coloured lithographic plates. some bear a close resemblance to images produced by these Very light shelf-wear, some marginal browning to the plates, occa- Brazilian pioneers: for example, the view of Recife from the sional scatter of spotting, overall very good indeed. observatory of the Naval Arsenal is very similar to Gaensly’s a wonderfully-preserved copy of this superb visual framing of the same subject, and the plate of the Sete de Sep- record of brazil in the late 19th century. “The col- tembro bridge bears comparison with Vilela’s views. When ourful and airy rendering contributes much to the appeal of the Pernambucan organising committee for the Berlin South this extensive series of images that forms one of the most com- American exhibition of 1866 included one of Carls’s albums, prehensive visual reports carried out on any Brazilian city in they did so in the belief that this would present the German the period” (Correa do Lago). public with an “an idea of the beauty of our city”. The album was first issued in 1873 under the title Album de Not in Borba de Moraes; Correa do Lago, Brasiliana Itaù, pp. 328–29; Silva, Pernambuco e seus arrabaldes [Album of Pernambuco and its Environs] “Franz Carls: Memórias Litográficas do Recife Oitocentista”, in 21st Encontro with 50 plates. It was subsequently reissued with varying num- Nacional de Pesquisadores em Artes Plásticas, Vida e Ficção/Arte e Fricção, 2012. bers of plates, some copies having as few as 15 to 20, and with the composition rarely repeating. Carls was a German graphic £35,000 [108232] artist, designer, and photographer who joined the wave of

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“There is no such thing as a moral or an immoral book” Dorian Gray first appeared in Lippincott’s magazine simultaneously in Philadelphia and London, on 20 June 1890. That 40 publication was immediately followed by an unauthorized, pi- WILDE, Oscar. The Picture of Dorian Gray. London: Ward, rated version, printed 22 June 1890 in New York by M. J. Ivers Lock & Co., 1891 & Co. Wilde then substantially revised the work and added six Small quarto. Original quarter vellum, bevelled grey paper boards, new chapters for book publication. titles and decorations to spine and boards gilt, olive endpapers, top This deluxe signed edition is of considerably greater rarity edge gilt, others untrimmed. Housed in a green quarter morocco so- and value than the unsigned first trade edition issued three lander box by the Chelsea Bindery. Spine tanned with ends profes- months earlier. At least one contemporary review praised this sionally restored, corners just a touch rubbed, a few small and very edition in particular: “the book, with its unique and piquant faint markings to boards, occasional tanning to deckle edges, inter- binding and lettering, its characteristic title page and yet more nally clean and fresh. An excellent copy. characteristic preface, is a delight to eye and hand” (Glasgow signed limited edition, number 189 of 250 copies printed Herald). The title page, half-title, and cover were designed by on Van Gelder handmade paper and signed by Wilde, rare in Charles Ricketts, who designed the bindings of many Wilde this condition. Wilde’s only novel and considered by many his volumes. greatest work, Dorian Gray combines the supernatural elements Mason 329. of the Gothic novel with the sins of French decadent fiction. Wilde famously insists in the Preface, “There is no such thing £25,000 [104640] as a moral or an immoral book. Books are well written, or badly written. That’s all” (p. vi).

55 All items are fully described and photographed at peterharrington.co.uk

A superb Cosway binding with eight miniatures of extending over the covers in gilt, with eight large rectangular inset miniatures of street cries by Miss C. B. Currie, four on each cover, London street cries by Miss Currie each inset behind glass, spine in seven compartments also tooled 41 with the ivy leaf motif, lettered in the second and fourth, broad den- telles, the rear with Miss Currie’s stamp at lower centre, red moiré silk (COSWAY BINDING.) LOFTIE, W. J. London City. Its doublures and endsheets, top edge gilt, others untrimmed; the whole History – Streets – Traffic – Buildings – People. Illustrated housed in a scarlet morocco pull-off case by Rivière. Monochrome il- by W. Luker, Jr. from original drawings. Engraved by Ch. lustrations throughout, 59 full page. Minute wear to binding, a touch Guillaume et Cie., Paris. London: The Leadenhall Press, for more to the case, in all a very fresh example of a Rivière Cosway binding at its most elaborate. Simpkin, Marshall, Hamilton, Kent & Co., Ltd., and Scribner & These elaborate bindings, named after the famous Regency Welford, New York. 1891 miniaturist Richard Cosway, were a style executed by Rivière & Large quarto (325 × 277 mm). Cosway binding of full dark olive levant Son for Henry Sotheran booksellers, with miniatures mounted morocco by Rivière with an overall pattern of ivy leaves and stems under glass on the cover. Miss Currie (real name Caroline Billin

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Curry) worked for J. Harrison Stonehouse at Sotheran’s from enlivened with strong personal opinions, especially on archi- about 1910 until her death in 1940. Later Cosway bindings had tecture. The history of London was his longest sustained inter- certificates of authenticity, but this is an early, unnumbered, est and the subject that he researched the most thoroughly” unusually large, and most impressive example of her work. (ODNB). The miniatures are identified by a calligraphic guide sheet laid in, all taken from the Cries of London: “Primroses!” “Fresh- £55,000 [107618] shelled peas!” “Chairs to mend!” and “Milk Maids!” are on the front cover; with, on the rear, “Mackerel!” “Sweet china or- anges!” “Scissors to grind!” and “Carrots and Turnips!”. Each measures 103 × 80 mm. The text is by William John Loftie (1839–1911), “a literary an- tiquary whose work may have lacked original scholarship but was usually well informed, written in an attractive style, and

57 All items are fully described and photographed at peterharrington.co.uk

“Memorably rich pages” – the greatest achievement Large folio (421 × 280 mm). Twentieth-century blue morocco over reverse bevelled boards by Sangorski & Sutcliffe, gilt panelled spine of the Press (gilt tooled on the raised bands with a fleur-de-lys motif ), single-line 42 gilt border on sides, three-line gilt turn-ins, gilt edges. Housed in a morocco trimmed blue cloth, fleece-lined slipcase. Printed in black (KELMSCOTT PRESS.) CHAUCER, Geoffrey. The and red in Chaucer type, the titles of longer poems printed in Troy Works, now newly imprinted. Hammersmith: printed by type. Double columns. With 87 woodcut illustrations after Sir Edward William Morris at the Kelmscott Press, 1896 Burne-Jones, redrawn by Robert Catterson-Smith and cut by W. H.

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Hooper, woodcut title-page, 14 variously repeated woodcut borders, full of design, and the finest book ever printed; if W. M. had 18 variously repeated woodcut frames around illustrations, 27 nine- done nothing else it would be enough.” teen-line woodcut initial words, numerous three-, six-, and ten-line The most ambitious and magnificent book of the Press, the woodcut initial letters, and woodcut printer’s device, all designed Kelmscott Chaucer presented unusual problems as regards by William Morris, and cut by C. E. Keates, W. H. Hooper, and W. its binding. After a trial of the usual limp vellum was rejected Spielmeyer. Spine lightly sunned, a few scuffs to slipcase, a fine copy. for lack of stability, the book was issued in either the standard One of 425 paper copies; there were an additional 13 copies Kelmscott binding of quarter holland boards or, at consider- on vellum. “The Kelmscott Chaucer is not only the most im- able extra expense and time, in full pigskin by the Doves Bind- portant of the Kelmscott Press’s productions; it is also one ery. The quarter holland boards were essentially too flimsy for of the great books of the world. Its splendour can hardly be such a large book, so many copies were subsequently put into matched among the books of the time” (Ray, The Illustrator high-quality commissioned morocco bindings, such as this. and the Book in England). The paper is made entirely of linen by Batchelor, with a Morris-designed watermark copied Clark Library, Kelmscott and Doves, pp. 46–48; The Artist & the Book 45; Peterson A40; Ransom, Private Presses, p. 329, no. 40; Ray, The Illustrator and the Book in from an Italian incunable in his own library. The text is from England, 258; Sparling 40; Tomkinson, p. 117, no. 40; Walsdorf 40. Skeat’s new edition of Chaucer, by permission of the Claren- don Press. The illustrations are by Burne-Jones, who spent £68,500 [108321] every Sunday for almost three years on the drawings, which were then transferred to woodblocks by W. H. Hooper and R. Catterson-Smith under Burne-Jones’s close supervision. Burne-Jones called the book “a pocket cathedral . . . it is so

59 All items are fully described and photographed at peterharrington.co.uk

One of three copies only on vellum, inscribed by But the present example is the rarest iteration of all. The other the Beast himself two copies Crowley mentions are recorded as appearing on the market as early as 1926 when the John Quinn copy sold at the 43 Anderson Galleries. It was rebound in blue morocco by Zaehn- CROWLEY, Aleister. The Sword of Song. Called by sdorf, as was the second of the three copies, which languished Christians The Book of The Beast. Paris: by Philippe in a Detroit storage facility until Lunn liberated it and placed Renouard [colophon]; Benares: Society for the Propagation of it, along with many other Crowley jewels, in the Harry Ransom collection at the University of Texas Austin. We have not traced Religious Truth, 1904 the Quinn copy but our example is the only one of the three in Quarto. Printed on vellum, unbound as issued, gatherings laid into the original condition. the original blue wrappers, titles and decoration to wrappers and backstrip in gold, uncut. Housed in a dark blue quarter morocco so- £37,500 [107816] lander box with chemise by the Chelsea Bindery. Printed in red and black. Dusty, the wrappers torn at the spine and generally a little dull. first edition, first printing, one of just three copies printed on vellum for crowley’s own use. a major presentation copy inscribed by crowley on the initial blank, in a mixture of letters and symbols: “An XIX [the Sun in 8 degrees 15 minutes Libra, the Moon in 0 degrees Cancer, i.e. in Thelemic dating, 2 October 1923] City of Tunis. Do what thou wilt shall be the whole of the Law [symbol] I, the Beast 666 [symbols] A...A... give this third vellum copy of The Sword of Song (the other two being in my possession & that of John Quinn) to Edmund Saayman on his 26th birthday and his day of reception as a probationer of A...A... with the Motto of [He- brew letters] ‘There the scribe knew the narcissus in his heart’ with all good Will for his Attainment of the Summum Bonum True Wisdom & Perfect Happiness.” Edmund Saayman, a mathematics scholar, had been recruit- ed to Crowley’s cause by Norman Mudd. Both Oxford men, they visited Crowley at Cefalu and followed him to Tunis. The regular edition exists in two states, one of which has a red paper outer wrapper and was issued in ten copies only.

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107595

Inscribed and signed books from Hemingway’s library, assortment of Hemingway material found stored there. Mary including books from childhood donated much of the material to the John F. Kennedy Library and left this remnant to the Bruces. 44 The books, especially those from early in Hemingway’s life, HEMINGWAY, Ernest. A collection of 39 books from his are often intriguingly tied to or inscribed by figures who would personal library. 1906–50 appear, veiled or semi-veiled, in his later fiction (such as his father, Clarence, or former girlfriend Marjorie Bump). The books Together, 39 books, octavo and quarto. Various publisher’s bindings. The condition generally shabby and worn. and their inscriptions portray Hemingway as a cherished part of the family and a whimsical and inquisitive youth – an image The collection comprises 39 books from Ernest Hemingway’s slightly at odds with his older, stoic persona. Included is a copy personal library, including his own works and books inscribed of Longfellow’s Hiawatha lovingly dedicated by Hemingway’s to him by family members, fellow authors, and editors. Many mother; Hemingway used the book to stage performances are from his childhood and early adolescence, while some with his sister, Marcelline. Lengthy annotations and doodles track Hemingway’s travels in Spain, Paris, and back to the in Elements of Debate by a teenage Hemingway reveal both an en- United States. gagement with moral issues as well as a short attention span. The books comprise nine books signed by Hemingway; Other childhood books (here included) indicate the wander- eighteen books inscribed to Hemingway, often from family lust and strident nationalism (such as in the Little Journey series, members and other authors, editors, and writers; and thirteen as well as True to the Old Flag) that Hemingway would alternately books owned by Hemingway with no signatures or inscrip- champion and critique in later years. They also reveal educa- tions. Several are books given to Hemingway as Christmas tional material on Hemingway’s by-now famous interests in and birthday presents and inscribed to him by his parents and sports, hunting, and bull fighting. close relatives. The books index Hemingway’s early writing influences, and The books were stored for many years in Sloppy Joe’s, the particularly the influences he sought to emulate in his first se- legendary Key West saloon owned by Hemingway’s friend and rious works. O. Henry – whose story collection, Rolling Stones, sailing companion, Joe Russell, the model for Harry Morgan, signed by Hemingway, is included – was one of Hemingway’s the protagonist of To Have and Have Not (1937). Obviously this three favourite writers before going off to war, and served as was less than ideal archival storage and the books are in poor the sole imitable model for fiction when he returned, when condition externally, most with significant damage to the Hemingway was just beginning his famous Michigan stories. covers. The books were saved from probable worse damage by Telly A full description of the collection is available on our website or on request. Otto “Toby” Bruce (1910–1984), who was for many years Hem- £45,000 [107595] ingway’s factotum and confidante. After the author’s death, he and his wife, Betty, helped Mary’s widow, Mary, to sort out the

61 All items are fully described and photographed at peterharrington.co.uk

Wittgenstein’s first philosophical work A scarce carbon typescript copy of Wittgenstein’s “Notes on Logic”, dictated by Wittgenstein to Bertrand Russell in Octo- 45 ber 1913, and first presented as a lecture in March 1914 at Har- WITTGENSTEIN, Ludwig. Carbon typescript, “Notes vard, where Russell had been invited to lecture. The “Notes” on Logic”. Cambridge: 1913 were first published, from a version copied at Harvard by Harry Carbon typescript on Foolscap Excelsior Fine British make laid paper Costello, in the Journal of Philosophy (Vol. LIV, no. 9, 1957) and watermarked 6GM/SH (327 × 201 mm), pp. [4], 14. Held together with subsequently as an appendix to the first printing of Wittgen- a rusty paperclip, preserved in a custom made cloth folder and slip- stein’s Notebooks, 1914–1916 (1961). case. Section numbers added in blue ink, with additional symbols, For a full account of the publishing history see Brian McGuinness, “Bertrand formulae and diagrams added by hand. Sometime folded in half. In Russell and the ‘Notes on Logic’” in Approaches to Wittgenstein, pp. 243–58. very good condition. £15,000 [97418]

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“I am not Prince Hamlet, nor was meant to be . . . ” first edition, sole impression, of Eliot’s first book, one of 500 copies printed. Extremely scarce in this condition. 46 Gallup A1. ELIOT, T. S. Prufrock and Other Observations. London: The Egoist, 1917 £22,500 [110714] Octavo. Original buff wrappers, front cover printed in black. Housed in a custom brown cloth chemise and brown cloth slipcase. Minor mark to front cover; an exceptional copy.

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Presentation to his friend and protégée Peggy Boyd, (Peggy published some works as Woodward Boyd). Peggy exuberantly inscribed, threatening Dorothy Parker presumably bought the book on publication in April 1920 in Chicago – the book has the ticket of Carrolls Booksellers, The 47 Plaza, Chicago on the front pastedown. An original photo of FITZGERALD, F. Scott. This Side of Paradise. New York: Fitzgerald is tipped-in below. Charles Scribner’s Sons, 1920 Margaret (“Peggy”) Woodward Smith (1898–1965) was already established as a reporter for the Chicago Daily News when Octavo. Original green cloth, titles gilt to spine and blind to front board. Housed in a custom orange solander box. Bookseller’s ticket she met her first husband, the journalist and novelist Thomas to front pastedown. A little wear to tips and spine, front hinge re- Alexander Boyd (1898–1935). They moved to Minneapolis and paired, some spots and marks to content. married in October 1921. The Fitzgeralds had moved to St. Paul in summer 1921 and Tom made it his business to meet Scott as first edition, second printing (same month as the first); soon as he could. inscribed by the author on the front free endpaper: “For Tom promoted Fitzgerald’s work through his column and Peggy Boyd, from F. Scott Fitzgerald, with many thanks for her Fitzgerald in turn assisted the Boyds with their ambitions of work for ‘The Little Friends of Jugo-Slovakian Children’ — this becoming published authors. He encouraged Tom to publish humble prize for the Most Tickets Sold For The Bazzaar [sic]. Through the Wheat (1923), with advice on revising the manu- Bravo! Bravo! Keep up your kind acts and Our Celestial Backer script, and persuading Scribner’s to publish it after they ini- will never let you be sorry.” tially turned it down. Similarly, he was full of praise for Peggy’s At the head of the page, Fitzgerald has added “Read the manuscript for The Love Legend (1922), offering suggestions for article on ‘Professional Youth’ in the last Sat. Eve. Post. I revising the novel and writing a fulsome review in the New York shall revenge myself on the lady.” The lady in question was Post when it was published. Peggy later published books as Fitzgerald’s friend Dorothy Parker, who had written the ar- Peggy Shane, after her second marriage to the humorist and ticle making fun of Fitzgerald’s shameless self-promotion. crossword-puzzle creator Ted Shane. Parker’s article was published on 28 April 1923, which dates the inscription fairly precisely. Bruccoli A5.1.a; Bruce, Thomas Boyd: Lost Author of the “Lost Generation”, Fitzgerald’s inscriptions are written above and below the 2006. original ownership inscription of Margaret Woodward Smith. £37,500 [110641] Fitzgerald has added quotation marks around “Woodward”

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One of 20 copies only on Japanese vellum, the most signed extra limited edition, number 14 of 20 copies on luxurious and exclusive format Japanese vellum signed by both author and illustrator. The first edition of Winnie-the-Pooh was first published in the UK in three 48 issues: an extra limited issue of 20 vellum copies, a limited is- MILNE, A. A. Winnie-the-Pooh. With Decorations by sue of 350 copies on large paper, and a regular trade issue. Ernest H. Shepard. London: Methuen & Co. Ltd., 1926 This is the first title to be issued in this luxurious and exclusive format: there was no equivalent issue of the first book in the Quarto (222 178 mm). Original vellum lettered in gilt on front cover. Preserved in a custom-made collector’s morocco slipcase and cloth series, When We Were Very Young (1924), as the enormity of its chemise. Illustrated throughout by E. H. Shepard, folding map at end. success had not been anticipated. Largely unopened, very minor spotting at top edge, still a fine copy. £35,000 [102277]

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Original Shepard drawing, after his own original in The House at Pooh Corner 49 (MILNE, A. A.) SHEPARD, E. H. “Tiggers don’t like honey.” 1961 Original artwork in black ink on artist’s board. Image size 10 × 12 cm; sheet size approx 13 × 17 cm. Excellent condition. Presented in a gilt frame. signed and dated in ink by the artist in 1861 lower right, and captioned by Shepard “Tiggers don’t like honey”. This image was first used forThe House at Pooh Corner, first published in 1928, page 23. Together with a two-page autograph letter signed, dated 21 June 1961, to Miss Shirley: “I send you two drawings that I have specially made for your school library . . . most of my illustrative work is done in pen and ink . . . I like to keep my original drawings”, signed Ernest H. Shepard. £47,500 [109941]

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One of the greatest debut comic novels of the century so while his father, who was the managing director of the firm, was away on holiday. The acting-director agreed to publish the 50 novel and Arthur Waugh returned to London to discover that WAUGH, Evelyn. Decline and Fall. An Illustrated his son was his firm’s newest author. When Arthur Waugh’s Novelette. London: Chapman & Hall Ltd, 1928 biography was published three years later, however, Decline and Octavo. Original red and black marbled cloth, gilt lettered spine. With Fall and Vile Bodies, the two novels published under his director- the dust jacket. Illustrations by Evelyn Waugh. Spine slightly rolled; ship of Chapman & Hall, were not mentioned. The indelicate an excellent copy in the jacket with faded spine. material, which Martin Stannard has since revealed in fact did first edition, first impression, of the author’s remarka- go through some “taming” revisions, was perhaps too much ble first novel, with his own illustrations, in the dust jacket also for the elder Waugh. designed by him. After the book was rejected for indecency by Connolly, The Modern Movement, 58. Duckworth’s, the publisher of his earlier biography of Rossetti, £17,500 [111192] Waugh offered the manuscript to Chapman & Hall, but he did

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Presentation copy in gratitude to the secretary and clerk at the Press 51 WOOLF, Virginia. The Waves. London: Published by Leonard and Virginia Woolf at The Hogarth Press, 1931 Octavo. Original purple cloth, titles to spine gilt. With the dust jacket designed by Vanessa Bell. Spine gently rolled, a couple of marks to boards, spine slightly darkened, a little spotting to edges of text block, dust jacket separated from spine panel with some shallow chips and nicks to extremities. first trade edition, first impression. a superb presentation copy, inscribed by the author to the secre- worker considering she’s not a professional like Miss Belcher tary and clerk at the hogarth press on the front free [sic] and myself.” endpaper, “Peggy Belsher, with thanks for all she has done, Woolf was fond of her attractive young secretary; she wrote from Virginia Woolf Oct. 8th, 1931.” to her after she left, “I always meant to say how sorry I was that Belsher, who worked at the Hogarth Press between 1928 you were going – if for no other reason than you were always and 1936, later recalled how Virginia Woolf would sometimes so kind to me.” In July 1935 when Peggy married a clerk in the “come into the office to help with tying up parcels”, and the customs office, the Woolfs went to tea with the newlyweds and illustrator Richard Kennedy noted that “Mrs W. is a pretty fast were given a tour of the house. Virginia noted that the young people lived more comfortably than her own parents had lived at Hyde Park Gate 50 years earlier. Woolf found her “quite on top of the situation. Patted my shoulder. No snobbishness. No sense of class differences. And science has helped them to electric toasters.” Kirkpatrick A16a; Woolmer 279. £27,500 [111610]

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“One of the most singular documentary photobooks of the dence to the widely held idea that a flood in the photographer’s 1930s” (The Photobook) storeroom destroyed many copies. This collaboration by Ullmann and Peterkin focuses on the 52 lives of second- and third-generation “free blacks” in the Gul- ULMANN, Doris, & Julia Peterkin. Roll, Jordan, Roll. lah region of South Carolina. “Peterkin, a popular novelist who New York: Robert O. Ballou, 1933 won the Pulitzer Prize in 1929, was born in South Carolina and raised by a black nursemaid who taught her the Gullah dialect Octavo. Original linen-backed brown boards, device in blind to front board, titles to spine gilt, top edge gilt, others untrimmed, brown tex- before she learned standard English. She married the heir to tured endpapers. With the original matching card slipcase. With 90 Lang Syne, one of the state’s richest plantations, which be- full-page copper plate photogravure illustrations by Ulmann. Spine came the setting for Roll, Jordan, Roll” (Roth, 101 Books). just a little sunned and spotted, all but 2 plain tissue guards lacking Parr & Badger I, 135; Roth, p. 78. (felicitously, since if left in they stain the plates), one plate a touch browned, one or two minor stains to the odd page. An exceptional £32,500 [109882] copy in the publisher’s scarce card slipcase, that is split at top edge. first edition, signed limited issue. Number 48 of 350 copies signed by the author and photographer, and printed on large paper and specially bound with 90 images, instead of the 70 included in the trade issue. This copy is accompanied by the gravure signed by Ulmann, of the plate on p. 31, which, although not called for in the colophon, was supposed to be included. Of the few copies we have seen which retain the slipcase, about half have evidence of water damage and give cre-

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The best collected edition, in the original tan niger, Although 525 sets of sheets for the Sussex edition were pre- complete with original slipcases pared, far fewer were bound and many were lost to enemy action as they lay in the publisher’s warehouse. Laid in to the first 53 volume is the publisher’s eight-page prospectus, which gives a KIPLING, Rudyard. The Works. London: Macmillan and detailed description of this superb edition. This is the first set Company, 1937 we have handled to come complete with the original slipcases. Thirty-five volumes, large octavo. Original full tan niger morocco by Stewart pp. 577–80. James Burn & Co. for Macmillan, titles to spines gilt, raised bands, £25,000 [108457] double line rule to boards gilt, top edges rough gilt, other edges uncut as issued, marbled endpapers, twin gilt and blind rules to turn-ins, printed on handmade paper, the first sheet of each signature bearing a Ganesha watermark. Volumes individually housed in orange paper- board slipcases as issued. A fine set with just a modicum of the usual entirely organic variation in colour; slipcases slightly worn and with the occasional dampstain or minor split. the sussex edition, the definitive edition of Kipling’s works; number 221 of a limited edition of 525 numbered sets signed by the author on the limitation leaf. During the last years of his life, Kipling was engaged in a complete revision of his works, with a view to having them published in Britain (as here) and in America (the Burwash edition). In both cases, he signed sheets for the editions before his death and the editions appeared posthumously.

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Signed by Walt Disney and all his leading animators for title page, instructing the movie’s animators and other creative Disney’s potential European distributors personnel to sign the title and facing page, as well as the front free endpaper. This is one of those few signed copies, bearing, 54 in addition to Disney’s, signatures of 51 of the film’s 64 princi- DISNEY, Walt. Snow White and the Seven Dwarfs. New pal creators. York: Harper and Brothers, 1937 The majority of images for Snow White have been attributed to noted artist Gustaf Tenggren, whose signature appears at Quarto. Pictorial paper boards, black cloth backstrip, pictorial endpapers. With the dust jacket. Housed in a full blue morocco solan- the top of the front free endpaper verso. In addition to Teng- der box. Walt Disney Studio colour and black and white illustrations gren, signatories include six of the other nine lead animators, throughout. Light wear to extremities, rubbing to corners, occasional later affectionately called by Disney his “nine old men” – Les spotting to pages and a few pages with light creasing, page 64 with a Clark, Milt Kahl, Ward Kimball, Eric Larson, Wolfgang “Woo- very tidy professionally repaired closed tear, gift inscription to copy- lie” Reitherman, and Frank Thomas. The remaining auto- right page, in a very bright dust jacket with just a touch of rubbing at graphs include those of character designers, art directors and corners and ends of spine. A very attractive copy. supervising animators. Other notable singers include charac- first edition, first printing, lavishly inscribed by ter designers Albert Hurter and Joe Grant; art directors Charles walt disney and 51 of the film’s animators. This is very Phillippi, Terrell Stapp, McLaren Stewart, Harold Miles, Ken probably one of the copies resulting from RKO’s first Interna- Anderson, Kendall O’Connor and Hazel Sewell; and supervis- tional Sales Convention at the Hotel George V in Paris, involv- ing animators Ham Luske and Vladimir Tytla. ing 24 potential European distributors – dubbed “The Europe- £28,500 [111004] an Foreign Legion”. The agenda included a screening of Snow White and the Seven Dwarfs. As part of his two-day charm offensive, Disney orchestrated the signing of a number of copies of the book version of Snow White to be given as gifts. He signed boldly at the bottom of the

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The original setting copy, given by Durrell to Anaïs Nin not bear authorial corrections. That the present example was the “setting copy” is further suggested by the dedicatory note 55 at the end, which is in holograph here but is typed in Nin’s cop- DURRELL, Lawrence. The Black Book, original carbon ies. One of Nin’s carbon copies was in the Goodwin sale (1978), typescript, extensively revised. Corfu: 1937 together with a copy of the first edition with different pagina- Original carbon typescript, rectos only, 354 leaves in all, bound in tion and some annotation by Henry Miller. Winslow’s note also contemporary red quarter calf, red cloth boards, titles to spine gilt – relates that the 1960 American printing was set from this copy. THE BLACK BOOC [sic], the misspelling suggesting a Greek binder. Kathryn Winslow (1906–1989) managed a bookshop in Chicago Housed in a black quarter morocco book-form folding case by the called Studio M (aka The Studio of Henry Miller). Chelsea Bindery. With 3 pieces of associated correspondence laid in The Black Book was Durrell’s third published novel, after Pied (see below). Excellent condition. Piper of Lovers (1932) and Panic Spring (1937, published under the the original carbon typescript of the novel, exten- pseudonym Charles Norden), but his first mature work, in- sively revised before publication, with the author’s spired by Miller’s Tropic of Cancer, and the novel in which Dur- lavish signed dedicatory inscription on the last leaf: rell claimed that he “first heard the sound of my own voice”. “Here ends Lawrence Durrell, his Black Book written in Corfu: T. S. Eliot praised it as “the first piece of work by a new English 1937 Greece: finished on the author’s 25th birthday: dedicated writer to give me any hope for the future of prose fiction.” to his darling Nancy – proofed June 1937 Paleokastro [Greek “In the modernist Black Book Durrell displayed the narrative letters].” complexity and linguistic virtuosity that characterized his later The emendations to the typescript consist largely of exci- novels: the multiple points of view, achieved through diary sion; the published editions are some 2,600 words shorter fragments, letters, and dialogue reported by characters turned than the original complete typescript. Often these seem to be narrators; an Elizabethan fascination with the language of deletions of potentially objectionable passages but many are trades and sciences; and the tendency to describe scenes in evidently to do with improvements of style. There are a large lavish painterly terms” (ODNB). number of corrections of “incidentals” and some two dozen additional words added by the author. We know of no equiva- £45,000 [111884] lent version of this text bearing authorial corrections. Laid into the book are (a) the retained carbon copy of Kathryn Winslow’s 1966 letter to Durrell offering him the chance to buy The earliest use in writing of the term “Beat” by any of back this typescript prior to her selling it elsewhere, (b) Durrell’s the Beat writers one-page typed reply excusing his tardiness and mentioning the bookseller Alan Thomas as a possible broker, and (c) a page 56 of handwritten notes by Winslow describing a meeting with GINSBERG, Allen. Archive of correspondence with Paul Durrell in 1969 or 1970 at which she showed him the typescript Bertram. New York, Denver etc. 1946–50 and he identified it as “the one from which the published book Together 18 items, featuring ten pieces of correspondence from Gins- was made”. Durrell recalled that Anaïs Nin had had four copies berg to Bertram, comprising three autograph letters signed (19 July made of this version in Paris, which were bound in black and did 1947 to 11 June 1948) and seven autograph postcards (five from 7 Oct.

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1946 to Mar. 1950; two from Jan. 1972 and Mar. 1980); list of doctors in to sell his roommate a sawn-0ff shotgun. Within days he had pencil in Ginsberg’s hand with partial addresses added in ballpoint on given Burroughs his first fix. Their friendship was sealed by the William Sloane House (YMCA) headed paper, undated; two retained trip in June 1947 to the marijuana farm Burroughs had started copies (and one duplicate) of typed letters from Bertram to Ginsberg, in Texas, the very same trip referred to in Ginsberg’s letter to 1980 to 1986; two typed letters signed from Bill Morgan to Bertram, Bertram. 22 Aug. 1986 and 12 Sept. 1986, the first with the retained envelope; and a retained copy of Bertram’s reply. Condition overall very good. Huncke is portrayed as Ancke in Holmes’s novel Go (1952), Elmo Hassell in Kerouac’s On the Road (1957) and Herbert, the A collection of rare, mostly early correspondence from Allen protagonist in Burroughs’s first book, Junkie (1962). He appears Ginsberg to his life-long friend, Rutgers professor and Shake- under his own name in innumerable Ginsberg poems, includ- spearean scholar Paul Bertram (1928–2013), including what is ing Howl (1956) with its reference to “Huncke’s bloody feet”. the earliest known use in their writings of the seminal term These letters and postcards also trace Ginsberg’s merchant “Beat”. Writing on 14 July 1947, Ginsberg relates: “I spent most marine experiences, his travels with Burroughs, and his earli- of June in Texas with Joan Adams and Bill Burroughs and Her- est experiences with Neal Cassady. Topics mentioned by him bert Huncke, amid scorpions, Armadillos, Bayoux, Spanish include his travels (Denver, Texas, Africa, etc.); music, espe- moss, Be-bop music, marijuana, Beat texans, white trash and cially jazz and be-bop, including a lengthy catalogue of favour- ‘poon tang. Now I am in denver, broke, hungry, unemployed, ites; writing; friends (inter alia William and Joan Burroughs, depressed”. Cassady, and Huncke); reading; influences; movies; teachers, The key name here is Herbert Huncke, the charismatic and more. Of particular interest is the postcard dated 8 March street hustler, petty thief, and perennial drug addict, the man 1950: “I have been in a mental hospital since last spring and who gave Burroughs his first fix, and the figure who is properly have been very ill. That is why you have not heard from me. credited with introducing the term “beat” to the group argot. The Benzedrine is out of the question these days.” Two weeks Huncke picked up this carny slang, meaning poor, broken, after this, Ginsberg’s hospitalization would inspire his writing and beaten down, amid his Times Square milieu of junkies and of Howl, with its “holy Bronx on Benzedrine”. losers. Bertram met Ginsberg at high school and remained his The earliest usage of the term in literary circles is usually lifelong friend, as the later materials in this archive attest, in dated to November 1948, when John Clellon Holmes recorded which they discuss Shakespeare. Bertram gathered the let- in his diary a conversation between him and Jack Kerouac, ters together in response to a request from Ginsberg’s archi- which he recalled in his 1952 essay, “This is the Beat Genera- vist, Bill Morgan (two of his typed letters also included here), tion”, the term’s first appearance in print. This Ginsberg letter and indicates that there was plenty of other correspondence predates Holmes’s diary entry by more than a year. between himself and Ginsberg that is now irretrievably lost. Kerouac later agreed with Ginsberg that the term came from This, therefore, is a chance survival of a rich trove, almost en- Huncke: “We learned the word from him,” he told Al Aro- tirely unpublished, of early Ginsberg letters from the incarna- nowitz in 1959. “To me it meant being poor … like sleeping in tion of the Beat generation. subways, like Huncke used to do, and yet being illuminated and having illuminated ideas about apocalypse and all that.” £32,500 [100918] Huncke first met Burroughs in 1945, when Burroughs tried

73 All items are fully described and photographed at peterharrington.co.uk Churchill battles his punctilious proof-reader tivity to every little criticism is revealed when Marshal Foch is described as “with the laurels bright upon his brow”: Churchill 57 writes in the margin, “A. L. Rowse in his review took me to task CHURCHILL, Winston S. Annotated page and galley for passing this, which he called a cliché.” Delight in mocking proofs of The Second World War. London 1949–53 his Nazi adversaries appears in the comment on p. 205, when Together 26 chief items: 13 sets of printed page proofs of volumes I– he decides to leave stand an awkward translation from Jodl’s VI, with 13 galley proofs of various parts, and a small quantity of as- diary: “These only emphasize the bad grammar”. sociated correspondence. The collection comprises proofs of a “new Work on the various editions of volumes I and II spanned edition” of volume I and preliminary proofs for each of the subse- 1949 to 1950. Once Churchill returned to Downing Street after quent five volumes. Initialled by Churchill more than 15 times, by way election victory in 1951, he relied more heavily on his Syndi- of approving proof changes; extensively annotated by him in numer- cate, though his annotations do appear in some of the later ous proofs for volumes I and II, and a galley for volume VI: together, galleys included here, such as the chapter on “Potsdam: The some 300 emendations in Churchill’s hand. All volumes also heavily Atomic Bomb,” from volume VI. Alongside a passage justify- annotated by Churchill’s literary assistants – his “Syndicate” – C. C. Wood, F. W. Deakin, and Denis Kelly. A remarkably extensive archive, showing Churchill the literary artist, deeply engaged in the editorial minutiae of the great history for which he would be awarded the Nobel Prize in Litera- ture. The most numerous emendations in Churchill’s hand appear in the proofs for volumes I and II, The Gathering Storm and Their Finest Hour. The “Press Proof ” copy of The Gathering Storm is not only heavily annotated by Churchill, but also signed by him on some 15 pages, to indicate his approval of final changes. The archive is from the estate of C. C. Wood, chief copy editor for publisher George G. Harrap, who first worked for Winston Churchill in the 1930s proofreading his four-volume Marlborough. The abstemious Wood, whom Churchill described as “indefatigable, interminable, intolerable”, was not a natural ally, and at first Churchill preferred to do without his services for his Second World War memoirs. However, when in 1948 the first English edition of The Gathering Storm was published with an embarrassing number of typos, Churchill was obliged to recall Wood to work with him again. In his capacity of chief proof-reader Wood was “an essen- tial member of the team and no error escaped his eye” (Gilbert VIII:344). Wood was not shy of pointing out when he thought the prose need to be changed on stylistic, not merely grammatical grounds, and the proof for a new edition of The Gath- ering Storm shows Churchill already growing tetchy at Wood’s strictures: On p. 113: “This is a good instance of the difference between W[ood].’s feeling & mine. In my view, the commas on each side of ‘first’ represent pauses, which the sense requires, but those given to ‘secondly’ do not.” On p. 119: “Here is a case of W.’s insensitiveness to the meaning conveyed by punctuation.” Sometimes Churchill is brusque and dismissive: “Sense quite clear,” he writes on p. 121 in response to Wood’s call to clarify a point. Even when he concedes a grammatical point he still trusts his literary instincts more (p. 107): “True, but the sense is clear & the expression succinct.” Challenged by Wood on p. 340 on whether he is too collo- quial in ending one passage (describing a hectic day from early in the war) with: “And so to bath and the toil of another day,” Churchill asserts: “But there is literary authority for it. Milton writes ‘all kinds of living creatures.’” Humour leavens some of the comments, such as the instance when he orders Wood to remove italics from a quotation of a speech of Stanley Bald- win’s (p. 169): “He couldn’t speak in italics!” Churchill’s sensi-

74 Peter Harrington 124 ing the bombing of Hiroshima as an act that would spare mil- decisiveness in treating Churchill by recalling the incident “at lions of lives and bring “the end of the whole war in one or two Washington after Pearl Harbour, when you strained your heart violent shocks,” Churchill pens, “I think it is all right.” opening the window.” Moran ran no tests and took no precau- The associated correspondence includes a fascinating ex- tions since hospitalization of Churchill at that time would have change with his personal physician Lord Moran, who takes had a “catastrophic effect on world opinion . . . I therefore de- exception to the account of Churchill’s bout of pneumonia cided not even to advise you to rest. It was the most important while visiting General Eisenhower in North Africa, especially decision I ever had to make”. The text was changed to answer to the implication that Moran relied on others in aiding his Moran’s objections, but, interestingly, his letter to Churchill is important patient. “Pneumonia is such a common complaint annotated at the head, “Mrs. Churchill to see.” Beneath that is that no competent physician feels in need of the guidance of an endorsement from Clementine: “Seen by Cl. C.” his colleagues . . . [Doctors] Bedford and Marshall were only A full description of the archive is available on our website or on request. brought in because the public were anxious and needed reas- surance.” Not content to leave it at that, Moran indicates his £95,000 [102821]

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“It is a Utopia written in the form of a novel, & I think Fred Warburg, where they agreed the futuristic title of Nineteen the title will be ‘1984’, though we haven’t fixed that with Eighty-Four in preference to the working title of The Last Man in complete firmness” Europe. Previous letters to Powell had alluded slightly to writing the novel, most notably the trouble he was having in finishing 58 it – “I’ve been mucking about with this book since June of 1947, ORWELL, George. Autograph letter signed to Anthony and it’s a ghastly mess now, a good idea ruined” – but this is the first letter in which he outlines the style and title. Powell. The Cotswold Sanatorium, Cranham, Gloucestershire, 2 Orwell suggest that his health is improving: “If you happen February 1949 to see Malcolm [Muggeridge], will you tell him please that it 2 pages on a single sheet, quarto. In excellent condition. was awfully kind to suggest that Sanatorium in Kent but ac- an exceptional letter to the novelist anthony pow- tually I had already arranged to come to this place . . . I am ell, discussing the publishing and title of nineteen getting slightly better, at any rate I feel better . . . I imagine I eighty-four. Although only two years apart at Eton, Powell shall be here for several months, then be at large for the sum- and Orwell did not meet until 1941, when they were introduced mer”. On resuming writing: “I had to refuse some books the by mutual friend Cyril Connolly. Powell had read Down and Out T.L.S. recently offered me. I am trying to do no work whatever in Paris and London and been sufficiently impressed by Keep the for at least another month or two. My new book is supposed Aspidistra Flying to write, on Connolly’s encouragement, a fan to be out in May or June, which doubtless means July. It is a letter and to send a copy of his satirical Scottish poem, Caledo- Utopia written in the form of a novel, & I think the title will be nia. Orwell wrote a polite, diffidently friendly response, but ‘1984’, though we haven’t fixed that with complete firmness. no further correspondence ensued until their meeting some Malcolm told me he too had finished a novel. How about you? five years later. Despite their radically differing outlooks and It’s a god-awful job getting back to writing books again after political views, Orwell’s friendship with Powell grew into one years of time-wasting, but I feel now I’ve broken the spell & of the most substantial of his adult life. Powell and Malcolm could go on writing if I were well again.” A little more on his Muggeridge were Orwell’s closest literary friends during his fi- new surroundings: “supposed to be a beauty spot . . . I live in a nal illness, visiting and corresponding regularly, and were the “chalet”, which isn’t quite as grim as it sounds”. principal organisers of his funeral. Despite Orwell’s optimism about his health, he was never Having written the manuscript for Nineteen Eighty-Four over a to leave the sanatorium and died less than a year later, shortly two-year period in the isle of Jura in the Hebrides, Orwell was after the publication of his most famous novel, upon which admitted to the Cotswold Sanatorium in early January 1949. much of his status as novelist and 20th-century visionary rests. Towards the end of the month he was visited by his publisher, £50,000 [104665]

77 All items are fully described and photographed at peterharrington.co.uk The foundational years in the development of the exponential) relationship. Today it is a primary tool in logistics electronic digital computer and corporate planning. “As a management analysis officer, Weinberg was concerned 59 with the application of the computer to very large models. He WEINBERG, Robert S. Collection of materials on developed a multiple factor model for measuring the efficiency computer science and operations research. Various: of advertising expenditures and to determine the optimum level mostly 1945–65 (a few earlier or later) of advertising expense. Weinberg believes that this was the first instance in which a comprehensive business problem was solved Together more than 350 printed books, pamphlets, offprints, and with an electronic computer” (Wright, “Leaders in Marketing: pre-publication working copies, various formats. The printed books generally without dust jackets, otherwise overall condition is gener- Robert Stanley Weinberg”, The Journal of Marketing, Vol. 35, Jan. ally excellent to fine. 1971). During the early 1950s he also worked on a large project to evaluate the use of computers for calculating Air Force budgets, a superb collection of mid 20th-century computer with some related documents appearing in this collection. science, atomic warfare, and military documents Budget cuts closed Project SCOOP in 1948, (though it was from the early career of one of america’s leading not entirely disbanded until 1955), but many of its staff went figures in the application of computers to high-lev- on to prominent positions at the Pentagon, the RAND Corpo- el operations research. The archive is particularly strong ration, and private industry, where they continued to do im- in the history of computing, and includes many rare documents portant work applying mathematics and computer science to from the development of UNIVAC and other early commercial operations research. Weinberg left the Air Force in 1953 and and military computers, including important work by pioneers spent some time with MIT’s Operations Evaluation Group be- such as Grace Murray Hopper, Wallace Eckert, Claude Shannon, fore joining IBM as a planning representative in 1956. Betty Holberton, Herman Goldstine, and John von Neumann. It Weinberg was “responsible for finding ways in which IBM also contains important material on mathematics, particularly computer customers could broaden their needs for and use game theory and linear programming; nuclear weapons and of electronic data processing equipment. Within a matter of Cold War strategy; and the early development of logistics and months his work came to the attention of IBM’s senior man- operations research, combining some of the most important agement, and Weinberg was transferred to New York as a themes in the history of American technology. member of the newly formed corporate staff. He worked at Robert Weinberg (1927–2014) began his career as an econo- IBM as a manager of market research for the next seven years. mist, earning degrees from New York University and Colum- Directly or indirectly his arm reached into more than 200 of the bia, before being called to active duty as an Air Force reserv- country’s largest corporations” (Wright). ist in 1951. He was assigned to the ground-breaking Project In 1966 Weinberg joined Anheuser Busch as Vice President SCOOP (Scientific Computation of Optimum Programs), of Corporate Planning. “He established AB’s long term strate- where he was first exposed to the use of electronic computers gic planning programs, built the first three generations of their for operations research. planning models, and spearheaded key strategic shifts. His ef- Project SCOOP was “a major Air Force scientific task force forts are credited by Beer Marketers Insights editor Ben Stein- established in 1948 for formulating and solving a wide range of man for helping AB lead beer industry growth for decades. ‘Bob Air Force planning and programming problems” (Assad, Pro- files in Operations Research, p. 579). It was headed by mathematician George Dantzig, a pioneer of operations research, computer science, economics, and statistics. Project SCOOP was the birthplace of linear programming, a method of optimising the outcome of a problem (such as maximising profit or mini- mising costs) in which the inputs have a linear (as opposed to

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came to AB from IBM at a time when the company was moving most significant piece in the archive is a rare copy of the UNIVAC from family management to a more professional management I programming manual from 1951. Remington Rand’s UNIVAC structure. He brought along many innovations, a fresh way of was the first commercial computer, and this informal type- thinking and was responsible for recruiting many of AB’s future script, written in part by Grace Murray Hopper, was published in leaders . . . ’ During the following 34 years, Robert became the very small numbers. Copies on the market today are essentially foremost analyst for the brewing industry. Beer industry econo- unheard of. Two other women did work of great significance on mist Lester Jones said ‘There are literally decades of research UNIVAC. The archive contains rare copies of Collation Methods and insights from Bob in the Beer Institute archives. His work for the UNIVAC System Volume I by Betty Holberton and Jean on the beer industry will be a must have . . . for a long time to Bartik, which includes “the first major software routine ever de- come’” (New York Times obituary, 22 Mar. 2014). veloped for automatic programming” and UNIVAC Instruction For much of his career Weinberg was also a part-time uni- Code C-10 [fourth revision] by Holberton, which describes “the versity lecturer, first at the Management Science Center of the first software to allow a computer to be operated by keyboarded Wharton School of Finance and Commerce, and later serving commands rather than dials and switches”. as Professor of Marketing and Management at Washington This is a remarkable collection, capturing the intersection University. of the major historic and scientific developments of the 20th- Over the course of this long and fruitful career he was a care- century – the Second World War, the Cold War, and the rise of ful collector of the documents, books, periodicals, offprints, the military-industrial complex; the development of electronic and other works that he obtained while in the military and at computing; and the application of new mathematics such as IBM. The heart of the archive comprises a sequence of com- game theory and linear programming to warfare, logistics, puter science incunabula dating primarily from the late 1940s and corporate planning. From the perspective of one man at through the early 1960s. It forms a superb record of the devel- the centre of these movements we see their complex connec- opment of electronic computing, from its origin in the mili- tions. How, for instance, increased computing power led to tary (and military-funded projects) during and immediately the development of thermonuclear weapons, which created after the Second World War through the rise of commercial the need for better military planning and new ways of under- computing companies such as Remington Rand and IBM. standing the mathematics of military strategy, which in turn Many of the publications are printed typescripts produced in created new uses for the computer. An unparalleled archive of small quantities for just a handful of specialists, and a number 20th-century science and technology, the like of which is rarely of the research papers are in the form of rare offprints or pre- seen outside institutional collections. publication working copies produced for internal IBM use. A full listing of the collection is available on request. Weinberg’s collection includes important documentation for a variety of early military and commercial machines. Perhaps the £75,000 [107288]

79 All items are fully described and photographed at peterharrington.co.uk Agatha Christie and All That Mousetrap c) Rule of Three: Three Plays by Agatha Christie (The Rats, After- noon at the Seaside, The Patient). Typescript. 77 pages, each play 60 separately paginated. [c.1961] Red card wrappers, bound into a CHRISTIE, Agatha. Hubert Gregg’s archive of type blue folder. Marked in blue ink “Amended” to the title page. Signed by Gregg and annotated throughout in blue ink, the final page of scripts, autograph manuscripts, and letters relating to “The Patient” with note (“End to follow”). With an additional 26 the plays of Agatha Christie; including The Hollow, The leaves loosely inserted, including typescript revisions to the script Mousetrap, The Unexpected Guest, and Rule of Three (The Rats, (including the end of “The Patient”), notes on auditions, rehearsal Afternoon at the Seaside, and The Patient). 1953–72 schedules and a letter from Peter Saunders to Hubert Gregg re- garding the apparently troublesome ending of The Patient and ad- Together 15 items, 1 printed book, 3 complete typescripts, 7 auto- vising that Donald Walker felt it too long and wordy: “I also send graph letters signed from Christie to Gregg (most with original enve- for your own amusement his own suggestion of how he thinks the lopes), menu signed by Christie and 21 cast members of The Mousetrap, play ought to finish. Can you imagine Agatha’s face!” a Christmas card sent from Christie to Gregg, an original playbill for The Hollow, and programme for Rule of Three. other material: A superb collection of material, illuminating Christie’s rela- d) Three page autograph manuscript in the hand of Agatha Chris- tionship with her director and producer over the course of five tie, for the ending of The Patient [c.1961]. Written in blue ink on the plays and two decades. The typescripts in particular document reverse of Victoria Hotel, Wolverhampton headed stationery. the process from casting to opening night in great detail, the e) The Mousetrap. A Play in Two Acts. 70 pages. Published by Samuel contributions and opinions of the director and producer re- French, 1954. Presentation copy from the author to her director. corded at each point, but with little doubt as to who had the Blue cloth boards with title, borders and the date (25 November final say. 1958) in gilt to the front board. Inscribed by Agatha Christie in blue Hubert Gregg (1914–2004) was one of the most steadily suc- ink on the front free endpaper “For Hubert / With affection and cessful theatrical all-rounders of his generation; a broadcaster gratitude / on our Sixth Birthday / from / Agatha [underlined]”. In and light comedian, a Shakespearean actor, a director of com- very good condition. edies and thrillers, and composer of hundreds of songs – in- f ) Seven autograph letters from Agatha Christie to Hubert Gregg. cluding “Maybe It’s Because I’m a Londoner” and “I’m Going 19 pages in total spanning 1953–72. Topics include a poor review, to Get Lit Up When the Lights Go Up In London”. “still, plays are like race horses, always either amazing or disap- He was director of five Agatha Christie plays, including The pointing their stables”, comments on possible revisions to a play Mousetrap for seven years of its record-breaking run, from 1953. in production, the development of her then unfinished play Fid- In his own words “three were smash hits, one had a modest dler’s Five, her astonishment at the continuing popularity of The Mousetrap and, in the later years, health issues. Most with their run and the other was a flop”. Gregg described his experiences original postmarked envelopes. in his book, Agatha Christie and All That Mousetrap (Kimber 1980). The archive and correspondence, spanning nearly 20 years, g) Luncheon menu, held at the Savoy for the casts of The Mouse- includes three Agatha Christie plays in typescript, each one the trap 1963–65. Dated 20 November 1964, signed for Hubert Gregg by director’s working copy with extensive revisions to the text, Agatha Christie and 21 members of cast. notes on staging and lighting, often with related notes, manu- h) A Christmas card, from the Victoria and Albert Museum, sent to script revisions and correspondence between Gregg, Agatha Hubert Gregg and inscribed in blue ink “From / Agatha Christie”. Christie, and the producer Peter Saunders; Gregg’s own copy i) An original playbill for The Hollow at the Arts Theatre, Cambridge of The Mousetrap, inscribed and presented to him by Agatha “prior to West-End presentation”, dated February 1951. Christie on the occasion of “our sixth birthday”; and Agatha j) An eight page program for Rule of Three for the week commencing Christie’s holograph manuscript for the ending of The Patient, Monday, 6 November 1961. the last play in Rule of Three. £16,000 [110880] the typescripts: a) The Hollow: A Play In Three Acts. Typescript. 90 Pages. [c.1951] Presentation binding of blue roan, titles in gilt to the front board and spine. Presentation inscription from the producer Peter Saun- ders dated December 1952 to the front free endpaper, and inscribed by the author “Happy Memories / Agatha Christie”. Extensively annotated throughout in blue ink by Gregg and with three pages of cancelled notes in pencil. The binding rubbed and worn, the front board nearly detached, title page chipped at edges. b) The Unexpected Guest: A Play in Three Acts. Typescript. 172 pages, each act separately paginated. [c.1959] Blue card covers with printed label and marked “Uncorrected Copy” in pencil to front wrapper. Signed by Agatha Christie on the title page. Exten- sive notes, revisions and stage diagrams in blue ink, pencil, and black ink by Gregg throughout. Loosely laid in are seven additional leaves which include rehearsal schedule, cast list, rough stage plans and notes of questions for Agatha Christie.

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81 All items are fully described and photographed at peterharrington.co.uk

Peter Harrington london

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chelsea mayfair Peter Harrington Peter Harrington 100 Fulham Road 43 Dover Street London sw3 6hs London w1s 4ff www.peterharrington.co.uk